Requiem
Mozart’s Death in Words and Music
Pittsburgh Symphony Orchestra
Manfred Honeck, Music Director
Reference Recordings, $11.98
(Available in other formats and prices)
Mozart’s immortal Requiem has received many recordings over the years, and this one is worth a listen. First, there are stellar performances led by conductor Manfred Honeck (too little recognized, I think), marshaling fine soloists, choruses, and orchestra.
What’s more, Honeck offers an intriguing take on the piece. He mixes in Gregorian chant, Mozart’s funeral music, tolling bells, and selected readings. These last benefit from expressive recitation by F. Murray Abraham, whose awards include an Oscar for playing Salieri in the film Amadeus. Honeck writes that his goal was to visualize Mozart’s funeral and to contemplate “death and the hope beyond … to illuminate one of the greatest mysteries of human existence.”
Ancient church chants and varied readings set the stage, including a letter from Mozart to his father and poems by Nobel Prize-winner Nelly Sachs. Somber music for a Masonic funeral and the radiant Laudate Dominum grace this section. Westminster Choir College’s tenors and basses sing the chant with heavenly sensitivity. Jeanine De Bique does solo honors in the Laudate, along with Pittsburgh’s estimable Mendelssohn Choir. All this inspires, while also whetting a listener’s appetite.
Then comes the Requiem proper, with passages from Revelation and the chant Christus Factus Est interspersed. Many readers will recall that Mozart’s work sets the traditional Mass for the dead in eight main movements. While that may have been his plan, he died leaving only the Introit and Kyrie complete, plus detailed drafts for the Offertorium and the Sequence.
Two of his students, supposedly familiar with Mozart’s ideas, filled in missing parts and composed additional material. This recording presents the first four movements (i.e., those by Mozart). Then we hear again the Lacrimosa section, but only for eight measures. It ends as Mozart’s death intervened—a startling memento mori! Following immediately is his sublime anthem Ave Verum Corpus, beloved worldwide for its tranquil beauty. Finally the bell tolls anew.
The result delivers an effective concert and a profound meditation. Honeck provides fascinating notes explaining his interpretation. Because the composer never put a final stamp on the work, we should not say the conductor is taking liberties. Moreover, his approach is rooted in period practice and textual contour. I find his dynamics and articulation persuasive, and more respectful of the Austrian genius than some would-be finishers of this work.
Besides soprano De Bique, the solo quartet consists of mezzo Catriona Morison, tenor Ken Bliss, and bass Tareq Nazmi. They all sing with compelling artistry, and they make a well-matched ensemble. The Mendelssohn Choir and Pittsburgh Symphony respond with finesse, striking a splendid balance between drama and refinement. This August 2025 release was recorded live in 2023. What the sound may lack in presence compared to a studio recording, it more than surpasses with acumen and energy.
Christopher Hoh is a composer/publisher and artistic consultant based in Arlington, Virginia. He is also a retired U.S. career diplomat and lifelong musician and concertgoer.
