Digital programme booklet
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M. Haydn
c-moll requiem, MH 115
I. Introitus – Kyrie
II. Sequentia
III. Offertorium
IV. Sanctus – Benedictus
V. Agnus Dei et CommunioSalieri
c-moll requiem
I. Introitus – Kyrie
II. Sequentia
III. Offertorium
IV. Sanctus
V. Benedictus
VI. Agnus Dei
VII. Libera meFeaturing:
Katalin Szutrély – soprano
Corinna Scheurle – mezzo-soprano
István Horváth – tenor
Konstantin Fedotov – bass
Orfeo Orchestra (artistic director: György Vashegyi)
Collegium Vocale 1704 (artistic director: Václav Luks)Conductor:
Howard Williams -
Tonight may well serve to prove that everything depends on fortuitous timing. Assessments of the work of Michael Haydn (1737‒1806) and Antonio Salieri (1750‒1825) were never free from contradictions – or at least may seem that way from the perspective of posterity. But the reality is much more nuanced. Although one worked in the shadow of a tremendously gifted older brother, Joseph Haydn, and the other under that of Wolfgang Amadeus Mozart, a rival blessed with divine genius, their contemporaries nevertheless recognised their merits. In examining Haydn’s output, it soon becomes clear that he was able to surpass the reputation of his brother, five years his elder, in the realm of church music. As for Salieri, whose standing was blemished by rumours that seem unfounded in light of the results of recent research, peers lauded him for his ability to “bind all the power of German music to the sweet Italian style.”
We can now witness the technical skills of these two notable composers in person while listening to their C minor requiems. Haydn composed his (ST155) in December 1771 under the influence of two overwhelming experiences of loss. The composition is most likely a memorial to his employer, Sigismund von Schrattenbach, prince-archbishop of Salzburg. A much more personal grieving process also burdened the composer as he composed the work: his only child, Aloysia Josepha, died tragically young, not long after her first birthday, earlier that same year.
The motivation behind Salieri’s only Requiem, written in early 1804, is downright puzzling: despite the fact that he was apparently in good health at the time, he intended the work for his own funeral.
Our concert programme combines musical innovation and tradition: magnificent powers of orchestration, clearly delineated vocal lines and text-centred thinking will all help the audience follow along in the company of such brilliant soloists as Katalin Szutrély, Corinna Scheurle, István Horváth and Konstantin Fedotov, performing alongside the Collegium Vocale 1704 and the Orfeo Orchestra under the baton of Howard Williams.
© Simon Pauly
Change
We regret to inform you that due to illness, Polina Pasztircsák has cancelled her performance. Katalin Szutrély will take her place. Tickets already purchased for the event are valid.
Thank you for your understanding.
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M. Haydn
c-moll requiem, MH 115
I. Introitus – Kyrie
II. Sequentia
III. Offertorium
IV. Sanctus – Benedictus
V. Agnus Dei et CommunioSalieri
c-moll requiem
I. Introitus – Kyrie
II. Sequentia
III. Offertorium
IV. Sanctus
V. Benedictus
VI. Agnus Dei
VII. Libera meFeaturing:
Katalin Szutrély – soprano
Corinna Scheurle – mezzo-soprano
István Horváth – tenor
Konstantin Fedotov – bass
Orfeo Orchestra (artistic director: György Vashegyi)
Collegium Vocale 1704 (artistic director: Václav Luks)Conductor:
Howard Williams -
Tonight may well serve to prove that everything depends on fortuitous timing. Assessments of the work of Michael Haydn (1737‒1806) and Antonio Salieri (1750‒1825) were never free from contradictions – or at least may seem that way from the perspective of posterity. But the reality is much more nuanced. Although one worked in the shadow of a tremendously gifted older brother, Joseph Haydn, and the other under that of Wolfgang Amadeus Mozart, a rival blessed with divine genius, their contemporaries nevertheless recognised their merits. In examining Haydn’s output, it soon becomes clear that he was able to surpass the reputation of his brother, five years his elder, in the realm of church music. As for Salieri, whose standing was blemished by rumours that seem unfounded in light of the results of recent research, peers lauded him for his ability to “bind all the power of German music to the sweet Italian style.”
We can now witness the technical skills of these two notable composers in person while listening to their C minor requiems. Haydn composed his (ST155) in December 1771 under the influence of two overwhelming experiences of loss. The composition is most likely a memorial to his employer, Sigismund von Schrattenbach, prince-archbishop of Salzburg. A much more personal grieving process also burdened the composer as he composed the work: his only child, Aloysia Josepha, died tragically young, not long after her first birthday, earlier that same year.
The motivation behind Salieri’s only Requiem, written in early 1804, is downright puzzling: despite the fact that he was apparently in good health at the time, he intended the work for his own funeral.
Our concert programme combines musical innovation and tradition: magnificent powers of orchestration, clearly delineated vocal lines and text-centred thinking will all help the audience follow along in the company of such brilliant soloists as Katalin Szutrély, Corinna Scheurle, István Horváth and Konstantin Fedotov, performing alongside the Collegium Vocale 1704 and the Orfeo Orchestra under the baton of Howard Williams.
© Simon Pauly
