DESCRIPTION : Up for auction is a UNIQUE MUSIC MEMORABILIA ITEM.  It's an extensive PHOTO PROGRAM of the 1964 IPO production ( Fully dated ) of the MOZART REQUIEM ( And also other Mozart pieces ) which is HAND SIGNED - AUTOGRAPHED by the WHOLE ENSAMBLE , Including the world acclaimed deceased Jewish Hungarian CONDUCTOR ISTVAN KERTESZ and the singers : Cvetka Ahlin , Kieth Engen , Albert Da Costa and Kertesz wife EDITH KERTESZ GABRY.  Very young Keretsz was only 35 years old at the time.  Written in ENGLISH and HEBREW. Articles regarding Mozart, The Requiem and the ENSAMBLE. Also the inevitable numerous PERIOD ADVERTISEMENTS.  Original illustrated wrappers . Around  6.5 x 9.5 " . 32 unpaged pp excluding the covers . Hebrew & English. Very good condition . ( Pls look at scan for accurate AS IS   images )  Will be sent inside a protective rigid sealed packaging  .

PAYMENTS : Payment method accepted : Paypal & All credit cards .

SHIPPMENT : SHIPP worldwide via  registered airmail is $ 35  . Will be sent inside a protective packaging. Handling around 5-10 days after payment. 




 István Kertész (28 August 1929 – 16 April 1973) was an internationally acclaimed Jewish Hungarian orchestral and operatic conductor who, throughout his brief but distinguished career led many of the world's great orchestras, including the Cleveland, Chicago, Philadelphia, New York, Los Angeles, Pittsburgh, Detroit, San Francisco and Minnesota Orchestras in the United States, as well as the London Symphony, Vienna Philharmonic, Berlin Philharmonic, Royal Concertgebouw Orchestra, Israel Philharmonic, and L'Orchestre de la Suisse Romande. His orchestral repertoire numbered over 450 works from all periods, and was matched by a repertoire of some sixty operas ranging from Mozart, Verdi, Puccini and Wagner to the more contemporary Prokofiev, Bartók, Britten, Kodály, Poulenc and Janáček. Kertész was part of a rich musical tradition that produced fellow Hungarian conductors Fritz Reiner, Antal Doráti, János Ferencsik, Eugene Ormandy, George Szell, János Fürst, Ferenc Fricsay, and Sir Georg Solti. Through his gramophone recordings, István Kertész has been rediscovered by a new and younger audience, and has increasingly come to be regarded as one of the greatest conductors of all time. Contents  [hide]  1 Early life 1.1 Childhood 1.2 World War II and the Holocaust 2 Career 2.1 Budapest 2.2 Augsburg Opera 2.3 Cologne Opera 2.4 London Symphony Orchestra 3 Death 4 International orchestras 5 Discography 6 References 7 Bibliography 8 External links Early life[edit] Childhood[edit] Kertész was born in Budapest, Hungary, in 1929, the first child of Margit Muresian and Miklós Kertész. His sister, Vera, was born four years later. Miklós Kertész, born in Szécsény, Hungary into a large Jewish family, was the director of a leather-works and died of appendicitis in 1938. An energetic, intellectually gifted woman, Margit Muresian Kertész went to work to support her family. Despite strictures against women working professionally in Hungarian society during the first half of the twentieth century, Margit was steadily promoted until she ran the office where she was employed. At an early age Kertész showed a great affinity for music, and began violinlessons. "When I was six and started music," he told a High Fidelity interviewer, "it was 1935 and cruel things were going on in Europe . . . I found my `exile' in music, practicing the piano, the fiddle, and writing little compositions."[1] World War II and the Holocaust[edit] With the failure of Hungary's efforts to negotiate an armistice with the western Allies, German forces occupied Hungary on 19 March 1944. Aware of what was happening to Jews throughout Europe, the family went into hiding. Most of Kertész's extended family were deported to Auschwitz in July 1944 and did not survive the Holocaust. At the insistence of his mother, and despite the wartime interruptions of air raids, deportations, starvation and invasions by both Germans and later, the Russians, István Kertész continued his musical studies. By the time he was twelve, Kertész began to study the piano and composition in addition to the violin. The young Kertész, along with his sister, took advantage of Budapest's rich cultural life and attended symphonic or operatic performances almost every evening. It was at this time that Kertész decided to become a conductor. After the war, he resumed his formal studies and attended the Kölcsey-Gymnasium where, in 1947, he graduated with honors. That same year, István Kertész enrolled as a scholarship student at the Royal Academy of Music, now the Franz Liszt Academy of Music in Budapest, where he studied violin, piano and composition with Zoltán Kodály, Leo Weiner and Rezső Kókai. Developing his keen interest in conducting, Kertész became a student of János Ferencsik and László Somogyi. At the conservatory, Kertész also met his wife, the lyric soprano, Edith Gancs whom he married in 1951. She later changed her name to Edith Kertész-Gabry. The gifted musical pair were part of a talented cohort of musicians. Musically, Kertész was most influenced by László Somogyi, Bruno Walter and Otto Klemperer, then the director of the Budapest Opera. Career[edit] On 17 December 1948, István Kertész made his debut as a conductor with an all Mozart programme. Budapest[edit] From 1953 to 1955, Kertész was chosen as Chief Conductor or the Philharmonic Orchestra at Győr, a post that he held for two years. During this period he had the opportunity to develop a broad symphonic repertoire, leading the Budapest Opera Orchestra from 1955 to 1957, and working as an Assistant Professor of Conducting at the Franz Liszt Academy of Music. After the upheaval of the Hungarian Revolution, and with a young family in tow, Kertész left Hungary. Offered a fellowship to the Accademia Nazionale di Santa Cecilia in Rome, Kertész studied with Fernando Previtali while his wife, Edith Kertész-Gabry sang at the Bremen Opera. Kertész graduated with distinction, and was given the highest award of the Accademia, the "Premio d'Atri." Moreover, Previtali chose Kertész for his "Corso di Perfezionamento" for two successive seasons, during which Kertész conducted the Santa Cecilia Orchestra forty times. After completing his studies in Rome, Kertész was engaged as a guest conductor of the Hamburg Symphony Orchestra and the Hamburg State Opera. Guest conducting there, as well as in Wiesbaden and Hanover, he electrified German audiences with his masterful direction of Fidelio and La bohème. Augsburg Opera[edit] In March 1960, Kertész was invited to become General Music Director of the Augsburg Opera—a post especially created for him. There he conducted performances of Mozart's The Magic Flute, The Abduction from the Seraglio, Così fan tutte, and The Marriage of Figaro, earning himself a reputation as one of the finest interpreters of Mozart's work. With exhilarating performances of Verdi's Rigoletto, Don Carlos, Otello and Falstaff, and Richard Strauss's Salome, Arabella, and Der Rosenkavalier, Kertész also proved himself a master of the finest of Italian Romantic operas. Invited to the Salzburg Festival, he conducted The Abduction from the Seraglio in 1961, and The Magic Flute in 1963. During this time, Kertész also gave the first of many performances at the Deutsche Oper Berlin, with the Berlin Philharmonic, London Symphony Orchestra, Israel Philharmonic Orchestra, San Francisco Opera, North German Radio Symphony Orchestra, Hamburg Symphony, Munich Philharmonic, Bavarian Radio Symphony Orchestra, the Festival dei Due Mondi in Spoleto where he conducted Prokofiev's The Fiery Angel, and with Arthur Rubinstein in Paris. Kertész also made his earliest recordings, including Beethoven's Symphony No. 2 and Symphony No. 4. Having already recorded for EMI/Columbia records, Kertész now signed an exclusive contract with Decca/London for whom he began to make dozens of prize-winning recordings. Already at this early stage in his career, Kertész's intrepetations of Brahms and Dvořák were highly regarded for their transparent textures and unmannered phrasing. In stark contrast to Herbert Karajan and George Szell, Kertész's music making featured an unforced manner even when employing the fastest of tempi. Other elements that made a Kertész performance notable was the elasticity of tempi while adhering to the structural coherence of a given musical work. His British debut was with the Royal Liverpool Philharmonic Orchestra in 1960. Kertész made his U.S. debut during the 1961-62 season, also beginning an association with the Israel Philharmonic Orchestra with whom he guest conducted at Tel Aviv's Mann Auditorium in March 1962. Eventually, Kertész conducted over 378 compositions with the Israel Philharmonic over an eleven-year period. Within just four years, István Kertész had established a lasting international reputation as a conductor. Cologne Opera[edit] In 1964, Kertész received an appointment as the General Music Director of the Cologne Opera where he conducted the first German performance of Benjamin Britten's Billy Budd and Verdi's Stiffelio, as well as the Mozart operas La clemenza di Tito, Don Giovanni, Così fan tutte and The Magic Flute. While he established good rapport with the often critical Cologne audience, they were sometimes unhappy with his often fast tempi. His 1970 Aida, with Martina Arroyo in the title role, with one interval and some cuts, lasted under three hours. London Symphony Orchestra[edit] Retaining his previous position as Director of the Cologne Opera, he also became Principal Conductor of the London Symphony Orchestra from 1965 to 1968, and made guest appearances at the Royal Opera House, Covent Garden. During his three years as Principal Conductor of the LSO, Kertész gave superbly stylish, imaginative and deft performances. He was acclaimed for recordings with the ensemble of the nine Dvořák symphonies, which included the first complete recording of the Symphony No. 1.