Mozart:
Requiem
& Piano Concerto No 21
& Orchestra - conducted by Matthew Willis.
brilliant vocal soloists from Trinity College of Music & the Guildhall
Sat May 12th 2001,7:30
St Andrew's Church - Star Road W14
Tickets £7/£5 concs. (at the door)
Programme Notes - Solosists Biographies - Choir & Orchestra
Considered the most profound music Mozart ever conceived, his Requiem Mass for the Dead KV 626 is seen as the pinnacle of his emotional genius. As popularised by the epic film, Amadeus, the Requiem can also be regarded as one of his last. Shortly after Mozart accepted the commission from Count Walsegg-Stuppach in the summer of 1791 to compose a setting of this highly spiritual subject, long-term illness finally overpowered his mortal body. He died before the year's end and never fully completed the work. The mass was realised by one of his pupils at the invitation of Mozart's wife Constanze. And whilst there are compositional elements that are academically dubious, Franz Xaver Sussmayr's dedication to "complete" the work enabled the mass to become one of the most performed pieces in Mozart's catalogue.
As was the fashion of the day, it is scored for Soprano, Alto, Tenor and Bass Soloists, Chorus and Orchestra, but Mozart's long affinity with wind instruments determined the resonances we were to hear. There are no Flutes, or Oboes, instead a pair of Basset Horns* and Bassoons lend an austere and solemn colour to the choral texture. This haunting effect is most clearly audible in the opening theme of the mass, and veils the sound of the voices throughout until the final chord. The mass is intensely soaked in a sense of oneness with the inevitable; every section remorselessly drives the composer and the deceased towards the grave edge. As a devout Catholic he also recognised salvation, and encapsulates his own and humanities fate in majesty and reverence.
Mozart's last breath of musical clarity has touched the hearts and souls of audiences and worshipers for over two centuries, and has inspired writers, film makers, painters and of course composers. Why is this work considered to be so profound? Maybe because every note of every chord, of every bar of this powerfully elegiac masterpiece, penetrates deep inside and overwhelms the emotional core of anyone who hears it, and whatever your race and beliefs, you cannot fail to be moved by the tragic and yet awesome power of this music. ( Matthew Willis)
* The Basset Horn was a Baroque precursor to the modern Clarinet.
Mozart ended his employment with Archbishop Colloredo of Salzburg in 1781 and moved to Vienna. At this time he was working without patronage and making a living through freelance performances. He needed to attract audiences and, given that his reputation probably rested more on his abilities as a pianist and conductor than as composer, piano concertos were ideal vehicles for him to make public appearances as all three ( he would have conducted the orchestra from the piano). Consequently, he wrote most of his piano concertos in this period ( fifteen between 1781 and 1785 ) and developed the format beyond the former model of solo instrument with orchestral accompaniment into a more sophisticated dialogue between soloist and orchestra. He wrote them in batches of three or four, mostly for the winter concert seasons. These performances commonly took place at 'academies' ( musical evenings held in the residencies of the town nobility or other performance venues .)
While only a few short years later Mozart was to lose much of his public popularity and his output in this genre dwindled, this concerto, premiered in 1785, was written in his period of greatest popular success. It is a decidedly upbeat and cheerful work , appealing to a wide audience as well as those more knowledgable about music who would have attended the academies. The first movement is based around a march theme which is aired at the outset and sways between melodic passages and more dramatic musical pyrotechnics. The second movement is the most well known and is a leisurely, lyrical piece backed by con sordino (muted) strings. The extensive use of this movement in the score of the 1967 swedish film " Elvira Madigan" has lent the concerto its modern nickname. The last movement makes much lively mileage from a short thematic idea and provides an exciting finale. (Alan Glover)
Alan grew up in the picturesque surroundings of the Yorkshire dales, initially learning piano with the late Mr Richard Haygarth from an early age. He won a music scholarship to Giggleswick school, North Yorkshire in 1980 and was subsequently taught piano by the director of music, Mr Peter Read. He won the Skipton area Lloyd Hartley memorial prize in 1982 and again in 1984. He now works as a radiographer for Hammersmith hospitals NHS trust and has been inactive in the field of piano performance for a rather extended period. This will be his first concert piano performance since the Giggleswick school 'eve of speech day' concert in 1985.
"a super actress and a lovely voice, forceful in recitative" - Independent
Tara Overend is currently in her third year at Trinity College of Music where she studies with Hazel Wood. Her oratorio repertoire ranges from Praetorius' Messe zum Weihnachtsmorgen to Rutter's Requiem and takes in such works as Vivaldi's Gloria, Handel's 'Jephtha' (The Angel), Bach's Cantata 140 (Wachet Auf!) and St John Passion and the Requiems of Faure and Brahms on the way.
Future plans include Purcell Come ye sons of art and Mozart C Minor Mass. She has performed a number of Gilbert and Sullivan roles including Phyllis (Iolanthe), Casilda (The Gondoliers), Aline (The Sorcerer) and Elsie (The Yeoman of the Guard). She was a Bridesmaid in the 125th Anniversary performance of Trial by Jury with the Old D'Oyly Carte. Tara's operatic repertoire comprises Mozart's Queen of the Night, Countess and Despina, Micaela (Carmen), Olympia/Antonia (Les Contes d'Hoffman), Gretel (Hansel and Gretel), Adina (L'elisir d'amore)and Agathe (Der Freischutz - of which the Independent wrote: "the appealing young Agathe, Tara Overend: a super actress and a lovely voice, forceful in recitative..."). Future plans include Musetta (La Boheme) and Susanna (Le Nozze di Figaro).
