THE SEVEN SPACES OF MOZART'S REQUIEM
October 27, Saturday at 7:30 pm
Argento Chamber Ensemble And TCNJ Chorale Performs Mozart's Requiem . With Georg Friedrich Haas’s Seven Soundspaces
THE BOX OFFICE: (212) 378-0248, or purchase securely online here
Georg Friedrich Haas frames Mozart Requiem Fragments as Mozart left them. To better understand the creativity and imagination within this work please experience this youtube preview:
The Argento Chamber Ensemble, under the baton of conductor Michel Galante, will perform all fragments of Mozart’s unfinished Requiem K. 626 along with composer Georg Friedrich Haas’s Seven Soundspaces (Sieben Klangraume), which link together the fragments of Mozart’s masterwork. To open the program, acclaimed flutist Paula Robison will perform Mozart’s Andante K.315 for flute and orchestra. The featured choir for the program is The College of New Jersey Chorale with vocal soloists soprano, Tharanga Goonetilleke; alto, Silvie Jensen; tenor, Steven Wilson and bass, Peter Stewart.
The concert will take place on October 27th at 7:30 pm, at St. Bart’s. This concert is sponsored by the Reed Foundation and presented by the Mid-Manhattan Performing Arts Foundation.
$25 for General Admission
$35 for Premium Seating.
(Students and seniors receive a $10 discount.)
NOTE: $3 handling fee per ticket will be applied for all orders.
THE BOX OFFICE: (212) 378-0248, or purchase securely online here.
“Because Mozart died during the composition of his Requiem K.626”, says Director Michel Galante, “this work can never be heard as the Austrian composer intended it. Until recently, audiences heard Mozart’s masterpiece as filtered through the orchestrations and completions of lesser composers such as Franz Xavier Sussmeyr.”
As a greatly treasured and trusted contemporary composer in Austria, Georg Friedrich Haas was given complete access to all Mozart’s manuscripts. Haas isolated all fragments which were exclusively in Mozart’s handwriting. On October 27th, audiences will be given the rare opportunity to hear these fragments (some unfinished), without the completions or orchestrations of any of his students.
Haas responds to the challenge of how to present unfinished fragments in a concert format by interjecting “soundspaces” in between the unedited fragments of Mozart’s masterpiece. These soundspaces use letters of Mozart from 1791 to reveal that during the composition of the Requiem, Mozart was undergoing an intense state duress and professional difficulty. These “soundspaces” serve as musical transitions between Mozart’s untouched fragments and also to give a picture of what Mozart endured at this time. The “soundspaces” are composed in Haas’ own musical language, with the texts of Mozart’s letters spoken and sung by the choir.
Like many important composers in history such as Bartok, and Mahler, Georg Friedrich Haas will be moving to the New York City during the 2012-2013 season, to accept a senior post as professor of composition at Columbia, to replace Tristan Murail.