[2] During this period in Kertész's career, in 1966, he also recorded Bluebeard's Castle with Christa Ludwig singing the role of Judith and Walter Berry in the title role. Kertész's interpretation of Bartók's difficult, brooding work is considered by many to be the benchmark performance of the opera; "the playing of the London Symphony Orchestra, and Kertész's instinctive shaping of the drama . . . has never been surpassed."[3] Kertész was a frequent guest conductor of the Israel Philharmonic Orchestra, the Vienna Philharmonic, the Philadelphia Orchestra, the Chicago Symphony Orchestra, and numerous other orchestras. He was appointed Principal Conductor of the Bamberg Symphony in 1973. The Cleveland Orchestra unsuccessfully bid for his appointment as musical director the year before. The orchestra players voted 96 to 2 to request the board to favour Kertész as the replacement of George Szell. In Chicago, he conducted his first performance at the Ravinia Festival in July 1967; he was the Festival's principal conductor from 1970 to 1972. Death[edit] On 16 April 1973, while on a concert tour, Kertész drowned while swimming off the coast of Israel at Herzliya.[4] He had been recording what would become a legendary version of Brahms' Variations on a Theme by Haydn, as well as the complete Brahms symphonies. After his untimely death, and in tribute to him, the Vienna Philharmonic finished recording the Haydn Variations. Kertész was survived by his wife, operatic soprano Edith Kertész-Gabry, his children, Gábor, Péter, and Kathrin, his mother, Margit Muresian Kertész Halmos, and his sister, the graphic artist Vera Kertész. International orchestras[edit] István Kertész served as principal and or guest conductor under the following orchestras: Bamberg Symphony Orchestra, Berlin Philharmonic, Chicago Symphony Orchestra, Cleveland Orchestra, Royal Concertgebouw Orchestra (Amsterdam), Detroit Symphony Orchestra, Gürzenich Orchestra (Cologne), Israel Philharmonic Orchestra, Japan Philharmonic Orchestra (Tokyo), London Symphony Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, New Philharmonia Orchestra(London), Munich Philharmonic Orchestra, New York Philharmonic, Symphonieorchester des Bayerischen Rundfunks (Munich), Orquestre Nacional (Madrid), Orchestre Radio-Télévision (Paris), Orchestre de la Suisse Romande (Geneva), Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Radio Symphony Orchestra (Berlin), Opera Orchestra of Santa Cecila (Rome), San Francisco Symphony, Symphonie Orchester des Norddeutschen Rundfunks (Hamburg), Royal Stockholm Philharmonic Orchestra, Tonhalle-Orchester (Zürich), Vienna Philharmonic Orchestra. Discography[edit] His many recordings include the first complete recording of Mozart's La clemenza di Tito.[5] He was also the first to record the complete Dvořák symphonies and his interpretations of them are still considered classics of their kind. Pianists Clifford Curzon, Hans Richter-Haaser, Vladimir Ashkenazy and Julius Katchen each made fine records with Kertész, among which the Mozart concertos are particularly inspired. With his renditions of Kodály's big orchestral works, and given his precise yet passionate conducting style, Kertész was particularly well-suited to get the full orchestral swoop and swoon endemic to Psalmus Hungaricus and the Peacock Variations. The sonority Kertész managed to elicit from the LSO was expertly executed. Little wonder that Barry Tuckwell, the principal hornist of the LSO, spoke of the élan and enthusiasm Kertész could coax out of the orchestra, many of whose members Tuckwell regarded as "old codgers not bloody likely to dance to any youngster's tune." Bartók, Bluebeard's Castle (Ludwig, Berry), London Symphony Orchestra (1965), DECCA SET 311 Bartók, Piano Concerto No. 3 in E, Sz. 119 (Katchen), London Symphony Orchestra (1965), DECCA SXL 6209 Beethoven, Piano Concerto No. 3 in C minor, Op. 37, Bamberg Symphony Orchestra, OPERA EPK 3269 Beethoven, Coriolan Overture, Op. 62, Bamberg Symphony Orchestra, ARIOLA/Bacc. ZK 79287 Beethoven Leonore Overture No. 3, Op. 72b Symphony No. 2 in D major, Op. 36, Bamberg Symphony Orchestra, OPERA EPK S 91 Symphony No. 4 in B Flat Major, Op. 60, Bamberg Symphony Orchestra, DENON COGQ-1008 Brahms, Serenade No. 1 in D major, Op. 11, London Symphony Orchestra (1967), DECCA SXL 6340 Brahms, Serenade No. 2 in A major, Op. 16, London Symphony Orchestra (1967), DECCA SXL 6368 Brahms, Symphony No. 1 in C minor, Op. 68, Vienna Philharmonic Orchestra (1973), DECCA SXL 6675 Brahms, Symphony No. 2 in D major, Op. 73, Vienna Philharmonic Orchestra (1964), DECCA SXL 6172 Brahms, Symphony No. 3 in F major, Op. 90, Vienna Philharmonic Orchestra (1973), DECCA SXL 6677 Brahms, Symphony No. 4 in E minor, Op. 98, Vienna Philharmonic Orchestra (1972), DECCA SXL 6678 Brahms, Variations on a Theme by Haydn, Op. 56, Vienna Philharmonic Orchestra (1973), DECCA SXL 6677 Bruckner, Symphony No. 4 in E-flat major, "Romantic", London Symphony Orchestra (1965), DECCA SXL 6227 Donizetti, Don Pasquale (Sciutti, Corena, Krause, Oncina), Vienna State Opera Orchestra and Choir (1964), DECCA SET 280/81 Dvořák, Serenade in D minor for Winds, Op. 44, London Symphony Orchestra (1968), DECCA SXL 6368 Dvořák, Overtures: In Nature's Realm, Carneval, Otello, Scherzo Capriccioso London Symphony Orchestra (1966, 1965, 1965, 1963 respectively), DECCA SXL 6348 Dvořák, Requiem, Op. 89 (Lorengar, Komlossy, Ilosfalvy, Krause), London Symphony Orchestra (1968), DECCA SET 416/7 Dvořák, Slavonic Dances Nos. 1, 3, 8, 9, 10, Israel Philharmonic Orchestra (1962), DECCA SXL 6024 Dvořák, Symphonic Poems: Hussite, My Home, The Noonday Witch, The Water Goblin, London Symphony Orchestra, (1965, 1965, 1970, 1970 respectively) DECCA SXL 6543 Dvořák, Symphonic Variations, London Symphony Orchestra (1970), DECCA SXL 6510 Dvořák, Symphony No. 1 in C minor, London Symphony Orchestra (1966), DECCA SXL 6288 Dvořák, Symphony No. 2 in B flat major, London Symphony Orchestra (1966), DECCA SXL 6289 Dvořák, Symphony No. 3 in E flat major, London Symphony Orchestra (1966), DECCA SXL 6290 Dvořák, Symphony No. 4 in D minor, London Symphony Orchestra (1966), DECCA SXL 6257 Dvořák, Symphony No. 5 in F major, London Symphony Orchestra (1965), DECCA SXL 6273 Dvořák, Symphony No. 6 in D major, London Symphony Orchestra (1965), DECCA SXL 6253 Dvořák, Symphony No. 7 in D minor, London Symphony Orchestra (1964), DECCA SXL 6115 Dvořák, Symphony No. 8 in G major, London Symphony Orchestra (1963), DECCA SXL 6044 Dvořák, Symphony No. 9 in E minor "From the New World" London Symphony Orchestra (1966), DECCA SXL 6291 Werner Egk, Furchtlosigkeit und Wohlwollen, (Wunderlich) Bavarian Radio Symphony Orchestra & Chorus, Orfeo 510011 Gershwin, Rhapsody in Blue (Katchen), London Symphony Orchestra (1968), DECCA SXL 6411 Grieg, Piano Concerto in A minor (Katchen), Israel Philharmonic Orchestra (1962), DECCA SMD 1152 Haydn Symphony No. 45 in F-sharp minor, "Farewell" Bamberg Symphony Orchestra, Symphony No. 104 in D major, "London" ARIOLA/Bacc. ZK 80051 Kodály, Háry János, Edinburgh Festival Chorus and the London Symphony Orchestra (1968), DECCA SET 399/400 Kodály Háry János Suite Dances of Galanta (Szönyi), London Symphony Orchestra (1964), DECCA SXL 6136 Kodály, Psalmus Hungaricus, Op. 13, London Symphony Orchestra (1969/70), DECCA SXL 6497 Kodály, Peacock Variations, London Symphony Orchestra (1969/70), DECCA Liszt Piano Concerto No. 1 in E-flat major, S. 124 Piano Concerto No. 2 in A major (Karolyi), S. 125, Julian von Karolyi, Philharmonia Hungarica (1961), EMI C 047 - 50517 Mozart, Così fan tutte, K. 588 (selections) (Popp, Fassbaender, Krause), Vienna Haydn Orchestra (1965), DECCA 433 066-2 Mozart, Die Entführung aus dem Serail, (Wunderlich, Putz, Holm, Wolf, Wohlfahrt, Littasy), K.384, Salzburger Festspiele (1961), DECCA DK 11 560/1-2 Mozart, Die Zauberflöte, K. 620 (Popp, Krauss, Krenn), Vienna Haydn Orchestra (1967), DECCA DK 11 560/1-2 Mozart, La clemenza di Tito, K. 621 (Berganza, Casula, Fassbaender, Popp, Krenn, Franc), Vienna State Opera Orchestra and Choir (1967), DECCA SET 357/59 Mozart, "Masonic Funeral Music", (Fischer, Krenn, Krause), London Symphony Orchestra (1968), DECCA SXL 6409 Mozart: Piano Concerto No. 8 in C major, K. 246 Piano Concerto No. 9 in E-flat major, "Jeunehomme", K. 271 Rondo in A minor, K. 511 (Ashkenazy), London Symphony Orchestra (1966), DECCA SXL 6259 Mozart Piano Concerto No. 17 in G major, K. 453 Piano Concerto No. 26 in D major, "Coronation", K. 537 (Richter-Haaser), London Philharmonia Orchestra, EMI 1 047 - 50506 Mozart Piano Concerto No. 23 in A