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Hmmm, what is interesting the he proposes Scherchen as some kind of cult or some kind of off-mainstream? I would not agree with it. The both Scherchen’s Requiems are quite conventional and very much orthodox. Here is where we have a problem with public perception of Mozart music generally. Mozart music is very well played and there are zillions recording if each peace but any imaginable conductors. But the realty is that the Mozart music, as I can recognize it, is probably the most complex music to accomplish a great performing event.  It is not about the complexity of the musicianship but rather with huge expressiveness hidden in superbly simple, elegant and almost primitive forms. I think that per capita of playing attempts Mozart has the lowest scores among all composers who got really great recorded performances – it is juts too damn hard to perform Mozart in the way in witch it might be performed. (Not to mention to reproduce)

Naming the greatest Mozart’s performers I have to say that it is shame that n Karl Bohm’s performance with Vienna “did not work”. Bohm really really really knew how to play Mozart and it is very unfortunate that his 1971 recording was “not there”. Speaking about the great Mozart’s Requiems… There is one very good recorded performance in 1941 by estimable Victos de Sabata with Eiar Orchestra and Chorus in Rome’s Basilica Of Santa Maria. I have an album of 2 10” records pressed by Cetera-Coria. As far as I know the recording never was re- issued. The Victor de Sabata’s Requiem is kind of “hard” Requiem, in a way similar to the second Karajan but at the same time more “eventful”.

I still vote for the First Scherchen as the absolute best…

Rgs,
Romy the Cat

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