I don’t profess to being an expert in anything. A few weeks ago, I was listening to (forensic psychotherapist) Dr Gwen Adshead’s Desert Island Discs. One of the tracks chosen was Mozart’s ‘Lacrimosa’ from Requiem.
What I hadn’t realised was that Mozart had died part way through Requiem and, as such, only the first eight bars of The Lacrimosa had been written by Mozart’s 35-year-old hand. It’s widely argued that Franz Xaver Süssmayr completed the work.
I only learned of this after buying the album. With so many versions of the same recording and information (such as that of Süssmayr’s involvement), I’ve always found classical music a minefield, and – though I have a handful of recordings – I’ve never really taken more than a passing interest in the form. And yet, it is one of the most complex forms of music available. Indeed, it could be argued to be the finest and purest.
So, for the remainder of this year, I’ve decided to explore classical music further. That’s not to say I will ignore other music. Alongside albums from Wrongtom, QOTSA, Sven Libaek, The Keyboard Choir, Mike Sammes, Xela and much more, this month’s listening includes:
Mozart – Requiem (Daniel Barenboim – Spotify Link)
Vaughan Williams – Choral Works (Spotify Link)
Tippett – A Child Of Our Time (John Cheek et al – Spotify Link)
Handel – Messiah (Trevor Pinnock – Spotify Link)
Join in if you like.
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