major, K. 488 Piano Concerto No. 24 in C minor, K. 491 (Curzon), London Symphony Orchestra (1967, DECCA SXL 6354 Mozart, Piano Concerto No. 27 in B flat major, K.595 (Curzon), London Symphony Orchestra (1967), Philips-DECCA 456757 Mozart, "Mozart Festival", Vol. I, Vienna Haydn Orchestra, DECCA DK 11 536/1-2 Mozart, "Mozart Festival", Vol. II, Vienna Philharmonic Orchestra, DECCA DK 11 560/1-2 Mozart, Requiem in D minor, K. 626 (Ameling, Horne, Benelli, Franc), Vienna Philharmonic Orchestra (1965), DECCA SMD 1242 Mozart Sinfonia Concertante in E-flat major, K. 364 Clarinet Concerto in A major, K. 622 (Lautenbacher, Koch, Dörr), Bamberg Symphony Orchestra, Turnabout STV 34 098 Mozart Sonata for Organ and Orchestra No. 5 Sonata for Organ and Orchestra No. 11 in D, K. 245 Sonata for Organ and Orchestra No. 13 Sonata for Organ and Orchestra No. 14 (Ella), Corelli Chamber Orchestra, Hungaraton HCD 128662 Mozart Symphony No. 25 in G minor, K. 183/173 dB Symphony No. 29 in A major, K. 201 Symphony No. 35 in D major, "Haffner", K.385, Vienna Philharmonic Orchestra (1972, 1972, 1962 respectively), DECCA/Vienna (Sofiensaal) KING 230E 51016 Mozart Symphony No. 33 in B-flat major, K. 319 Symphony No. 39 in E-flat major, K. 543, Vienna Philharmonic Orchestra (1962), DECCA SXL 6056 Mozart Symphony No. 36 in C major, "Linz", K. 425 Symphony No. 40 in G Minor, K. 550, Vienna Philharmonic Orchestra (1963,1972 respectively), Vienna (Sofiensaal)/KING Mozart Eine kleine Nachtmusik in G major, K. 525 Vienna Philharmonic Orchestra (1963), DECCA SXL 6091 Mozart, Coronation Mass in C major, K. 317 Vienna Philharmonic Orchestra, OPERA EPK 3257 Prokofiev, Piano Concerto No. 3 in C major, op. 26 (Katchen), London Symphony Orchestra (1968), DECCA SXL 6411 Ravel, Concerto for Piano and Orchestra in G (Katchen), London Symphony Orchestra (1968), DECCA SXL 6209 Ravel, Concerto for the Left Hand in D major (Katchen), London Symphony Orchestra (1968), DECCA SXL 6411 Respighi Pines of Rome Fountains of Rome The Birds (Gli uccelli), London Symphony Orchestra (1968), DECCA SXL 6401 Rossini, Stabat Mater Pilar Lorengar, Luciano Pavarotti, Yvonne Minton, Sotin, London Symphony Orchestra (1970/1), DECCA SXL 6524 Shostakovich, Symphony No. 5 in D minor, Op. 47, Orchestre de la Suisse Romande (1962), DECCA SXL 6018 Schubert Symphony No. 1 in D major, D. 82, Vienna Philharmonic Orchestra (1971), DECCA SXL 6552 Symphony No. 2 in B-flat major, D. 125, Vienna Philharmonic Orchestra (1971), DECCA SXL 6552 Symphony No. 3 in D major, D. 200, Vienna Philharmonic Orchestra (1971), DECCA SXL 6553 Symphony No. 4 in C minor, "Tragic", D. 417, Vienna Philharmonic Orchestra (1970), DECCA SXL 6483 Symphony No. 5 in B-flat major, D. 485, Vienna Philharmonic Orchestra (1970), DECCA SXL 6483 Symphony No. 6 in C major, "The Little C major", D. 589, Vienna Philharmonic Orchestra (1970), DECCA SXL 6553 Symphony No. 8/7 in B minor, "Unfinished", D. 759, Vienna Philharmonic Orchestra (1963), DECCA SXL6090 Symphony No. 9/7/8 in C major, "The Great C major", D. 944, Vienna Philharmonic Orchestra (1962), DECCA SXL 6089 Overtures Des Teufels Lustschloss, D. 84, in the Italian style in C major, D. 591, Fierabras, D. 796, Vienna Philharmonic Orchestra (1963), DECCA SXL6090 Schumann, Piano Concerto in A minor, Op. 54 (Katchen), Israel Philharmonic Orchestra, DECCA SMD 1152 Smetana, Bohemian Rhapsody: The Moldau, The Bartered Bride Overture, Israel Philharmonic Orchestra (1962), DECCA SXL 6024 Franz Strauss, Horn Concerto, Op. 8, (Barry Tuckwell), London Symphony Orchestra (1966), DECCA SXL 6285 Richard Strauss, Horn Concertos, Nos. 1-2, (Barry Tuckwell), London Symphony Orchestra (1966), Decca BDX1259 Verdi, Otello, Augsburg State Opera (1962), OPERA EPK 1220. *****  Israeli music lovers were in mourning today for Istvan Kertesz 43, the Hungarian-born Jewish conductor who drowned Monday while swimming near the Accadia Hotel in Herzlia. Funeral arrangements are awaiting the arrival of his wife from Europe. Mr, Kertesz, who was touring the country as guest conductor of the Israel Philharmonic Orchestra, was apparently caught in an undertow while swimming in rough seas. A Japanese vocalist with the orchestra who accompanied Mr. Kertesz into the water, sounded the alarm but several minutes elapsed before the conductor was pulled from the water. He died en route to a hospital. There was no life guard on duty at the beach which does not open officially until May 1. Mr. Kertesz was a graduate of the Franz Liszt Academy in Budapest and the Academia Di Santa Cecilia in Rome. He was conductor of the Budapest State Opera until the Hungarian uprising of 1956 when he fled to the West. Since then he had served as conductor of several major orchestras including the London Symphony and the Augsburg Opera House Orchestra. Mr. Kertesz made his American debut in the 1961-62 season with the Detroit Symphony and subsequently conducted all major American orchestras. At the time of his death he was musical director of the Cologne Opera House and Symphony Orchestra. ***  Artist Biography by Erik Eriksson An inordinately gifted conductor, István Kertész died at age 43 in a tragic drowning off the Israeli coast. He had already reached full maturity as a musician, proving his worth in opera, oratorio, and the symphonic repertory. His interests were wide-ranging, including works from the Classical and Romantic periods and large portions of twentieth century music. Beginning with private lessons in childhood, Kertész studied piano and violin. He continued with violin training at the Ferenc Liszt Academy in Budapest, adding composition under the supervision of such teachers as Weiner and Kodály. He pursued his conducting studies with László Somogyi, at the same time benefiting from studying the performances of Otto Klemperer, who was then working at the Hungarian State Opera. In 1953, Kertész was appointed resident conductor at Györ, two years later transferring his activities to Budapest, where he was hired as coach and conductor. Following the political uprising and Soviet response in 1956, Kertész moved with his family to Germany, subsequently acquiring German citizenship. From 1958 to 1963, Kertész was general music director at Augsburg. His British debut took place with the Royal Liverpool Philharmonic Orchestra in 1960, followed by appearances with the London Symphony Orchestra in 1961. His American debut came with a tour with the NDR Symphony Orchestra in 1961, during which he made a positive impression on American audiences and critics alike. An appointment as general music director in Cologne came in 1964 and 1966 brought both a Covent Garden debut, directing Un ballo in maschera. A global tour with the London Symphony Orchestra led to his succeeding Pierre Monteux as LSO principal conductor in 1966. In 1971, he became music director of Cologne's Gürzenich-Orchester, a position he held until his death two years later. Kertész was decidedly non-interventionist as a conductor. With scrupulous attention to the composer's directions, his interpretations were more remarkable for sound musicianship than for striking individualism. Still, his performances often held high drama, and he was intentional about advocacy of works he believed in, which, in light of his broad interests, were numerous. At Cologne, he presented the German premiere of Verdi's Stiffelio as well as Mozart's La clemenza di Tito (a work he recorded in its first complete edition on disc). For Decca, Kertész recorded a superb Bluebeard's Castle with Christa Ludwig and Walter Berry, still unsurpassed after several decades. His complete recordings of the Dvorák, Brahms, and Schubertsymphonies still enjoy honorable places among the best versions committed to disc. The first Western recording of Kodály's Háry János (the complete opera) was made with the London Symphony under Kertész's direction. The Decca label coupling of Dvorák's Requiem and Kodály's Psalmus Hungaricus is another fitting tribute to a superb artist too soon departed. In addition to Bartók, Kertész was an indefatigable champion of works by Stravinsky, Henze, and Britten. Britten's Billy Budd was first presented to German audiences under Kertész's baton and he directed the first performance of the War Requiem heard in Vienna. For Ravinia Festival audiences, Kertész directed the War Requiem with the Chicago Symphony Orchestra & Chorus shortly before his death. With soloists Phyllis Curtin, Robert Tear, and John Shirley-Quirk, the conductor's shattering interpretation left audience members limp. **** The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14 anniversary of his wife's death. The autograph manuscript (acquired by the Austrian National Library in 1831–38) shows the finished and orchestrated Introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first eight bars of the "Lacrymosa" movement, and the Offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Deias his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. Constanze was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received the commission from a mysterious messenger who did not reveal the commissioner's identity, and that Mozart came to believe that he was writing the requiem for his own funeral. The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and