Post 11: What is Carlos' Requiem Interpretation be like?

   It is going to be a serious problem for me working on the images until I have a reasonable approximation of what Carlos' final interpretation will be. I can allow for a certain amount of adjustment by breaking up the video in clips that are cued precisely to the final performance at dramatic musical moments. But that has to be within reason.
  When I was originally approached by Pierre about the Project, I wasn't familiar with this particular Requiem and went straight to iTunes to find the music. I found a number of different versions, and clicked my way through most of them listening to snippets until I figured out which one I LIKED. That happened to be Matthew Best and the Corydon Singer. But there are a lot of other versions out there.
  I actually went back to look yesterday, and found 16 recordings +, going back to Toscanini's in 1928:

  There also seem to be some variations on exactly how the Requiem is broken up in performance. The score I have, which is old, has 7 parts:

   INTROIT, GRADUEL, DIES IRAE, OFFERTOIRE, SANCTUS, PIE JESU, AGNUS DEI.  

   In the version I am listening to, Matthew Best breaks things up in 8 parts:

     INTROIT AND KYRIE, GRADUATE, DIES IRAE, OFFERTORIUM:DOMINE JESU CHRISTE, OFFERTORIUM: HOSTIAS, SANCTUS, PIE JESU, AGNUS DEI.

   Martin Perlman does the same thing with the Boston Baroque.

  On the other hand, Carlo Maria Giulini does it another way, grouping sections to make only 5 parts:

 INTROIT, GRADUEL DIES IRAE, OFFERTOIRE, SNCTUS PIE JESU, AGNUS DEI

    Toscanini stuck with the original 7 parts score, and so does Ricardo Mutti.

   All this is a little confusing, and I need to know what Carlos is going to do, and what version out there is closest to what his interpretation will be, so I have a sound track to set images to that is reasonably close to the final ASO performance.