REQUIEM,aeternam - W.A.MOZART Salzburg.Doms-Cathedral. VTS_01_1.VOB

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CUDOWNE!

[MrGer2295]

The recording of Joseph Messner conducting Mozart's Requiem on August 9, 1931, is neither listed in "The Gramophone Shop Encyclopedia of Recorded Music" of 1942, nor in the 1948 edition. The performance which was transferred to CD by Orfeo must be a live recording from the Austrian Broadcasting Service.

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[patefon39]

@MrGer2295

Alles klar .  Danke!

[MrGer2295]

In that performance the singers were Hanna Seebach-Ziegler (Soprano), Jella von Braun-Fernwald (Contralto), Hermann Gallos (Tenor), Richard Mayr (Bass), the Salzburger Domchor and the Orchestra of the Dom-Musik-Verein, the prewar Mozarteum Orchestra.

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[MrGer2295]

REQUIEM - MOZART (1756-1791)

The generally accepted version of the story of the Mozart D Minor Mass has it that in July 1791 Mozart received an unknown visitor clothed completely in black. This visitor refused to identify himself and said that the person whom he represented wished Mozart to write a Requiem Mass.

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[MrGer2295]

He asked Mozart to name his fee and to tell him approximately how long it would take him to complete the work. A few days later the mysterious messenger returned with the advance requested by Mozart. He insinuated that his master thought Mozart's price exceedingly low and that if the Requiem were finished on time there would undoubtedly be a large bonus forthcoming.

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[MrGer2295]

Mozart, who unknowingly had six months of life remaining, felt a strong premonition about this work. He was suffering physically and the composition added strange mental tortures. He had the delusion that the strange messenger clothed in black was a messenger of death and that he was writing a Requiem for himself. Nevertheless Mozart started the composition immediately.

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[MrGer2295]

During the next few months work was halted by prior commitments on "The Magic Flute" production. Mozart, who normally wrote very rapidly, found it increasingly difficult to get the Mass under way. Undoubtedly this was caused by the strange hallucinations he had about his work.

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[MrGer2295]

Each time he worked steadily on the composition there was a noticeable decline in his health, and whenever he put the work aside and turned to other matters his physical condition improved. Almost before Mozart was aware of it he had passed the deadline he had promised the strange messenger. Finally in a last burst of effort to complete the piece, his powers ebbed until in December 1791 the master passed away leaving the manuscript unfinished.

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[MrGer2295]

After his death his wife Constanze approached a number of his friends and asked them to complete the work using Mozart's notes. After several people had refused she turned to Süssmayer, Mozart's beloved pupil, to complete the work.

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[MrGer2295]

Süssmayer, who had been a very close friend and confidant of the master, had heard Mozart play parts of the composition many times during the last six months of his life. The story is even told that as he was dying, Mozart gave his beloved pupil instructions as to how the mass should be finished.

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[MrGer2295]

Using Mozart's style which he knew so well, and having complete access to his notes, Süssmayer completed the work. Years later he said that he recopied the whole, destroying the original manuscript so that the patron who had ordered the Requiem would not notice a difference in the handwriting. Finally the messenger called for the completed manuscript which Constanze delivered with what must have been a sigh of relief.

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[MrGer2295]

Sometime later the mystery of the strange patron was disclosed when the Requiem Mass was performed privately. The work had been commissioned by a Count von Wallsegg, a well-known patron of music who had a private orchestra under his permanent employ.

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[MrGer2295]

The Count was noted for frequently commissioning work, recopying them in his own hand, and having them performed as his own compositions. This was apparently his idea in commissioning the Requiem which he planned to have performed in the memory of his wife.

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[MrGer2295]

The whole story of the Requiem will never be known unless the original manuscript, supposedly destroyed by Süssmayer, should be discovered in some long forgotten archive. The D Minor Requiem however, still remains one of the world's greatest musical works.

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[MrGer2295]

The Requiem received its first performance at Jahn's Hall, Vienna in 1792. - John W. Freeman

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[MrGer2295]

Modern sources mention that the Requiem did not receive its first performance in 1792, but one year later on December 14, 1793, at Wiener Neustadt.