an SATB mixed choir. Contents  [hide]  1 History 1.1 Composition 1.2 Constanze Mozart and the Requiem after Mozart's death 1.3 Modern completions 2 Supplementary works by other composers 3 Timeline 3.1 Before 1791 3.2 1791 3.3 After 1791 3.4 Use of the Requiem 4 Structure 4.1 Details 5 Influences 6 Myths surrounding the Requiem 7 The autograph at the 1958 World's Fair 8 Selected recordings 9 Scores of Mozart's Requiem 10 References 11 Bibliography 12 External links History[edit] Composition[edit] At the time of Mozart's death on 5 December 1791, only the opening movement (Requiem aeternam) was completed in all of the orchestral and vocal parts. The following Kyrie and most of the sequence (from Dies Irae to Confutatis) were complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts were briefly indicated, such as the first violin part of the Rex tremendae and Confutatis and the musical bridges in the Recordare. The sixth movement of the sequence, the Lacrymosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done: the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only. Constanze Mozart and the Requiem after Mozart's death[edit] The eccentric count Franz von Walsegg commissioned the Requiem from Mozart anonymously through intermediaries. The count, an amateur chamber musician who routinely commissioned works by composers and passed them off as his own,[1][2] wanted a Requiem Mass he could claim he composed to memorialize the recent passing of his wife. Mozart received only half of the payment in advance, so upon his death his widow Constanze was keen to have the work completed secretly by someone else, submit it to the count as having been completed by Mozart and collect the final payment.[3] Joseph von Eybler was one of the first composers to be asked to complete the score, and had worked on the movements from the Dies irae up until the Lacrymosa. In addition, a striking similarity between the openings of the Domine Jesu Christe movements in the requiems of the two composers suggests that Eybler at least looked at later sections.[further explanation needed] After this work, he felt unable to complete the remainder, and gave the manuscript back to Constanze Mozart. The task was then given to another composer, Franz Xaver Süssmayr. Süssmayr borrowed some of Eybler's work in making his completion, and added his own orchestration to the movements from the Kyrie onward, completed the Lacrymosa, and added several new movements which a Requiem would normally comprise: Sanctus, Benedictus, and Agnus Dei. He then added a final section, Lux aeterna by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Süssmayr and Mozart's wife was done according to Mozart's directions. Some people consider it unlikely, however, that Mozart would have repeated the opening two sections if he had survived to finish the work. Other composers may have helped Süssmayr. The Agnus Dei is suspected by some scholars[4] to have been based on instruction or sketches from Mozart because of its similarity to a section from the Gloria of a previous Mass (Sparrow Mass, K. 220) by Mozart,[5] as was first pointed out by Richard Maunder. Others have pointed out that in the beginning of the Agnus Dei the choral bass quotes the main theme from the Introitus.[6] Many of the arguments dealing with this matter, though, center on the perception that if part of the work is high quality, it must have been written by Mozart (or from sketches), and if part of the work contains errors and faults, it must have been all Süssmayr's doing.[citation needed] Another controversy is the suggestion (originating from a letter written by Constanze) that Mozart left explicit instructions for the completion of the Requiem on "little scraps of paper." The extent to which Süssmayr's work may have been influenced by these "scraps" if they existed at all remains a subject of speculation amongst musicologists to this day. The completed score, initially by Mozart but largely finished by Süssmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart and dated 1792. The various complete and incomplete manuscripts eventually turned up in the 19th century, but many of the figures involved left ambiguous statements on record as to how they were involved in the affair. Despite the controversy over how much of the music is actually Mozart's, the commonly performed Süssmayr version has become widely accepted by the public. This acceptance is quite strong, even when alternative completions provide logical and compelling solutions for the work. The confusion surrounding the circumstances of the Requiem's composition was created in a large part by Mozart's wife, Constanze[citation needed]. Constanze had a difficult task in front of her: she had to keep secret the fact that the Requiem was unfinished at Mozart's death, so she could collect the final payment from the commission. For a period of time, she also needed to keep secret the fact that Süssmayr had anything to do with the composition of the Requiem at all, in order to allow Count Walsegg the impression that Mozart wrote the work entirely himself. Once she received the commission, she needed to carefully promote the work as Mozart's so that she could continue to receive revenue from the work's publication and performance. During this phase of the Requiem's history, it was still important that the public accept that Mozart wrote the whole piece, as it would fetch larger sums from publishers and the public if it were completely by Mozart. It is Constanze's efforts that created the flurry of half-truths and myths almost instantly after Mozart's death. According to Constanze, Mozart declared that he was composing the Requiem for himself, and that he had been poisoned. His symptoms worsened, and he began to complain about the painful swelling of his body and high fever. Nevertheless, Mozart continued his work on the Requiem, and even on the last day of his life, he was explaining to his assistant how he intended to finish the Requiem. Source materials written soon after Mozart’s death contain serious discrepancies, which leave a level of subjectivity when assembling the "facts" about Mozart’s composition of the Requiem. For example, at least three of the conflicting sources, both dated within two decades following Mozart's death, cite Constanze as their primary source of interview information. In 1798, Friedrich Rochlitz, a German biographical author and amateur composer, published a set of Mozart anecdotes that he claimed to have collected during his meeting with Constanze in 1796.[7] The Rochlitz publication makes the following statements: Mozart was unaware of his commissioner's identity at the time he accepted the project. He was not bound to any date of completion of the work. He stated that it would take him around four weeks to complete. He requested, and received, 100 ducats at the time of the first commissioning message. He began the project immediately after receiving the commission. His health was poor from the outset; he fainted multiple times while working. He took a break from writing the work to visit the Prater with his wife. He shared the thought with his wife that he was writing this piece for his own funeral. He spoke of "very strange thoughts" regarding the unpredicted appearance and commission of this unknown man. He noted that the departure of Leopold II to Prague for the coronation was approaching. The most highly disputed of these claims is the last one, the chronology of this setting. According to Rochlitz, the messenger arrives quite some time before the departure of Leopold for the coronation, yet there is a record of his departure occurring in mid-July 1791. However, as Constanze was in Baden during all of June to mid-July, she would not have been present for the commission or the drive they were said to have taken together.[7] Furthermore, The Magic Flute (except for the Overture and March of the Priests) was completed by mid-July. La clemenza di Tito was commissioned by mid-July.[7] There was no time for Mozart to work on the Requiem on the large scale indicated by the Rochlitz publication in the time frame provided. Also in 1798, Constanze is noted to have given another interview to Franz Xaver Niemetschek,[8] another biographer looking to publish a compendium of Mozart's life. He published his biography in 1808, containing a number of claims about Mozart’s receipt of the Requiem commission: Mozart received the commission very shortly before the Coronation of Emperor Leopold II, and before he received the commission to go to Prague. He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee, but urging that he could not predict the time required to complete the work. The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion. He started composing the work upon his return from Prague. He fell ill while writing the work He told Constanze "I am only too conscious...my end will not be long in coming: for sure, someone has poisoned me! I cannot rid my mind of this thought." Constanze thought that the Requiem was overstraining him; she called the doctor and took away the score. On the day of his death he had the score brought to his bed. The messenger took the unfinished Requiem soon after Mozart's death. Constanze never learned the commissioner's name. This account, too, has fallen under scrutiny and criticism for its accuracy. According to letters, Constanze most certainly knew the name of the commissioner by the time this interview was released in 1800.