Two weeks ago we had the great honor of learning from and being mentored by the renowned choir conductor and chief of the Musiciens d'Europe orchestra. A few students of string instruments were called to perform together guided by the professionals and headed by M. Curti in the performance of Mozart's Requiem. I loved learning the piece! Even though my alto clef sight reading is terrible and I don't own an alto instrument, giving it a go was the best choice.
Mozart wrote Requiem just prior to his death. He didn't complete the orchestra version, which was completed after his death by his student Sussmayr. As the name suggests, it is a requiem, a mass honoring the dead. Ironic that though Mozart was writing it for an unknown buyer, he was probably keeping the death of his parents in mind. And he met with his own death in the process.
One of the most beautiful (and most difficult to play) movements is the famous Kyrie (pronounced Key-ri-e) which also influenced Sussmayr's finishing the Requiem in the Lux eterna (eternal light). One of the most beautiful pieces where the alto plays an important role is the first movement of the Offertorium, Domine Jesu.
The movement I enjoyed best in Requiem was Rex Tremendae (King of Tremendous Majesty) for it's complex rhythm arrangement for the Alto. The music of classical era was primarily created for the soprano (played by the violins) and the basso continuo (Double Bass & Celli) and the viola or alto was 'filling in'. At the era, the alto had the liberty to fill in according to the rhythm of the soprano or basso continuo, thus a privilege to have an orchestra score carefully thought out for us. Mozart's writing of music is elaborate and accommodates two sopranos, his wife Constanze and his previous lover and Constanze's sister Aloysa, a prominant Soprano of the times.
At the end of our week's study and analysis of Mozart musical style, Jean-Petit Bello, witnessing his Maman and teacher play in an ensemble without running out of the audience to greet her, was mesmerized by the inclusion of a flute and oboe along with the strings.
As I took out my sheets today and played a professional recording, my heart leapt at Rex Tremendae, to think of the Tremendous King, the author of all music, the director of Man's heart and the conductor of life's symphony, who commissioned us to carry on the music of hope (and delights in listening to Mozart's music) I couldn't help but be in awe of the grandeur and majesty of the Eternal.
May your hearts be filled with awe and hope as you listen to this.
Mozart wrote Requiem just prior to his death. He didn't complete the orchestra version, which was completed after his death by his student Sussmayr. As the name suggests, it is a requiem, a mass honoring the dead. Ironic that though Mozart was writing it for an unknown buyer, he was probably keeping the death of his parents in mind. And he met with his own death in the process.
One of the most beautiful (and most difficult to play) movements is the famous Kyrie (pronounced Key-ri-e) which also influenced Sussmayr's finishing the Requiem in the Lux eterna (eternal light). One of the most beautiful pieces where the alto plays an important role is the first movement of the Offertorium, Domine Jesu.
The movement I enjoyed best in Requiem was Rex Tremendae (King of Tremendous Majesty) for it's complex rhythm arrangement for the Alto. The music of classical era was primarily created for the soprano (played by the violins) and the basso continuo (Double Bass & Celli) and the viola or alto was 'filling in'. At the era, the alto had the liberty to fill in according to the rhythm of the soprano or basso continuo, thus a privilege to have an orchestra score carefully thought out for us. Mozart's writing of music is elaborate and accommodates two sopranos, his wife Constanze and his previous lover and Constanze's sister Aloysa, a prominant Soprano of the times.
At the end of our week's study and analysis of Mozart musical style, Jean-Petit Bello, witnessing his Maman and teacher play in an ensemble without running out of the audience to greet her, was mesmerized by the inclusion of a flute and oboe along with the strings.
As I took out my sheets today and played a professional recording, my heart leapt at Rex Tremendae, to think of the Tremendous King, the author of all music, the director of Man's heart and the conductor of life's symphony, who commissioned us to carry on the music of hope (and delights in listening to Mozart's music) I couldn't help but be in awe of the grandeur and majesty of the Eternal.
May your hearts be filled with awe and hope as you listen to this.
No comments:
Post a Comment