Kate Warshaw, born in 1978, started studying music from an early age in her home town of Bath. At the age of 15, she became a member of Trinity junior department where she studied for four years under the tuition of Barbara O’Neill. Kate currently studies with Laureen Livingstone in her second year at Trinity senior department and in October 1998 reached the finals of the Kathleen Ferrier bursary competition for young singers. Performances include Vaughan Williams Mass in G minor, Haydn’s Nelson Mass, the world premier production of Goldschmidt’s Beatrice Cenci and Sister Mathilde in the college production of Poulenc’s Dialogues of the Carmelites.
"Seneca […] was brilliantly sung by João Fernandes, a substantial
but lyrical bass." The Times
"... a bass to watch out for, the tone dark, gleaming and centred." The
Stage
"Dominant […] lithe […] awesome […] Fernandes revealed a bass as cavernous as
Fafner's […]
his sense of phrasing and timing is terrific." Independent
Studying with Rudolf Piernay on the first year of the Opera Course at the Guildhall School of Music & Drama, bursar of the latter and the Gulbenkian Foundation in Portugal, João is one of the most promising bassi cantanti of his generation. His credits as a soloist in oratorio include performances with conductors such as Sir Colin Davis in venues such as St. John's Smith Square or St. Martin-in-the-Fields and his curriculum comprehends opera roles ranging from Seneca, Adonis or Créon to Kaspar, Don Quijote or The Mother (Weill; Seven Deadly Sins). Future plans include the creation of the role Tarik from Going into Shadows by Andrew Schultz, in Australia; the London Masterclasses with Sherill Milnes by invitation from Norma Fisher; Gremin from Eugene Onegin by Tchaikovsky in the Aberdeen Festival, by invitation from Gidon Saks and a recital in Moscow by invitation from Elena Obraztsova.
Armen trained at Trinity College of Music, initially as a French Horn player, but later made singing his first study. Since leaving college Armen has enjoyed a varied career in opera, oratorio and light music. Operatic roles include: Tamino (Magic Flute), Elvino (La Sonnambula), Nemorino (L'elisir d'amore), Cavaradossi (Tosca), Max (Der Freischütz), Gerrardo (Gianni Schicchi), Tinca (Il Tabaro), Messenger (Aida). Concert work includes: Messiah (Handel), The Creation, Nelson Mass (Haydn), St Paul, Elijah (Mendelssohn), Dies Natalis (Finzi). Last November Armen concluded the national tour of 'The Phantom of the Opera', initially as a cover and swing, then playing "Piangi". Since ending Phantom he has been involved with the Raymond Gubbay production of 'Aida' with performances of the 'Messenger' at the Albert Hall. Future work includes performances of 'Magic Flute' and 'La Gazetta' with Garsington Opera for their summer season.
By the age of 15 it was apparent that Music was going to be the driving force behind Matthew's life, and in September of that year he won a place at the Junior Department of Trinity College of Music, London. He continued his studies in Trumpet, Piano, Composition and Conducting under the supervision of the college's skilful staff. Whilst at TCM, Matthew composed and conducted many of his own works, including, a Symphonic Poem, Piano Concerto, Choral settings, numerous pieces for solo Piano, Songs, and at the age of 18 he was asked to write a series of Brass Fanfares to celebrate the Junior Department's Anniversary. He conducted the premiere, and became the youngest conductor to ever perform at St. Johns, Smith Square, London. It was then clear that directing and making music with others was Matthew's greatest skill.
In 1995 Matthew accepted a place at the world renowned Royal College of Music, London, and was fortunate to study with Timothy Salter, Neil Thomson, John Carewe and Sir Peter Maxwell Davies. At the same time as studying, he was encouraged to become an assistant to Maxwell Davies, a relationship he enjoyed for two years. In an unprecedented move, the RCM specially devised a course so that Matthew would graduate in Conducting, the first person ever to be awarded this honour. Throughout his time at the RCM he undertook many artistic positions, and in 1997 he became Artistic Director of the Ayton Castle Music Festival, Scotland. He formed his own ensembles and choirs, with many of the members going on to have very successful careers.
He now enjoys a busy and varied musical life, conducting throughout the UK and Europe, coaching singers, composing and writing features for the Times Nursery Magazine, Nursery World. Future projects include an orchestral tour of Switzerland, a new music festival of Richard Rodney Bennett's music, and a London production of Mozart's Apollo and Hyacinth.
Sopranos: Julia Adlard, Christine Dayton, Sally Cotton,
Dorit Haines, Rita Morrisey, Jenny O'Callaghan, Lila Reeves, Kay Riddle, Ruth
Thomson, Lesley Tranter.
Altos: Erica Kemhadjian, Mary Langmaid, Bridget Nichols, Mary Rive, Pam
Taylor, Becky White.
Tenors: Nicholas Beale, Alan Glover, Jack Piper, Stuart Turnbull.
Basses: Arthur Cresswell, Michael Cresswell, Trevor Dawson, Brian
Edwards, Paul Kenny, Tony Speakman, Ted Townsend.
Violins - Amy Ratcliffe, Rebecca Clark, Viola - Catherine Chesterman, Cello - Matt Constantine, Flute - Charlotte Hill, Clarinets - Michael Ellis, Jennie Chiltern, Oboes - Charles Brenam, Chris Astles, Bassoons - Hannah Balcombes, Aiden Twomey, Horns - Nathan Thomas, Mary Langmaid, Organ - Trevor Dawson.
We would like to take this opportunity to thank the Orchestra, Charing Cross Hospital and the Chaplains, and St Andrews, in particular Father David Paget for their help in bringing this concert to fruition. Further information about the Choir may be obtained from Erica Kemhadjian (EKemhadjian @ hhnt.org)