J.J. Fux: Kaiserrequiem - Vox Luminis & Scorpio Collectief - Festival Oude Muziek Utrecht, deel II

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Johann Joseph Fux - Kaiserrequiem
Vox Luminis:
Zsuzsi Tóth, Sara Jäggi, Elke Janssens, Maria Bernius - sopraan / soprano
Barnabás Heygi, Jan Kullmann - alt / alto
Olivier Berten, Robert Buckland - tenor
Matthias Lutze, Lionel Meunier - bas / bass
Scorpio Collectief:
Veronika Skuplik, Stefano Rossi - viool / violin
Johannes Frisch - altviool / tenor violin
Josue Melendez, Frithjof Smith - cornetto, cornetto muto / cornett, cornett muto
Simen van Mechelen, Claire McIntyre - trombone
Carles Cristobal - fagot / bassoon
Matthias Müller - violine
Kris Verhelst - orgel / organ
Opgenomen tijdens het Festival Oude Muziek Utrecht 2014 op 7 september 2014 in TivoliVredenburg. / Recorded during Utrecht Early Music Festival 2014 on the 7th of September 2014 in TivoliVredenburg.
/ avrotros.klassiek
/ klassiekonline

[@nickgodwin3412]

I just found this performance so enriching. Vox Luminis are such dedicated yet unpretentious perormers.They are a joy to listen to.

[@781937]

Vox Luminis ...Vocalconsort Berlin....Sublime dans leurs interprétations... On ne s'en lasse jamais...une découverte à chaque écoute.Merci.Bravo.

[@polomokipo6000]

JOHANN JOSEPH FUX {HIRTENFELD 1660-1741 VIENNE} KAISERREQUIEM - VOX LUMINIS & SCORPIO COLLECTIEF. Un chef-d'œuvre de FUX, voix vocales, choeurs, ensemble musicale, grandiose bravo. Compositeur organiste à la SCHOTTENKIRCHE de Vienne de 1696 à 1702. En 1698, il est compositeur à la cour de Léopold 1er. Puis en 1713, est nommé vice maitre de chapelle de Charles VI, et maitre de chapelle de l'impératrice Wihelmina. Auteur du traité de contrepoint GRADUS AD PARNASSUM. Merci pour cette merveille sublime.

[@GuntherDebymusique]

Vox Luminis, Founded in 2004 in Namur, Belgium, is an ensemble specialising in the performance of 16th - 18th century vocal music. The ensemble has been praised for its seamless blend of high quality individual voices, exquisite tuning and clarity of sound. Critics have also commented on the ensemble’s enthusiasm in sharing its passion for early music with an audience. The majority of the group met at one of the most significant centers for early music in Europe: the Royal Conservatory in The Hague. Vox Luminis has performed in festivals and venues in Belgium (Nuits de Septembre de Liège, festival de Stavelot, Juillet Musical de Saint-Hubert, Automne Musical de Spa, MA festival Bruges, festival van Vlanderen Gent, Laus Polifoniae Antwerpen, festival des midi-Minimes, Eté Musical de Roisin, Société Philharmonique de Namur…); France (festival d’Ambronay, festival de Saintes, Rencontres Musicales de Vézelay, festival de Saint-Michel en Thiérarche, Midsummer festival d’Hardelot, festival Contrepoint 62, Festival Musique et Mémoire de Luxeuil, Musique et Natures en Bauges, festival Bach en Combrailles…); Germany (Ratingen Bachtage festival, Muziekfest Stuttgart); The Netherlands (Oude Muziek Utrecht, Den Haag, Delft); Portugal (Centro Cultural Bélem-Lisbon) and Croatia (Varazdin Baroque Evenings). Vox Luminis records exclusively for the Belgian Label Ricercar. The ensemble’s first CD, released at the end of 2007, features four vocal works by Domenico Scarlatti, including his famous 10-part Stabat Mater. In May 2010 the ensemble released its second album, Samuel Scheidt: Sacrae Cantiones, which features several world premieres. Vox Luminis’ most recent CD, released in June 2012, created a buzz with an interpretation of Heinrich Schütz’s Musicalische Exequien. This recording has received several prestigious awards such as the Gramophone ‘Recording of the Year’, the ‘Baroque Vocal Gramophone Award’ and the ‘International Classical Music Award’. Other recordings have also received many awards throughout the world including, Gramophone’s ‘Editor’s Choice’, Diapason d’Or, Choc de Classica, Muse d’Or Baroque, Preis der Deutschen Schallplatten Kritik, Joker de Crescendo and Prix Caecilia. Vox Luminis is very grateful to have the support of the Federation Wallonie-Bruxelles and the City of Na Des photos de VOX LUMINIS en concert lors de « l'Automne musical de Spa » 2014 sur le lien suivant : plus.google.com/photos/104487862375344117456/albums/6064033011268942929

[@gershomstevenmendlovitz8823]

THANKS 😊☺️😘... •••GERSHOM STEVEN•••

[@dominiquegerard2259]

Beau, émouvant, spirituel, merveilleusement servi par des musiciens et chanteurs de talents, ici la musique raconte l'indicible.

[@thedjc100]

I saw Vox Luminis in concert and they're fantastic in person. Just fantastic.

[@notaire2]

The latter half of this Requiem is quite challenging with fairly complex harmony, to which the singers respond successfully with perfect pitch and synchronicity.

[@notaire2]

Jay Preis Thanks for your reply! It's quite a persuasive explanation.