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[MrGer2295]

Constanze first asked Joseph Eybler (1765-1845), who had studied composition with Mozart, to finish the instrumentation. But when he was asked to complete sections and add missing parts of his own, he refused to do so. Enter Franz Xaver Süssmayer (1763-1803).

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[MrGer2295]

He wrote the instrumentation and composed the Lacrymosa (after bar 8), and completed the Sanctus, Benedictus and Agnus Dei. There are many weak instances in Süssmayer's score and the Sanctus really shows his poor style of instrumentation and composing.

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[MrGer2295]

 Despite all the criticism regarding the skill of Franz Xaver Süssmayer, it is thanks to him that the Requiem, Mozart's last composition, was completed and because of that found it's prominent position in Mozart's oeuvre, and was not lost but can be heard today in full. Although many may argue that if Süssmayer had not completed it, someone else may have done it sometime later, provided all of the original pages with Mozart's handwriting had been available.

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[MrGer2295]

Joseph Messner was a deep religious man. He was ordained a priest in 1918, studied composition and organ at the Munich Academy of Music (Münchener Akademie für Tonkunst) to become an organist, a composer and eventually a famous conductor of mostly religious works.

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[MrGer2295]

Joseph Messner (February 27, 1893 - February 23, 1969), was born in Schwaz, Austria, not far from Innsbruck. He was the second son of Jakob Messner and Maria Speckbacher. In 1923 he was appointed organist and in 1926 "Kapellmeister" at the Dom church in Salzburg. And since 1932 he conducted the so called Dome Concerts of the Salzburg Festival (Salzburger Festspiele).

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[MrGer2295]

Messner was not only a devoted conductor and choir leader. As an organist he gave concerts in many a European city. Furthermore he composed over two hundred works of all kinds and forms: church music, secular music, choral works, songs, concertos, symphonies and chamber music.

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[MrGer2295]

He wrote "Missa poëtica" on texts of Ilse von Stach; "Zwei Marienlegenden" (Two Mary Legends); a Symphony for organ; "Esther", a so called church opera; he composed the opera "Hadassa"; and also violin and piano music. He wrote the stage music for "Jedermann" (Everyman, Elckerlyc), the play about "The Dying of the Rich Man", written by Hugo von Hofmannsthal.

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[MrGer2295]

He wrote "Missa poëtica" on texts of Ilse von Stach; "Zwei Marienlegenden" (Two Mary Legends); a Symphony for organ; "Esther", a so called church opera; he composed the opera "Hadassa"; and also violin and piano music. He wrote the stage music for "Jedermann" (Everyman, Elckerlyc), the play about "The Dying of the Rich Man", written by Hugo von Hofmannsthal.

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[MrGer2295]

Each and every year he was present at the Festival. He conducted for the last time in Salzburg on August 13, 1967, and that, again, was the performance of Mozart's Requiem K 626. But now the singers were Laurence Dutoit (Soprano), Friederike Baumgartner (Contralto), Lorenz Fehenberger (Tenor), and Max Pröbstl (Bass).

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[MrGer2295]

. The organist was Gerhard Zukriegel. About one and a half year later, after a full life and of 45 years of devoted music making, Joseph Messner passed away, on February 23, 1969, in St. Jakob am Thurn, a short distance from Salzburg.

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[MrGer2295]

The only recording of Joseph Messner in the era of the 78 RPM shellac records, is a 12 inch disc: His Master's Voice DB 5054. He conducts an orchestra accompanying Eidé Noréna singing "Care Selve" from Atalanta (Georg Friedrich Handel).

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[MrGer2295]

This recording of Noréna (=Andre Karoline Hansen) was probably made in 1939 when she sang during the Salzburg Festival. In "The New Guide to Recorded Music" (1950) Irving Kolodin wrote:

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[MrGer2295]

"All singers save Noréna use an English version of the Italian text, which was one more reason for retaining a preference for her version (...). However, Noréna, whose singing of opera has not often moved me, is an inspired artist on this disk." Maybe Joseph Messner's conducting had an inspiring influence.

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