[8] Additionally, the Requiem was not given to the messenger until some time after Mozart's death.[7] This interview contains the only account from Constanze herself of the claim that she took the Requiem away from Wolfgang for a significant duration during his composition of it.[7]Otherwise, the timeline provided in this account is historically probable. However, the most highly accepted text attributed to Constanze is the interview to her second husband, Georg Nikolaus von Nissen.[7] After Nissen's death in 1826, Constanze released the biography of Wolfgang (1828) that Nissen had compiled, which included this interview. Nissen states: Mozart received the commission shortly before the coronation of Emperor Leopold and before he received the commission to go to Prague. He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee, but urging that he could not predict the time required to complete the work. The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion. He started composing the work upon his return from Prague. The Nissen publication lacks information following Mozart's return from Prague.[7] Modern completions[edit] In the 1960s a sketch for an Amen fugue was discovered, which some musicologists (Levin, Maunder) believe belongs to the Requiem at the conclusion of the sequence after the Lacrymosa. H. C. Robbins Landon argues that this Amen fugue was not intended for the Requiem, rather that it "may have been for a separate unfinished Mass in D minor" to which the Kyrie K. 341 also belonged. There is, however, compelling evidence placing the "Amen Fugue" in the Requiem[9] based on current Mozart scholarship. First, the principal subject is the main theme of the requiem (stated at the beginning, and throughout the work) in strict inversion. Second, it is found on the same page as a sketch for the Rex tremendae (together with a sketch for the overture of his last opera The Magic Flute), and thus surely dates from late 1791. The only place where the word 'Amen' occurs in anything that Mozart wrote in late 1791 is in the sequence of the Requiem. Third, as Levin points out in the foreword to his completion of the Requiem, the addition of the Amen Fugue at the end of the sequence results in an overall design that ends each large section with a fugue. Since the 1970s several musicologists, dissatisfied with the traditional "Süssmayr" completion, have attempted alternative completions of the Requiem. Each version follows a distinct methodology for completion: Franz Beyer – makes revisions to Süssmayr's orchestration in an attempt to create a more Mozartian style and makes a few minor changes to Süssmayr's sections (i.e. lengthening the Osanna fugue slightly for a more conclusive sounding ending). H. C. Robbins Landon – orchestrates parts of the completion using the partial work by Eybler, thinking that Eybler's work is a more reliable guide of Mozart's intentions. Richard Maunder – dispenses completely with the parts known to be written by Süssmayr, but retains the Agnus Dei after discovering an extensive paraphrase from an earlier Mass (Sparrow Mass, K. 220). Recomposes the Lacrymosa from bar 9 onwards, and includes a completion of the Amen fugue. Duncan Druce – makes slight changes in orchestration, but retains Eybler's ninth and tenth measures of the Lacrymosa, lengthening the movement substantially to end in the "Amen Fugue". He also completely rewrites the Benedictus, only retaining the opening theme. Robert D. Levin and Simon Andrews – each retain the structure of Süssmayr while adjusting orchestration, voice leading and in some cases rewriting entire sections in an effort to make the work more Mozartean. Pánczél Tamás – makes revisions to Süssmayr's score in a manner similar to Beyer, but extends the Lacrymosa significantly past Süssmayr's passages and rewrites the Benedictus's ending leading into the Osanna reprise. Clemens Kemme – orchestration rewritten in a style closer to Eybler's, emphasing the basset horns in particular, with a reworked Sanctus, Benedictus and extended Osanna fugue. Benjamin-Gunnar Cohrs – provides an entirely new instrumentation, based on Eybler's ideas, new elaborations of the Amen and Osanna fugues, and a new continuity of the Lacrymosa (after b. 18), Sanctus, Benedictus and Agnus Dei, following those bars of which Dr. Cohrs assumes Mozart might have sketched himself. Masato Suzuki – follows a methodology similar to Robbins Landon, but with further stylistic elaboration on Süssmayr's sections. Marius Flothuis – revision of Süssmayr's version via removal of vocal doubling, rewriting of the trombone parts and the harmonic transition to the Osanna reprise in the Benedictus. Timothy Jones – reworking of the Lacrymosa, composition of an extensive Amen fugue modeled on the 'Cum sancto spiritu' fugue from the Great Mass, and a long elaboration on Sussmayr's Osanna fugue. Michael Finnissy – takes the Süssmayr completion as its basis and adheres to Mozart's scoring. Of the five movements newly completed by Finnissy the 'Lacrymosa' has been written in Mozartian style while the four final movements represent an exploration of musical styles since Mozart's death in 1791. Knud Vad – follows Süssmayr's completion until the Sanctus and Benedictus which are noticeably rewritten in places (i.e. Osanna turned into a double fugue played adagio) Gregory Spears – includes a new “Sanctus,” “Benedictus” and “Agnus Dei” designed to replace the Süssmayr completion of those movements. Spears’s completion recognizes the juxtaposition of old and new sources common in liturgical music of the period, and incorporates two cadential fragments from Süssmayr’s completion into the end of his “Benedictus” and “Agnus Dei”. Letho Kostoglou (Australian musicologist) – utilises primarily music composed by Mozart. It was performed at Adelaide Town Hall on 4 September 2010. This edition was endorsed by Richard Bonynge and Patrick Thomas. In the Levin, Andrews, Druce and Cohrs versions, the Sanctus fugue is completely rewritten and re-proportioned and the Benedictus is restructured to allow for a reprise of the Sanctus fugue in the key of D (rather than Süssmayr's use of B-flat). Maunder, Levin, Druce, Suzuki, Tamás, Cohrs and Jones use the sketch for the Amen fugue discovered in the 1960s to compose a longer and more substantial setting to the words "Amen" at the end of the sequence. In the Süssmayr version, "Amen" is set as a plagal cadence with a Picardy third (iv - I in D minor) at the end of the Lacrymosa: the Andrews version uses the Süssmayr ending. Jones combines the two, ending his Amen fugue with a variation on the concluding bars of Süssmayr's Lacrymosa as well as the aforementioned plagal cadence. Supplementary works by other composers[edit] For a performance of the Requiem in Rio de Janeiro in December 1819, Austrian composer Sigismund von Neukomm constructed a further movement based on material in the Sussmayr version. Incorporating music from various movements including the Requiem aeternum, Dies irae, Lacrymosa and Agnus Dei, the bulk of the piece is set to the Libera me, a responsory text which is traditionally sung after the Requiem Mass, and concludes with a reprise of the Kyrie and a final Requiescant in pace. A contemporary of Neukomm and a pupil of Mozart's, Ignaz von Seyfried would compose his own Mozart-inspired Libera me for a performance at Ludwig van Beethoven's funeral in 1827. Timeline[edit] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2012) (Learn how and when to remove this template message) Before 1791[edit] January 2, 1772: Mozart participates in the premiere of Michael Haydn's Requiem in C minor.[10] September 21, 1784: Birth of Mozart's older son, Karl Thomas Mozart. December 1790: Mozart completes his string quintet in D (K. 593) and the Adagio and Allegro in F minor for a mechanical organ (K. 594). These are his first works in a new burst of creativity after a very low production of works in 1790. 