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Mozart Requiem
Sacred choral music from Mozart and Vaughan Williams
Part of the Birmingham Festival Choral Society 2017/18 Season
Add to my Calendar 18-11-2017 19:30 18-11-2017 21:30 36 Mozart Requiem Vaughan Williams wrote the contemplative Mass in G minor after his experiences as an ambulance driver in France in the first World War. It was the first Mass to be written in England since the reformation, and was heard as a celebration of Mass in Westminster Cathedral in 1923. Unlike Vaughan Williams, who lived until his mid 80s, Mozart died at the age of 35 - poignantly, while working on his Requiem Mass. Mysteries abound concerning his early demise, as well as the circumstances of the work's composition. No matter; this serene music (heard in this concert in a completed form by Sussmayer and Duncan Druce) remains a much-admired epitaph to a supremely gifted composer, spiritually uplifting to countless choirs, audiences and congregations since its first performance in 1793. Ladywood ARC - St John's and St Peter's Church, Birmingham DD/MM/YYYYDetails
Ladywood ARC - St John's and St Peter's Church
Darnley Road
Birmingham
B16 8TF
England
Programme
Wolfgang Amadeus Mozart – Requiem in D minor, K.626
Ralph Vaughan Williams – Mass in G minor
Performers
David Wynne – Conductor
Kevin Gill – piano
Stephen Hargreaves – piano
Birmingham Festival Choral Society
Royal Birmingham Conservatoire Soloists
Other concerts in this Series (+)
Programme Note
Vaughan Williams wrote the contemplative Mass in G minor after his experiences as an ambulance driver in France in the first World War. It was the first Mass to be written in England since the reformation, and was heard as a celebration of Mass in Westminster Cathedral in 1923.
Unlike Vaughan Williams, who lived until his mid 80s, Mozart died at the age of 35 - poignantly, while working on his Requiem Mass. Mysteries abound concerning his early demise, as well as the circumstances of the work's composition. No matter; this serene music (heard in this concert in a completed form by Sussmayer and Duncan Druce) remains a much-admired epitaph to a supremely gifted composer, spiritually uplifting to countless choirs, audiences and congregations since its first performance in 1793.
