Aspecte de formă și configurarea concepției dirijorale a primelor două părți din „Requiem”-ul de Wolfgang Amadeus Mozart
Aspects of Form and Shaping of the Conducting Conception of the First Two Parts of “Requiem” by Wolfgang Amadeus Mozart

Summary/Abstract: We have not intended in these pages to outline an analysis in the primary sense of the term, because we believe that from a performer’s point of view, articulations of form are perceived from other parameters than those through which a musical work is dissected by a musicologist. From our position, it seemed more important to project the image of the sound planes, which, in vocal-symphonic music, pose much more complex problems than can be unraveled in the audition of a concert. Very often, the indications in the score are sketchy because a score, however finished by the composer, remains somewhere still unfinished; it is really finished when it is sounded in concert. Here, it is the performer’s role to bring the score to life, as long as it does not betray the composer’s intentions. These efforts to mediate between the written score and the performed music are much more easily realized after being aware of some analytical landmarks, similar to those we have tried to record in these pages.

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