1791[edit] January 5: Mozart completes his last piano concerto, in B-flat (K. 595). January 14: Mozart completes three German songs (K. 596–8). January–March: Mozart composes mostly dance music (K. 599–611). February 14: Anna, Count von Walsegg's wife, dies at the age of 20. March 3: Mozart completes the Fantasia in F minor for a mechanical organ (K. 608). March 8: Mozart completes the bass aria Per questa bella mano (K. 612). March: Mozart completes the Variations in F on "Ein Weib ist das herrlichste Ding" (K. 613). April 12: Mozart completes his last string quintet, in E-flat (K. 614). May 4: Mozart completes the Andante in F for a small mechanical organ (K. 616). May 23: Mozart completes the Adagio and Rondo for glass harmonica, flute, oboe, viola and cello, his last chamber work (K. 617). June 17: Mozart completes the motet Ave verum corpus (K. 618). July: Mozart completes the cantata Die ihr des unermeßlichen Weltalls (K. 619). mid-July: A messenger (probably Franz Anton Leitgeb, the count's steward) arrives with note asking Mozart to write a Requiem Mass. mid-July: Commission from Domenico Guardasoni, impresario of the Prague National Theatre to compose the opera, La clemenza di Tito (K. 621), for the festivities surrounding the coronation on September 6 of Leopold II as King of Bohemia. July 26: Birth of Mozart's younger son, Franz Xaver Wolfgang Mozart. August: Mozart works mainly on La clemenza di Tito; completed by September 5. August 25: Mozart leaves for Prague. September 6: Mozart conducts premiere of La clemenza di Tito. Mid-September – September 28: Revision and completion of The Magic Flute (K. 620). September 30: Premiere of The Magic Flute. October 7: Completes Clarinet Concerto in A major (K. 622). October 8 – November 20: Mozart works on the Requiem and a cantata (K. 623). November 15: Completes the cantata. November 20: Confined to the bed due to his illness. December 5: Mozart dies shortly after midnight. December 7: Burial in St. Marx Cemetery. December 5 through December 10: Kyrie from Requiem completed by unknown composer (once identified as Mozart's pupil Franz Jakob Freystädtler, although this attribution is not generally accepted now) December 10: Requiem (probably only Introitus and Kyrie) performed in St. Michael for a memorial for Mozart by the staff of the Theater auf der Wieden. December 21: Eybler receives score of Requiem from Constanze, promising to complete it by mid-Lent (mid-March) of next year. He later gives up and returns the score to Constanze, who turns it to Süssmayr to complete. After 1791[edit] Early March 1792: probably the time Süssmayr finished the Requiem. January 2, 1793: Performance of Requiem for Constanze's benefit arranged by Gottfried van Swieten. Early December 1793: Requiem delivered to the Count. December 14, 1793: Requiem performed in the memory of the count's wife in the church at Wiener-Neustadt.[citation needed] February 14, 1794: Requiem performed again in Patronat Church Maria Schutz in Semmering 1799: Breitkopf & Härtel published the Requiem. 1800 or later: Walsegg receives leaves 1 through 10 of the autograph (Introitus and Kyrie) Autumn 1800: Abbé Maximilian Stadler compares all known manuscript copies (including Walsegg's) and editions of the score, and noted down copying errors and determined precisely which parts of the Requiem were written by Mozart. After 1802: Abbé Stadler receives leaves 11 through 32 (Dies irae to Confutatis) of Mozart's Requiem autograph from Constanze. Later Eybler would receive leaves 33 to 46, the Lacrymosa through Hostias. September 17, 1803: Süssmayr dies of tuberculosis. Like Mozart, he was buried in an unmarked grave in the St. Marx Cemetery. June 15, 1809: Requiem was performed at a memorial service for Joseph Haydn. 1825: Gottfried Weber writes article in the music journal Cäcilia calling Mozart's Requiem a spurious work. March 24, 1826: Constanze's second husband Georg Nikolaus von Nissen dies. Her younger son Franz Xaver Wolfgang Mozart conducts Mozart's Requiem at the service. December 5, 1826: On the 35th Anniversary of his father's death, Franz Xaver Wolfgang Mozart conducts Mozart's Requiem at St.George's Ukrainian Greek Catholic Cathedral in Lviv (Lemberg).[11] November 11, 1827: Count Walsegg dies. Karl Haag, a musician formerly in Walsegg's service, receives his score (Mozart's autograph of the Introitus and Kyrie; the rest a copy by Süssmayr) and when he dies, he wills it to Katharina Adelpoller. 1831: Abbé Stadler gives the leaves of the Requiem autograph in his possession to the Imperial Court Library. 1833: Eybler suffered stroke while conducting a performance of Mozart's Requiem. The leaves of the Requiem autograph in his possession are turned over to the Imperial Court Library. November 8, 1833: Abbé Stadler dies. 1838: Count Moritz von Dietrichstein asks Nowack, formerly an employee of Walsegg, to search among Haag's possessions for six Mozart string quartets that may have been given to Walsegg. Nowack does not find them, but discovers Walsegg's score of Mozart's Requiem. The Imperial Court Library pays Adelpoller 50 ducats for the score. September 21, 1839: Gottfried Weber dies. December 15, 1840: François Habeneck conducts the Paris Opera in a performance of the Requiem at the reburial of Napoleon I. March 6, 1842: Constanze Mozart dies. July 24, 1846: Eybler dies. October 30, 1849: Requiem was performed at Frédéric Chopin's funeral. January 19, 1964: Requiem was performed as a memorial Mass for President John F. Kennedy by Cardinal Richard Cushing, Archbishop of Boston, at the Cathedral of the Holy Cross in Boston, MA.[12] December 5, 1991: Sir Georg Solti conducted the Requiem with the Vienna Philharmonic at St. Stephen's Cathedral in Vienna at a memorial Mass for the dead performed by Cardinal Hans Hermann Groër for Wolfgang Amadeus Mozart on the bicentenary of his death. July 19, 1994: Zubin Mehta conducted Sarajevo Philharmonic Orchestra in the ruins of The Great Counsel Hall in Sarajevo giving an extraordinary concert with participation of José Carreras, Ruggero Raimondi, Cecilia Gasdia and Ildikó Komlósi. It was filmed and transmitted by TV to popularise a charity aid for victims of Siege of Sarajevo. 1999: Claudio Abbado conducted the Requiem with the Berlin Philharmonic at the Salzburg Cathedral at a memorial concert on the 10th anniversary of the death of Herbert von Karajan. 2001: Poznań, Poland, special Tridentine Mass was celebrated during the night of 210th anniversary of Mozart's death, with full usage of the Requiem. This massis repeated every year on December 4. Use of the Requiem[edit] 19th-century musicians whose funerals or memorial services used Mozart's Requiem included Carl Fasch (1800); Giovanni Punto (1803); Joseph Haydn (1809); Jan Ladislav Dussek (1812); Giovanni Paisiello (1816); Andreas Romberg (1821); Johann Gottfried Schicht (1823); Carl Maria von Weber (1826); Ludwig van Beethoven(1827); Franz Schubert (1828); Alexandre-Étienne Choron (1834); Mme Blasis (1838); Ludwig Berger (1839); Frédéric Chopin (1849); Luigi Lablache (1858); Gioacchino Rossini (1868); Hector Berlioz (1869); and Charles Hallé (1895). 19th-century artists whose funerals or memorial services used Mozart's Requiem included Friedrich Schiller (1805); Heinrich Joseph von Collin (1811); Johann Franz Hieronymous Brockmann (1812); Johann Wolfgang von Goethe (1832); and Peter von Cornelius (1867). Among other 19th-century figures whose funerals or memorial services used Mozart's Requiem included Carl Wilhelm Müller (1801); Jean Lannes, 1st Duc de Montebello (1810); Princess Charlotte of Wales (1817); Maria Isabel of Portugal (1819); August Hermann Niemeyer (1828); Thomas Weld (1837); Napoleon (1840); John England (1842); John Fane, 11th Earl of Westmorland (1860); and Nicholas Wiseman (1865). Structure[edit] MENU0:00 Introïtus, Bruno Walter, 1956. The Süssmayr completion of the Requiem is divided into fourteen movements, with the following structure: Bars 1–5 of the Lacrymosa I. Introitus Requiem (choir and soprano solo) (D minor) MENU0:00 Kyrie, Bruno Walter, 1956. II. Kyrie (choir) (D minor) III. Sequentia (text based on sections of the Dies Irae) Dies irae (choir) (D minor) Tuba mirum (soprano, contralto, tenor and bass solo) (B-flat major) Rex tremendae (choir) (G minor–D minor) Recordare (soprano, contralto, tenor and bass solo) (F major) Confutatis (choir) (A minor–F major, last chord V of D minor) Lacrymosa (choir) (D minor) IV. Offertorium Domine Jesu (choir with solo quartet) (G minor) Hostias (choir) (E-flat major–G minor) V. Sanctus (choir) (D major) VI. Benedictus (solo quartet and choir) (B-flat major) VII. Agnus Dei (choir) (D minor–B-flat major) VIII. Communio Lux aeterna (soprano solo and choir) (B-flat major–D minor) All sections from the Sanctus onwards are not present in Mozart's manuscript fragment. Mozart may have intended to include the Amen fugue at the end of the Sequentia, but Süssmayr did not do so in his completion. The Introitus is in D minor and finishes on a half-cadence that transitions directly into Kyrie. The Kyrie is a double fugue, with one subject setting the words "Kyrie eleison" and the other "Christe eleison". The movement Tuba mirum opens with a trombone solo accompanying the bass. The Confutatis is well known for its string accompaniment; it opens with agitated figures that accentuate the wrathful sound of the basses and tenors, but it turns into soft arpeggios in the second phrase while accompanying the soft sounds of the sopranos and altos. Details[edit] The following table shows for the eight movements in Süssmayr's completion with their subdivisions the title and incipit, the type of movement, the vocal parts soprano(S), alto (A), tenor (T) and bass (B) and four-part choir SATB, the tempo, key and time. Movements of Requiem No. Title Type Vocal Tempo Key Time I Introitus Requiem aeternam Chorus with solo SATB S Adagio D minor 4/4 II Kyrie Kyrie eleison Double fugue SATB Allegro D minor 4/4 III Sequentia Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrymosa SATB B T A S SATB S A T B SATB SATB Allegro assai Andante - - Andante Larghetto D minor B-flat major G minor – D minor F major A minor – F major D minor 4/4 2/2 4/4 3/4 4/4 12/8 IV Offertorium Domine Jesu Hostias Chorus with solo Chorus SATB S A T B SATB Andante con moto Andante – Andante con moto G minor E-flat major – G minor 4/4 3/4 – 4/4 V Sanctus