Events
02March19:30Mortalities - W. A. Mozarts Requiem & J. M. HaydnSalzburg - Große Universitätsaula
Event Details
Wolfgang Amadeus Mozart: Masonic Funeral Music, KV 479a Misericordias Domini KV 222 Requiem in d minor KV 626 Johann Michael Haydn: Christus factus est, Tenebrae facte sunt, Nos autem gloriari oportet Ekaterina
Event Details
Wolfgang Amadeus Mozart:
Masonic Funeral Music, KV 479a
Misericordias Domini KV 222
Requiem in d minor KV 626
Johann Michael Haydn:
Christus factus est, Tenebrae facte sunt, Nos autem gloriari oportet
Ekaterina Krasko, soprano
Collegium Vocale Salzburg with its soloists| Michael Schneider, choir master
L’Orfeo Barockorchester
Michi Gaigg, conductor
Reverence for the deceased hasn’t exactly been a common virtue in music history. No sooner did a composer leave a work unfinished than the volunteers emerged to pay their respect. Few composers were as canny as Johannes Brahms who burnt every unfinished work. Many works were left unfinished: Bach’s Art of the Fugue, Schubert’s symphonic fragments… the list is endless, but one work will always have a distinguished position:
Mozart ‘s Requiem. Many myths developed around this awesome „mortality music “. Tragically it became Mozart’s own swan song. The historical origin of the Masonic Funeral Music is an equal flurry of speculation. Was it indeed intended for the Freemasons, or should it be regarded as church music?
Two works are added to the programme in Salzburg, setting the concert in the context of Passiontide: the Misericordias Domini KV 222, a contrapuntal showpiece by the young Mozart combining polyphony with expressive harmony, and a highly emotional a capella work by Johann Michael Haydn.
Time
Saturday, 2. March 2024 19:30
Organizer
Event Details
Wolfgang Amadeus Mozart: Maurerische Trauermusik K 477 (479a) Laudate Dominum from „Vesperae solennes de Confessore“ K 339 Requiem D minor K 626 Ekaterina Krasko, soprano Collegium Vocale Salzburg with its soloists| Michael Schneider,
Event Details
Wolfgang Amadeus Mozart:
Maurerische Trauermusik K 477 (479a)
Laudate Dominum
from „Vesperae solennes de Confessore“ K 339
Requiem D minor K 626
Ekaterina Krasko, soprano
Collegium Vocale Salzburg with its soloists| Michael Schneider, choir master
L’Orfeo Barockorchester
Michi Gaigg, direction
Reverence for the deceased hasn’t exactly been a common virtue in music history. No sooner did a composer leave a work unfinished than the volunteers emerged to pay their respect. Few composers were as canny as Johannes Brahms who burnt every unfinished work. Many works were left unfinished: Bach’s Art of the Fugue, Schubert’s symphonic fragments… the list is endless, but one work will always have a distinguished position:
Mozart ‘s Requiem. Many myths developed around this awesome „mortality music “. Tragically it became Mozart’s own swan song. The historical origin of the Masonic Funeral Music is an equal flurry of speculation. Was it indeed intended for the Freemasons, or should it be regarded as church music?
In Gmunden we will include the Laudate Dominum from the „Vesperae solennes de Confessore“KV 339, one of Mozart’s most well-known church compositions. The soprano solo sings an exquisite cantilena on the glorification of God, in the end supported by the choir.
Time
Sunday, 3. March 2024 11:00
17March11:00Bach’s Orchestral SuitesLinz - Brucknerhaus Linz, Main Hall
Event Details
Johann Sebastian Bach: Orchestral Suite No. 1 C major BWV 1066 (c. 1718) Orchestral Suite No. 2 B minor BWV 1067 (1738–39) Orchestral Suite No. 3 D major BWV 1068 (1730–31)
Event Details
Johann Sebastian Bach:
Orchestral Suite No. 1 C major BWV 1066 (c. 1718)
Orchestral Suite No. 2 B minor BWV 1067 (1738–39)
Orchestral Suite No. 3 D major BWV 1068 (1730–31)
Orchestral Suite No. 4 D major BWV 1069 (1725)
L’Orfeo Barockorchester
Michi Gaigg, conductor
Johann Sebastian Bach’s four orchestral suites, presumably written over a period of around 20 years from 1718 onwards, each of which is a free sequence of dance movements preceded by an overture, are among the most popular pieces of Baroque music and contain some of the best-known pieces of classical music, such as the Badinerie (dalliance) that concludes the 2nd Suite or the Air (melody) that comes second in the 3rd Suite. This veritable hit parade is presented in its original sound by the L’Orfeo Barockorchester under the direction of Michi Gaigg.
Time
Sunday, 17. March 2024 11:00
Organizer
24March18:00Johann Sebastian Bach - St John PassionSt. Pölten - Festspielhaus St. Pölten, Great Hall
Event Details
Johann Sebastian Bach: St John Passion BWV 245 Christina Gansch, soprano Ulrike Malotta, alto Bernhard Berchtold, tenor (Evangelist & arias) Günter Haumer, bass (Pilatus & arias) Stefan Zenkl, bass (Christus) Domkantorei St.
Event Details
Johann Sebastian Bach:
St John Passion BWV 245
Christina Gansch, soprano
Ulrike Malotta, alto
Bernhard Berchtold, tenor (Evangelist & arias)
Günter Haumer, bass (Pilatus & arias)
Stefan Zenkl, bass (Christus)
Domkantorei St. Pölten
L’Orfeo Barockorchester
Valentin Kunert, direction
Good Friday 1724: Johann Sebastian Bach’s St. John Passion is heard for the first time in Leipzig’s St. Nicholas’s Church. “If we are able to play and hear this music three hundred years later, I am struck by only one thing: this music contains an enormous power that repeatedly moves us as deeply as if we were experiencing it for the first time,” says cathedral choirmaster Valentin Kunert, Music Director of the newly-formed Domkantorei St. Pölten, which brings this masterpiece to Festspielhaus St. Pölten along with the L’Orfeo Barockorchester.
Time
Sunday, 24. March 2024 18:00