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Kerll & Fux: Requiems / Meunier, Vox Luminis


Release Date: 09/30/2016 
Label:  Ricercar   Catalog #: 368   Spars Code: DDD 
Composer:  Johann Kaspar Kerll,  Johann Joseph Fux
Conductor:  Lionel Meunier
Orchestra/Ensemble:  Vox Luminis,  Scorpio Collectief,  L'Achéron
Number of Discs: 1 
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Notes and Editorial Reviews



This recording presents two Austrian requiems of totally different character. Johann Joseph Fux wrote his Requiem in 1720 for the funeral of Eleonora von Neuburg, widow of the Holy Roman Emperor Leopold II. Composed by a musician reputed for his theoretical skill, it impresses with the quality of the polyphonic writing combined with a very rich instrumental fabric comprising cornetts, trombones and bassoon in addition to violins, instruments also benefiting from concertante interventions. This requiem was played on numerous occasions for official ceremonies, including again for the funeral of Karl VI in 1740. On the other hand, Johann Caspar Kerll's version is presented Read more in a much more intimist way. As he himself stated in the preface to the edition, this requiem was written "for my soul's peace". It is scored for an ensemble of five voices backed up by a quartet of viols. In a more archaic style, its intense emotion is doubtless influenced by the music of his Roman master, Giacomo Carissimi. Read less

Works on This Recording

1.
Missa Pro Defunctis by Johann Kaspar Kerll
Conductor:  Lionel Meunier
Orchestra/Ensemble:  Vox Luminis,  Scorpio Collectief,  L'Achéron
Period: Baroque 
Written: 1669; Germany 
2.
Requiem "Kaiserrequiem" by Johann Joseph Fux
Conductor:  Lionel Meunier
Orchestra/Ensemble:  Vox Luminis,  Scorpio Collectief,  L'Achéron
Period: Baroque 
Written: 1720; Austria 

Customer Reviews

Average Customer Review:  ( 1 Customer Review )
 Press review December 1, 2016 By Classicalacarte Classicalacarte (Saint-Donat, QC) See All My Reviews "Jérôme Lejeune in the liner notes accompanying the CD writes : « Here we have two works of very different character. The first was filled with the deep emotion of a composer who, at the end of his life, was concerned for his soul’s peace; the second is a ceremonial work whose splendours fitted it for Imperial funeral services. The first is intimate, the second grandly solemn. Our modern conception of Mozart’s Requiem is in a way the conflation of these two visions. This preoccupation is being examined by some of the reviewers that we have surveyed. So far, ten reviews have been surveyed. All can be consulted by simply searching for: (classicalacarte.net + ID574) on your browser. --The original and more extensive version (in French) of this press review is posted on: classicalacarte.org" Report Abuse
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