Mozart: Requiem K 626 (Live Recording Expo 2015) – Orchestra Associazione Mozart Italia / Bernardi

In the world of visual arts, the concept of “authenticity” is of crucial importance, […] and this is rather paradoxical, if we consider the role that the practice of the “workshop” has played in the visual arts for centuries [… ] The fact that the value of a work often depends more on the name of the person to whom it is attributed than on purely artistic / aesthetic considerations is therefore an assumption, albeit questionable, of today’s consideration of the work of art. […] Also around Mozart, as with many other great musicians, a small circle of young musicians gathered, eager to learn some techniques and compositional principles from the brilliant master. Among them was Franz Xaver Süßmayr (1766-1803), just ten years younger than Mozart, and who was particularly close to the master in the last period of his short life. […] One of the most discussed and controversial events in the history of music plays on their human and professional relationship, a relationship that has deeply fascinated even the non-specialist public, and has aroused a plethora of publications […] Mozart died, not yet thirty-six, on December 5, 1791, leaving a widow, Konstanze, distraught and deeply in debt, two very young children, an insurmountable void in Viennese musical life, and an unfinished Requiem. […].