![]() The result is fascinating and is gloriously performed, and should find a place in every library that supports an academic music program. ![]() What we have here is the world-premiere recording of the first - the Süssmayr version, “remade” by Dutron. Dutron undertook two tasks: first, to amend and reconfigure Süssmayr’s additions into versions truer to the Mozartian style second, to create a second version consisting of his own original compositions in place of Süssmayr’s. Mozart famously never finished the work, and pieces were filled in by several other composers, notably Franz Xavier Süssmayr, whose work has been heavily criticized over the years. In this case there’s a more important reason, however, because this recording is the fruit of a five-year project: a collaboration between Jacobs and the composer Pierre-Henri Dutron to create a new version of the Requiem. Why, one might well ask, do we need yet another recording of Mozart’s Requiem, surely the most popular and frequently-recorded of his large-scale works (after, perhaps, the Jupiter symphony)? Part of the answer in this case is that René Jacobs is a titan of early music and whenever he and his crack team of period-instrument players take on a work, even a very familiar one, it’s going to be worth hearing what he and they do with it. RIAS Kammerchor Freiburger Barockorchester / René Jacobs
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