1. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Introitus: Requiem
2. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Kyrie
3. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Dies Irae
4. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Tuba mirum
5. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Rex tremendae
6. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Recordare
7. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Confutatis
8. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Lacrimosa
9. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Domine Jesu Christe
10. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Hostias
11. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Sanctus
12. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Benedictus
13. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Agnus Dei
14. Requiem KV 626 - Version for string quartet by Peter Lichtenthal (1780-1853) Lux aeterna

https://www.challengerecords.com/products/161409370377.01

This recording was made at the beginning of February 2020 in the somewhat futuristic theatre in Blaibach (Bavaria - you can see it via Google as soon as you enter "Blaibach"...) which was built in 2014 on the initiative of the German baryton Thomas Bauer. You can also listen to Thomas Bauer on this CD: he participated as a soloist and bass in the vocal quartet ! 

Finally, due to the corona crisis, this recording was the last activity of LPB this year 2020: all the other projects of 2020 were cancelled one by one from March onwards, or postponed to a later date, which often had to be cancelled again  ... 
The future of cultural life all over the world remains uncertain ... La Petite Bande has enough plans, the audience will be able to enjoy our performances again as soon as possible! 

In a very special article at the request of the Süddeutsche Zeitung, Thomas Bauer published on November 1st a highly original and symbolic call to "save music (and concert life) in this so-called corona crisis"...
 
He alluded to the tradition which holds that the composer Pierluigi Palestrina "saved" art music in the Roman Catholic Church from ruin, during the Council of Trent (1562): at that time there were many cardinals who wanted to ban the traditional polyphony from the church services because (according to them) the religious texts could not be understood well enough by the believers, because of the complicated composition-style. Palestrina then performed his Missa Papae Marcelli in the Sistine Chapel, and the genial combination of simplicity and art in this work led them back to better insight ...
 
Palestrina as the saviour of music: this idea wants to be a symbol here - this manifestation will be one continuous Hymn to music, and to the Love of music!  Work of Palestrina and his contemporaries will resonate during 24 hours in the vaults of the Augsburg Cathedral, and via streaming, the audiences (evening) will be able to experience it from their living room...
 
 The link to follow the streaming is:
https://app.idagio.com/de/live/event/palestrina-a-global-prayer-for-the-people
 One must register with Email address and a password (it is free of charge).
 
I myself, Sigiswald Kuijken and my wife Marleen Thiers have responded enthusiastically to Thomas' request for cooperation. In this Palestrina-feast from the Cathedral of Augsburg, with the cooperation of several German vocal ensembles, we will twice provide an instrumental intermezzo with works from Palestrina's time:
 

• November 20th , 8:45 - 9:00 pm (evening)
  Sigiswald Kuijken (violin) and Marleen Thiers (viola)
   5 Fantasias à 2 by Thomas Morley (London, 1595)
•  November 21st , 11:30 - 11:45 am  (morning)
  Sigiswald Kuijken (Viola da Gamba) and Olga Watts (harpsichord)
  8 Recercadas by Diego Ortiz (Roma, 1553) 

 
                                       We wish you a lot of viewing and listening pleasure ! 
 
 

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Mozart wrote these three concertos for harpsichord or fortepiano, with full orchestra. He also wrote them in such a way that the wind parts might be omitted, and the traditional four string quartet instruments used to create a chamber version of the work. Clearly, this called for very careful string writing and attention to balance. Colour, too, will have been a consideration for Mozart as he wrote for winds to enrich the orchestral texture.
This recording uses fortepiano with the quartet version but makes one important change. Conductor and, in this instance, first violinist Sigiswald Kuijken has replaced the cello with a double bass. His argu¬ment for this is that Mozart would likely have assumed that most private buyers of his published score owned harpsichords and would have chosen the chamber version, where the harpsichord was better balanced with the four string instruments. In choosing to record with the more robust fortepiano, the louder, richer bass was an equally robust alternative to the cello. Additionally, switching to double bass moves that pitch an octave lower, creating a fuller, more orchestral effect for the small ensemble.
The choice is a calculated but clever and effective one. It places a larger scale work in an intimate setting for a very satisfying and engaging performance.