Performances that are enlightening to the point of changing our attitudes about the textual and performative conventions of a major work or transforming the way we listen to it are extremely rare. That's a good thing, in fact, because audiences, who really should be more open to innovation than they are, need and are even entitled to at least some of the comfort tradition offers—not forgetting Otto Klemperer's famous dictum on the subject...Certain performance traditions change every generation, others perhaps twice as often, yet others less often. The Argento Chamber Ensemble's recent performance of Georg Friedrich Haas's 7 Klangräume zu den unvollendeten Fragmenten des Requiems von W. A. Mozart was just such a performance. The composer responsible for the 7 Klangräume, or Seven Soundspaces, Herr Haas, the Argento musicians, and their brilliant conductor, Michael Galante, can share the honors for bringing us Mozart's Requiem in a new form, adopting a principle which should be even obvious, but which seemed unthinkable because of the consolatory nature of the work and the comforting influence of tradition in its reception. Both the editorial treatment and the performance came together to create an exhilarating new image of the work.