Sanctus Osanna Chorus SATB Adagio Allegro D major 4/4 3/4 VI Benedictus Benedictus Osanna Quartet Chorus S A T B SATB Andante Allegro B-flat major 4/4 VII Agnus Dei Agnus Dei Chorus SATB D minor – B-flat major 4/4 3/4 VIII Communio Lux aeterna Cum sanctis tuis Solo and chorus Chorus S SATB SATB - Allegro B-flat major – D minor 4/4 Influences[edit] Mozart esteemed Handel and in 1789 he was commissioned by Baron Gottfried van Swieten to rearrange Messiah. This work likely influenced the composition of Mozart's Requiem; the Kyrie is probably based on the And with his stripes we are healed chorus from Handel's Messiah (HWV 56), since the subject of the fugato, in which Handel was a master, is the same, with only slight variations by adding ornaments on melismata. Some believe that the Introitus was inspired by Handel's Funeral Anthem for Queen Caroline (HWV 264), and some have also remarked that the Confutatis may have been inspired by Sinfonia Venezia by Pasquale Anfossi. Another influence was Michael Haydn's Requiem in C minor which he and his father heard at the first three performances in January 1772. Some have noted that M. Haydn's "Introitus" sounds rather similar to Mozart's, and the theme for Mozart's 'Quam olim Abrahae' fugue is a direct quote of the theme from Haydn's Offertorium and Versus. Myths surrounding the Requiem[edit] With multiple levels of deception surrounding the Requiem's completion, a natural outcome is the mythologizing which subsequently occurred. One series of myths surrounding the Requiem involves the role Antonio Salieri played in the commissioning and completion of the Requiem (and in Mozart's death generally). While the most recent retelling of this myth is Peter Shaffer's play Amadeus and the movie made from it, it is important to note that the source of misinformation was actually a 19th-century play by Alexander Pushkin, Mozart and Salieri, which was turned into an opera by Rimsky-Korsakov and subsequently used as the framework for Amadeus.[13] The autograph at the 1958 World's Fair[edit] Mozart's manuscript with missing corner The autograph of the Requiem was placed on display at the World's Fair in 1958 in Brussels. At some point during the fair, someone was able to gain access to the manuscript, tearing off the bottom right-hand corner of the second to last page (folio 99r/45r), containing the words "Quam olim d: C:" (an instruction that the "Quam olim" fugue of the Domine Jesu was to be repeated da capo, at the end of the Hostias). The perpetrator has not been identified and the fragment has not been recovered.[14] If the most common authorship theory is true, then "Quam olim d: C:" might very well be the last words Mozart wrote before he died. It is probable that whoever stole the fragment believed that to be the case. Selected recordings[edit] In the following table, large choirs and orchestras are marked by red background, ensembles playing on "period instruments" in "historically informed performance" are marked by a green background under the header Instr.. Recordings of Mozart's Requiem Title Conductor / Choir / Orchestra Soloists Label Year Choir type Instr. Requiem Josef Messner Aula academica Hilde Güden Rosette Anday Julius Patzak Josef Greindl in Salzburg 1950 Requiem Hermann Scherchen Wiener Akademie Kammerchor Orchestra of the Vienna State Opera Magda László Hilde Rössel-Majdan Petre Munteanu Richard Standen Westminster 1953 Chamber Opera Requiem Hans Schmidt-Isserstedt NDR Chor (de) NDR Orchestra Lisa della Casa Maria von Ilosvay Helmut Krebs Gottlob Frick Tahra 1954 Radio Radio Requiem Eugen Jochum Vienna State Opera Chorus Vienna Philharmonic Irmgard Seefried Gertrude Pitzinger Richard Holm Kim Borg Deutsche Grammophon 1955 Opera Symphony Requiem Bruno Walter Vienna State Opera Chorus Vienna Philharmonic Lisa della Casa Ira Malaniuk Anton Dermota Cesare Siepi Orfeo d'Or 1956 Opera Symphony Requiem Karl Böhm Vienna State Opera Chorus Vienna Symphony Teresa Stich-Randall Ira Malaniuk Waldemar Kmentt Kurt Böhme Philips 1956 Opera Opera Requiem Hermann Scherchen Wiener Akademie Kammerchor Orchestra of the Vienna State Opera Sena Jurinac Lucretia West Hans Löffler (de) Frederick Guthrie Westminster 1958 Chamber Opera Requiem Jascha Horenstein Wiener Singverein Vienna Symphony Wilma Lipp Elisabeth Höngen Murray Dickie Ludwig Weber Vox 1961 Opera Requiem Karl Richter Münchener Bach-Chor Münchener Bach-Orchester Maria Stader Hertha Töpper John van Kesteren Karl Christian Kohn TELDEC 1961 Bach Bach Requiem Herbert Karajan Wiener Singverein Berlin Philharmonic Wilma Lipp Hilde Rössel-Majdan Anton Dermota Walter Berry Deutsche Grammophon 1962 Symphony Requiem István Kertész Vienna State Opera Chorus Vienna Philharmonic Elly Ameling Marilyn Horne Ugo Benelli Tugomir Franc Decca 1966 Opera Symphony Requiem Wolfgang Gönnenwein Südwestdeutscher Madrigalchor Consortium Musicum Teresa Żylis-Gara Oralia Dominguez Peter Schreier Franz Crass EMI 1966 Symphony Requiem Colin Davis John Alldis Choir BBC Symphony Orchestra Helen Donath Yvonne Minton Ryland Davies Gerd Nienstedt Philips 1967 Symphony Requiem Rafael Frühbeck de Burgos New Philharmonia Chorus New Philharmonia Orchestra Edith Mathis Grace Bumbry George Shirley Marius Rintzler EMI 1968 Symphony Symphony Requiem Benjamin Britten Aldeburgh Festival Chorus English Chamber Orchestra Heather Harper Alfreda Hodgson Peter Pears John Shirley-Quirk BBC 1971 Chamber Requiem Karl Böhm Vienna State Opera Chorus Vienna Philharmonic Edith Mathis Julia Hamari Wiesław Ochman Karl Ridderbusch Deutsche Grammophon 1971 Opera Symphony Requiem Daniel Barenboim John Alldis Choir English Chamber Orchestra Sheila Armstrong Janet Baker Nicolai Gedda Dietrich Fischer-Dieskau EMI 1972 Chamber Requiem Herbert Karajan Wiener Singverein Berlin Philharmonic Anna Tomowa-Sintow Agnes Baltsa Werner Krenn José van Dam Deutsche Grammophon 1975 Symphony Requiem Michel Corboz Coro Gulbenkian Gulbenkian Orchestra Elly Ameling Barbara Scherler Louis Devos Roger Soyer Erato 1977 Requiem Neville Marriner Academy of St Martin in the Fields Ileana Cotrubas Helen Watts Robert Tear John Shirley-Quirk Decca 1977 Chamber Requiem Carlo Maria Giulini Philharmonia Chorus Philharmonia Orchestra Helen Donath Christa Ludwig Robert Tear Robert Lloyd EMI 1979 Symphony Symphony Requiem Helmuth Rilling Gächinger Kantorei Bach-Collegium Stuttgart Arleen Augér Carolyn Watkinson Siegfried Jerusalem Siegmund Nimsgern CBS 1979 Requiem Nikolaus Harnoncourt Vienna State Opera Chorus Concentus Musicus Wien Rachel Yakar Ortrun Wenkel Kurt Equiluz Robert Holl Teldec 1982 Opera Period Requiem Peter Schreier Leipzig Radio Chorus Staatskapelle Dresden Margaret Price Trudeliese Schmidt Francisco Araiza Theo Adam Philips 1983 Radio Symphony Requiem Christopher Hogwood Academy of Ancient Music English Baroque Soloists Emma Kirkby Carolyn Watkinson Anthony Rolfe Johnson David Thomas L'Oiseau-lyre 1984 Period Requiem Daniel Barenboim Choeur de Paris Orchestre de Paris Kathleen Battle Ann Murray David Rendall Matti Salminen EMI 1986 Requiem Robert Shaw Atlanta Symphony Chorus Atlanta Symphony Orchestra Arleen Augér Delores Ziegler Jerry Hadley Tom Krause Telarc 1986 Symphony Symphony Requiem John Eliot Gardiner Monteverdi Choir English Baroque Soloists Barbara Bonney Anne Sofie von Otter Hans Peter Blochwitz (de) Willard White Philips 1987 Period Requiem Leonard Bernstein Bavarian Radio Chorus Bavarian Radio Symphony Orchestra Marie McLaughlin Maria Ewing Jerry Hadley Cornelius Hauptmann Deutsche Grammophon 1989 Radio Radio Requiem Georg Solti Vienna State Opera Chorus Vienna Philharmonic Arleen Augér Cecilia Bartoli Vinson Cole René Pape Decca 1991 Symphony Requiem Colin Davis Bavarian Radio Chorus Bavarian Radio Symphony Orchestra Angela Maria Blasi Marjana Lipovšek Uwe Heilmann Jan-Hendrik Rootering RCA 1991 Radio Radio Requiem Gary Bertini Kölner Rundfunk Chor Kölner Rundfunk Sinfonie Orchester Krisztina Laki Doris Soffel Robert Swensen Thomas Quasthoff Phoenix 1991 Radio Radio Requiem Roger Norrington Schütz Choir of London London Classical Players Nancy Argenta Catherine Robbin John Mark Ainsley Alastair Miles EMI 1992 Requiem William Christie Les Arts Florissants Anna Maria Panzarella Nathalie Stutzmann Christoph Prégardien Nathan Berg Erato 1995 Period Requiem Philippe Herreweghe La Chapelle Royale Sibylla Rubens Annette Markert Ian Bostridge Hanno Müller-Brachmann Harmonia Mundi France 1997 Period Requiem Jordi Savall La Capella Reial de Catalunya Le Concert des Nations Montserrat Figueras Claudia Schubert Gerd Türk Stephan Schreckenberger Alia Vox 1998 Period Requiem Claudio Abbado Swedish Radio Choir Berlin Philharmonic Karita Mattila Sara Mingardo Michael Schade Bryn Terfel Deutsche Grammophon 1999 Radio Symphony Ralf Otto, Bachchor Mainz (Levin completion), L'arpa festante München, Julia Kleiter, Gerhild Romberger, Daniel Sans, Klaus Mertens, NCA Christoph Spering, Chorus Musicus, Das Neue Orchester, Iride Martinez, Monica Groop, Steve Davislim, Kwangchul Youn, Opus 111 (2002) Nikolaus Harnoncourt, Arnold Schoenberg Chor, Concentus Musicus Wien, Christine Schäfer, Bernarda Fink, Kurt Streit, Gerald Finley, deutsche harmonia mundi Carl Czerny transcription for soli, coro and piano four hands: Antonio Greco, Coro Costanzo Porta, Diego Maccagnola, Anna Bessi, Silvia Frigato, Raffaele Giordani, Riccardo Demini. Discantica (2012) New completion of the musical score of Mozart's Requiem by the musicologist Robert Levin. Live concert. John Butt (musician) conducting the Dunedin Consort on the Linn Records label. It is the first recording to use David Black's new critical edition of the Süssmayr version, and it attempts to reconstruct the performing forces at the first performances in Vienna in 1791 and 1793. It won the 2014 Gramophone Award for Best Choral Recording.   