The orchestra effortlessly responded to Francis’ conducting in the Requiem, but the revelatory performance that evening was in Schubert’s Symphony No. Koontz’s bright, angelic voice was heard to great effect in the “Benedictus” and “Lux Aeterna.” Paz’s velvety lower register had the heft of an alto in the “Recordare” and “Benedictus.” Pence powerfully held onto notes in “Tuba mirum” without any discernable diminuendo, and Russell’s tenor had clarity and force. A few sections’ entrances were unduly hesitant. With the “Dies irae,” the Chorale’s volume matched the orchestra, but I had problems in the remainder of the concert understanding some Latin due to unclear enunciation of consonants. Apart from the “Amen” fugue, the differences are likely unnoticeable to most listeners.
Francis chose to use musicologist Robert Levin’s edition, which incorporates a sketch in Mozart’s handwriting of a fugue on the word “Amen.” It otherwise tweaks Süssmayr’s orchestrations and harmonizations. For its first performance, it was likely completed by two of Mozart’s contemporaries, Joseph von Eybler and Franz Xaver Süssmayr.Ĭompleting the Requiem has been the subject of considerable musicological discussion there are over 20 different modern solutions. This year, he examined Mozart’s late compositions: the last symphony and last piano concerto, the Clarinet Concerto and the Requiem, left unfinished due to Mozart’s untimely death from rheumatic fever at the age of 35. It’s less than we’ve been accustomed to pre-pandemic, but these days, we’ll take what we can get.Ĭonductor Michael Francis has chronologically worked his way through Mozart’s output. This year’s Mainly Mozart festival consisted of five concerts at the Del Mar Surf Cup Sports Park over the span of eight days.
0 kommentar(er)
