Concert Mozart. Requiem World famous Mariinsky Ballet and Opera Theatre - Opera and Concert Hall
Schedule for Mozart. Requiem 2022
Principal Chorus Master: Andrei Petrenko Composer: Wolfgang Amadeus Mozart
Orchestra: Mariinsky Theatre Symphony Orchestra
There is perhaps no piece of music that is surrounded with as many legends
and mysteries as Mozart's Requiem.
A man dressed in black Bowed respectfully, commissioned a Requiem from
me, then disappeared.
And subsequently:
My man in black gives me no peace Day and night.
The mysterious story of the man in black and the Requiem
formed the basis for Pushkin's short tragedy Mozart and Salieri,
written in 1830. The same theme was also the central feature in Milos
Forman's sensational film Amadeus a century and a half later.
The mystique of the legend was largely instrumental in the film's
success, as it was in the popularity of the great composer's
unfinished work (it was completed by Sussmayr from Mozart's sketches), though
the true circumstances of the commission became clear quite soon
afterwards.
The mysterious stranger, presented in Pushkin's work as “a vision of
the grave”, was no more than the servant of Count Walsegg, a great
lover of music who played several instruments reasonably well. The count
was not content with his fame as a performer – he particularly wished to
gain renown also as a composer, but did not have the requisite ability.
However, his ingenious inventiveness helped him to overcome this “insignificant”
difficulty. He anonymously commissioned works from leading composers for large
sums of money, then passed them off as his own. The “creative” idea of
the Requiem came to him on the occasion of the anniversary of his
wife's death.
Contrary to the legendary version, Mozart was in no hurry to start work
on the commission. After agreeing to take it because of his acute need of
money, he put it off in the hope of earning money from a composition by
himself, not from somebody else, and only seriously started work on
the Requiem when he was confined to bed by his fatal illness. This
illness became the cause of rumours about Mozart's violent death, and
played a cruel joke on the outstanding opera composer and teacher Antonio
Salieri, who has gone down in history only as the poisoner of his brilliant
rival. In fact, it is hardly likely that Salieri was responsible for Mozart's
death, though it is certainly true that they had fallen out.
The Requiem, written for soloists, choir and orchestra, is a setting
of the traditional Latin text and develops the traditions of
the oratorios of Bach and Handel, whose scores Mozart studied attentively.
The composer's operatic experience can be felt in the solo, choral and
orchestral passages. Its brilliant expressiveness has guaranteed
the success of the Requiem on the concert platform, and
Mozart's interpretation of the movements has become a yardstick that
continues to have an influence on composers to this day (Slonimsky's
Requiem).
Requiem aeternam (Grant them Eternal Rest, O Lord...) is an
introduction, a prayer for the grant of peace to the dead.
The mournful intonations of the choir against the background of
the orchestra's “pacing” motion create the impression of a funeral
procession. A somewhat brighter mood is introduced at the words
Et lux perpetua luceat eis! (And may Eternal Light Shine on
Them!). The second section, the rapid fugue Kyrie
eleison (Lord, Have Mercy), conveys the state of humanity,
burdened by sin, waiting for the Day of Judgment.
The following six movements form the dramatic core of the work.
Dies Irae (Day of Wrath) is a vivid picture of Judgment Day.
Tuba Mirum (The Wondrous Trumpet) summons everyone to
appear before the throne of God. The extremely broad melodic lines, in
combination with the slow tempo, create an image of serene grandeur.
Rex tremendae is the embodiment of the formidable King.
Recordare (Remember, Merciful Jesus) is a movement that seemed
to Mozart to be exceptionally important. Here the mood of heartfelt trust
is reinforced – the composer portrays with conviction the depth
of love and mercy of Him who was earlier characterised as an implacable and
stern judge. In Confutatis maledictis (When the Wicked are
Confounded) the portrayal of the torments of sinners, in which
the orchestra imitates tongues of flame, contrasts with the imploring
phrases of the female voices. The famous transition to the next
movement by means of harmony gives the effect of sinking further and
further, as though the gates of hell are gaping wider. Lacrimosa
(Lachrymal) is the lyrical culmination of
the Requiem.
The following movements are the “Offertorium”, the prayers that
directly precede communion – Domine Jesu (Lord Jesus) and
Hostias (Sacrifice). The lighter atmosphere introduced in
these is reinforced in Sanctus (Holy), Benedictus
(Blessed is He) and Agnus Dei (Lamb of God),
balancing the overall tragic character of the work. In accordance with
Mozart's wishes the fugue from the first movement is repeated at
the end, giving the whole cycle a great unity.
Nadezhda Kulygina
Schedule for Mozart. Requiem 2022
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