[@paulsmith5752]

+notaire2 Believe me, it's a LOT easier to keep your pitch in a piece like this when you're getting backup from instruments. This is much less challenging than, say, unaccompanied Gesualdo...

[@notaire2]

+Paul Smith Thanks for your comment. Easier or not, I still adore the singers' perfect pitch and synchronicity.

[@paulsmith5752]

Of course, nothing here should be interpreted as denigrating the merit or artistry of Vox Luminis' very fine performance. Just making a technical point :)

[@notaire2]

+Paul Smith I know. Please just enjoy their beautiful performance.

[@kennethwilbanks9713]

Splendid.... all of you..... absolutely splendid~~~~~!!!!!!!!!!!!!!!!!

[@PapagenoHannover]

The sopranos and strings are exquisite!

[@bernhardmeier-limberg5053]

Großartig, besser geht es nicht. Den ohnehin störenden Dirigenten wegzulassen , ist eine enorme Ausdrucksteigerung. Meine Bewunderung!

[@whdaffer1]

Very nice. First Fux music I've ever heard!

[@zene1750]

Ubelievable performance and music.

[@jannoordijk2863]

Beautiful performance!

[@ottavva]

Dank-U-wel

[@susannahmacdonald9642]

Glorious

[@reentjekay7597]

Gorgeous performance!

[@herminioteixeira5921]

Da avrotros, o que se espera sempre será, na cronologia e no estilo, que pre-supõe época, embora em qualquer época autores da modernidade copiem estilos!: mas, Joseph Fux está cronologicamente inserido na transição renascença/barroco. A Fux, como a incontáveis e magníficos autores da época, não se dá vitrine suficiente para que suas criações façam parte mais ativa das programações de música, particularmente nas do hemisfério sul, onde proliferam grandes e até razoáveis orquestras, mas tambem onde se atribui pouco valor ao que se produziu musicalmente a partir da idade média! Felizmente, todo esse acervo é disponibilizado pela avrotros que, prestigiando esfôrço de magníficos conjuntos instrumentais europeus lhes dá vitrine e oferece ao mundo as maravilhas sonoras que podemos ouvir e até ver em vídeos magníficos. A música que se compõe e ouvimos hoje não é fruto da modernidade!: tem origem e história que precede o trovadorismo!...

[@giovannicalorini7729]

Sublime🧡

[@ajhiflyer]

This is singing of the highest order! So why isn't it available commercially?

[@martinemeunier8535]

+ajhiflyer Be patient!certainly at the end of 2016.

[@keesvanleeuwen9775]

+ajhiflyer because this music isn't commercial

[@dominiquegerard2259]

The CD is available now ( OUTHERE)

[@danawinsor1380]

Don't forget the exquisite playing by the instrumentalists!

[@ajhiflyer]

Indeed!

[@giancitton2604]

Requiem 00:00 Kyrie 06:41 Dies irae 10:04 Domine Jesu 24:52 Hostias 27:55 Sanctus 29:50 Benedictus 31:15 Agnus Dei 33:19 Lux aeterna 35:26

[@kunoRochat3]

Is this legal? Like the laws of physics and reality.

[@hetedeleambacht6608]

does szuszi toth give some voice lessons???? i would love to learn!

[@jasongregory9914]

Was Fux Scorpio?

[@martinmoller5591]

Better than Mozarts Requiem

[@arnoldvdwaals]

No way!

[@dr.pingel2447]

Das finde ich auch! Außerdem gibt es keine gesicherte Fassung von Mozarts Requiem.

[@mrgufidaun113]

Putting the singers behind the musicians without a conductor is strange and very problematic. And it's always sad to see string players who can't play a decent vibrato, either for reasons of technical problems or brainwashing. Fux's music - as always - is like a strong sleeping pill. Thank god the Emperor was already dead!

[@AllegoryOfSound]

Vibrato was not used liberally in the Baroque, the heavy use of vibrato is a 19th/20th century phenomenon -- this is history, not brainwashing. As for Fux's music -- for some it is a sleeping pill, for others, at its best, it is a glorious dawning of beauty dressed in nobility -- it all depends on one's sensibility and appreciation. If the first few minutes of the music don't speak to your heart and mind, it may be best to keep that to yourself. The performance here is excellent.

[@mrgufidaun113]

There is not a single 18th-century treatise that prohibits vibrato. Violins were invented to imitate the human voice and the human voice has a natural tremolo. Today's brainwashed (and mostly technically limited) string players play no vibrato at all which is definitely wrong. They have been told that "vibrato was an ornament" - but then they never apply this ornament!

[@martinmoller5591]

Fux music is very interesting and rich. A requiem mass must be like this, exactly. This is liturgical musi at its best, Thank God it's not interesting, like the masses of 19th century or disgusting like the masses of 20th century. And as you can hear, the position of the choir is no problem, they have good contact to the concertmaster.

[@smguy7]

Vibrato was considered to be a strange affectation until the 20th Century. It sounds terrible on Baroque instruments. Messa di voce is what was used and recommended on sustained notes.

[@danmoran454]

@ Mr Gufidaun: "Putting the singers behind the musicians..."? Oh dear. That erroneously implies that the choristers are not musicians, when of course they are and of the same caliber as the orchestral players. Rewritten for more accuracy: "Putting the choristers behind the orchestral players..."

[@WinrichNaujoks]

Very well performed, but really very boring music.

[@davidcarter3049]

I thought the music was a bit like when I go to an art gallery full of great art, and there’s one painting that seems a bit less interesting, a bit less colourful, a bit less good, but 2 weeks later when asked about going I tell someone it meant a lot to me, and stands out for me, without really knowing why