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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall
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CARNEGIE HALL PRESENTS

Orchestra of St. Luke’s

Thursday, October 25, 2018 8 PM Stern Auditorium / Perelman Stage
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Bernard Labadie by Dario Acosta
Haydn’s "Nelson Mass" might have been inspired by the visit of the British naval hero to the Esterházy estate where he worked. There’s certainly a martial flair to the work—trumpets and drums work overtime—particularly in its forceful Kyrie and Benedictus. There’s also lore surrounding Mozart’s Requiem, mostly courtesy of Peter Shaffer’s Amadeus, but the music reigns supreme. The choral music is grand, the passages for solo voices are expressive, and the orchestral writing anticipates the Romantics with its color and gripping dramatic power.

Orchestra of St. Luke's is also performing October 5, February 28, and April 18.

Bernard Labadie is also performing February 28 and May 7.

La Chapelle de Québec is also performing May 7.

Performers

Orchestra of St. Luke's
Bernard Labadie, Principal Conductor
Lauren Snouffer, Soprano
Susan Graham, Mezzo-Soprano
Lothar Odinius, Tenor
Philippe Sly, Bass-Baritone
La Chapelle de Québec
Bernard Labadie, Music Director

Program

HAYDN Mass in D Minor, "Nelson Mass"
MOZART Requiem (revised and completed by Robert Levin)

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.

This concert is made possible, in part, by an endowment fund for choral music established by S. Donald Sussman in memory of Judith Arron and Robert Shaw.

At a Glance

HAYDN  Mass in D Minor, Hob. XXII: 11, “Nelson Mass”

In 1796, Haydn returned to the Esterházy estate following a series of trips to London, where, inspired by the city’s artistic landscape, he had composed what many consider to be his symphonic masterpieces. He concentrated his innovations from these “London” symphonies into six late masses, often called symphonies for voice and chorus for their integration of symphonic, operatic, and choral elements. Written in 1798, the Mass in D Minor, commonly known as the “Nelson Mass,” is the third and most distinct of the six masses.

 

MOZART  Requiem, K. 626

Mozart’s Requiem may well be history’s most celebrated work of church music. He started working on it in October 1791, and continued off and on until confined to his bed; when he died, the work remained incomplete. Constanze Mozart, newly widowed and now responsible for her husband’s debts, discreetly called on some of her late husband’s students, collaborators, and friends. It was Mozart’s student Franz Xaver Süssmayr who did most of the work and finally completed the manuscript. Awareness of Süssmayr’s contribution has over the years led to nagging questions regarding passages where the harmonies and orchestration seem awkward; in the last 50 years, no fewer than six musicologists have published alternative reconstructions to Süssmayr’s work. Tonight’s performance uses Robert Levin’s from 1993.

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