Kieth Engen (Bass) Born: April 5, 1925 - Irazee, Minnesota, USA Died: September 2, 2004 - Murnau The American bass, Kieth Engen, studied singing first in California. However, he began his opera career however in Austria. In 1955 he became first bass at the Bavarian State Opera in Munich, and remained on its roster for almost 40 years, and celebrated great successes. He performed in the premiere of Paul Hindemith’s Harmonie der Welt in 1957. One year later, he recorded some Bach cantatas with Karl Richter, and sang the role of King Henry in Lohengrin at the Bayreuth Festival. He had more appearances at the Bayreuth Festival, and also sang a wide range of opera roles throughout Europe. He was highly regarded as a Lied singer and for his concert performances, especially as soloist in J.S. Bach and George Frideric Handel oratorios. He made few recordings other than Bach for Archiv. Kieth Engen was married with the opera singer and actress Erika Berghöfer. Kieth Engen (* 5. April 1925 in Irazee, Minnesota; † 2. September 2004 in Murnau am Staffelsee) war ein US-amerikanischer Opernsänger (Bass). Inhaltsverzeichnis  [Verbergen]  1 Leben 2 Diskografie (Auswahl) 3 Literatur 4 Weblinks Leben[Bearbeiten | Quelltext bearbeiten] Schon sehr früh zeigte sich sein Gesangstalent, welches von den Eltern gefördert wurde. Der norwegisch-amerikanische Sänger studierte Gesang in Kalifornien bei Mc. Murray, dann in Zürich, schließlich in Wien u.a. bei Elisabeth Radó. Nach seiner Ausbildung war er zunächst als Konzert-Bassist tätig, debütierte doch bald am Stadttheater von Graz. 1955 wurde er Ensemblemitglied der Bayerische Staatsoper. Dort stand er bis zu seinem Abschied im Jahre 1996 (seine letzte Rolle war der Gemeindevorsteher in Aribert Reimanns Oper Das Schloss) mehr als 2122 Mal in 125 Partien des Bassfaches auf der Bühne: Herzog Blaubart, Don Alfonso, Don Giovanni, König Phillip, Doktor (in Wozzeck von Alban Berg), Mephisto, König Heinrich, Raimondo, Seneca, Banquo, Basilio, Zaccahria, Don Fernando, Almaviva etc. Der Bassist wirkte an mehreren Uraufführungen mit. 1957 sang er in München in Hindemiths Harmonie der Welt, 1968 in Stuttgart in der Oper Prometheus von Carl Orff und 1986 wieder in München in Belshazar von Volker David Kirchner. Kieth Engen sang auch bei den Bayreuther Festspielen und bei Gastspielen an zahlreichen europäischen Bühnen (in Paris, Straßburg, Amsterdam, Turin etc.) und gab darüber hinaus Soloauftritte als Lied- und Konzertsänger. Die Zusammenarbeit mit dem Organisten, Cembalisten und Dirigenten Karl Richter machte ihn als Interpret der Musik Johann Sebastian Bachs bekannt. 1962 wurde ihm der Titel Bayerischer Kammersänger sowie der Bayerische Verdienstorden verliehen. Am Anfang seiner Opernkarriere war Engen unter dem Pseudonym Stan Oliver auch jenseits klassischer Musik aktiv. So sang er beispielsweise einige Lieder für die Filme Das alte Försterhaus (1956) und Der kühne Schwimmer (1957). In den Jahren 1956/57 nahm er folgende Schlager bei Polydor auf: Black-Ballade/Im Bombay war es Lili (Nr. 50 145) Daddy, geh nicht fort von Alabama/Mein guter Jonny (Nr. 50 351) Das Geisterschiff von Ohio/Ein Haus in Havanna (Nr. 50 106) Das Lied von Ohio/Männer brauchen wahre Liebe (Nr. 50 415) Es gibt nur eine Heimat/Vergißmeinnicht (Nr. 50 160) Guter alter Mississippi/Silberner Mond von Missouri (Nr. 50 270) Engen war mit der Opernsängerin und Schauspielerin Erika Berghöfer (* 1928) verheiratet. Diskografie (Auswahl)[Bearbeiten | Quelltext bearbeiten] Matthäuspassion (Deutsche Grammophon Gesellschaft) Fidelio (Deutsche Grammophon Gesellschaft) Die lustigen Weiber von Windsor (Telefunken) Idomeneo (RCA) Lohengrin (Acanta)    Albert Da Costa, tenor American tenor Albert da Costa (1927-1967) had a respectable if unexceptional career. He studied at Juilliard and began as a baritone and later switching to dramatic tenor roles. He first sang at the Met in 1955 as the sailor in Tristan, and until 1962 appeared in a variety of roles including Siegmund, Radames and Manrico. He then appeared many times in Europe, particularly with the Zurich Opera. In December 1959 he was one of three tenors to sing Tristan to Birgit Nilsson\'s Isolde at the Met (the other two were Ramon Vinay and Karl Liebl). His voice was strong and confident in the upper register and it is surprising that he made only one commercial recording, Beethoven\'s Ninth in 1959 with Bruno Walter conducting. Costa was a reliable singer whose career tragically ended in a car accident in Denmark in November 1967. Cvetka Ahlin (28 November 1927, in Cologne – 30 July 1985, in Hamburg) was a Slovenian opera singer and mezzo-sopranist. Since 1951, she was the main singer of the Ljubljana Opera. From 1956 she was a singer in the Hamburg national opera, where a.o. she sang second lady to the Queen of the Night in The Magic Flute under Karl Böhm (recorded by Deutsche Grammophon). She sang in the works of Jules Massenet and Richard Strauss. In 1967, she sang as contralto in Smetana's Battered Bride with the German Opera Orchestra Berlin conducted by Heinrich Hollreiser. Notable roles[edit] Charlotte in the opera Werther from Jules Massenet Octavian in the opera Der Rosenkavalier from Richard Strauss   **** Edith Kertész-Gabry (18 July 1927 – 10 February 2012) was a Hungarian soprano and professor of opera at the Cologne University of Music. Contents  [hide]  1 Early years and education 2 Career 3 Death 4 Discography 5 References Early years and education[edit] Edith Kertész-Gabry, born Edith Gáncz in Budapest, Hungary, studied at the Franz Liszt Academy of Music, and made her debut in 1951 at the Budapest National Opera.[1] That same year, she married the conductor, István Kertész. After the Hungarian Revolution of 1956, Kertész-Gabry left Hungary and moved to Germany with her husband and young son.[2] Career[edit] Kertész-Gabry received an appointment to the Bremen Opera from where she moved on to Cologne in 1960. On 15 February 1965 she distinguished herself as a dramatic coloratura soprano in the lead role of Marie in the premiere of Bernd Alois Zimmermann's opera, Die Soldaten. Zimmermann's four-act opera commissioned by the Cologne Opera is considered one of the most important and influential operas written in Germany since the second world war."[3] In 1974 she performed this role once again in Zimmermann's shortened concertante version of his opera, the Vokalsinfonie. Kertész-Gabry gave guest performances at various opera houses and festivals throughout Germany and abroad. During the earliest years of her singing career, she quickly expanded her repertoire to include Konstanze in the Die Entführung aus dem Serail, Susanna in The Marriage of Figaro, Fiordiligi in Così fan tutte, Pamina in The Magic Flute, Zerlina in Don Giovanni, Mrs. Fluth in Otto Nicolai's The Merry Wives of Windsor, the Baroness in Albert Lortzing's Der Wildschütz, Sophie in Der Rosenkavalier, Eva in Wagner's Die Meistersinger von Nürnberg, Desdemona in Verdi's Otello, Alice Ford in Verdi's Falstaff, Antonia in Jacques Offenbach's The Tales of Hoffmann, and Zerline in Daniel Auber's Fra Diavolo. At the 1967 Salzburg Festival she performed, Silvia in Mozart's, Ascanio in Alba. By then, her repertoire of operas from the 20th century also included, in addition to Marie in Die Soldaten, Cardillac's daughter in Paul Hindemith's Cardillac, and Luise in Hans Werner Henze's Der junge Lord. Since 1971, in addition to performing regularly with the Cologne Opera, Kertész-Gabry taught at the Folkwang-Musikschule. Before 1977 she received a teaching appointment at the Cologne University of Music. In 1988, she performed one of her last notable performances at the Schwetzingen Festival. There she sang the role of Berta in Rossini's The Barber of Seville.[4] Death[edit] After a prolonged illness, Kertész-Gabry died in Cologne on February 10, 2012. She is survived by two children and five grandchildren.[5] Discography[edit] Brogli-Sacher, Roman, Friedhelm Dohl Edition, Vol. 8, Dreyer Gaido, 2010. Handel, George Frideric, La resurrezione, Santini Chamber Orchestra of Münster, Conductor: Rudolf Ewerhart, 1961; reissue, 2005. Mozart, Wolfgang Amadeus, Mitridate, re di Ponto, Mozarteum Orchestra of Salzburg, Conductor: Leopold Hager, 1970. Rossini, Gioachino, The Barber of Seville, Stuttgart Radio Symphony Orchestra, Conductor: Gabriele Ferro, BMG Ariola 1993. Verdi, Giuseppe, Otello, Augsburg State Opera, OPERA EPK 1220, 1962. Zimmermann, Bernd Alois, Die Soldaten, Gürzenich Orchestra, Conductor: Michael Gielen 1965; 2007 reissue, CD Wergo 66982, mono. Zimmermann, Bernd Alois, "Vokalsinfonie aus Die Soldaten für sechs Gesangssolisten und Orchester", WDR Symphony Orchestra Cologne, Conductor: Hiroshi Wakasugi, Harmonia Mundi.  EBAY3794