ART IS HOW WE DECORATE SPACE. MUSIC IS HOW HOBART SPECIAL WE DECORATE SATURDAY MOZART TIME. 28 NOVEMBER 7.30PM FEDERATION INTROIT CONCERT HALL Requiem Kyrie Marko Letonja conductor SEQUENCE Emma Matthews soprano Dies irae Sally-Anne Russell mezzo-soprano Tuba mirum Rex tremendae Teddy Tahu Rhodes bass Recordare TSO Chorus Confutatis Lacrimosa MOZART Amen Arias OFFERTORIUM Duration 35 mins Domine Jesu Hostias INTERVAL SANCTUS BENEDICTUS Duration 20 mins AGNUS DEI COMMUNION Lux aeterna Cum sanctis tuis Duration 48 mins SPONSORED BY This concert will end at approximately utas.edu.au/125 9.30pm.

Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 62 63 CRICOS Provider Code: 00586B Quote by just-shower-thoughts UTMC14622rj

UTMC14622_125 year TSO partnership_A5_V4_CC.indd 1 22/01/15 1:03 PM MARKO LETONJA EMMA MATTHEWS SALLY-ANNE RUSSELL STEVE DAVISLIM

Marko Letonja is Chief Conductor Emma Matthews, Australia’s most highly Sally-Anne Russell has over fifty operatic Twice awarded the Queen Elizabeth II Silver and Artistic Director of the Tasmanian acclaimed and awarded soprano, performs roles in her repertoire and has sung in Jubilee Award, Steve Davislim began his Symphony Orchestra, and Music Director regularly with the major symphony fifteen countries. As a principal guest she musical training as a horn player before of the Orchestre Philharmonique de orchestras, festivals, Australia, the has sung with , and all studying voice at the Victorian College of state opera companies and in recital. Her Strasbourg. Born in Slovenia, he studied at of the state opera companies and major the Arts under Dame . After many opera roles include the title roles in the Academy of Music in Ljubljana and the Australian symphony orchestras. Her many attending Zurich Opera's Opernstudio, Lulu, Lakmé, , The recordings include her solo disc Enchanting, he started his career as an ensemble Vienna Academy of Music. He was Music Cunning Little Vixen (Royal Opera House, Pergolesi’s Stabat Mater, Bach Arias and member of Zurich Opera. Now engaged Director of the Slovenian Philharmonic Covent Garden) and Partenope; Fiorilla Duets, Mozart’s Requiem, Don John Of at the most prestigious opera theatres Orchestra from 1991 to 2003 and Music (Il turco in Italia), Violetta (La Traviata), Austria, Top 100 ABC Concert Gala, Opera and concert venues worldwide, recent Director and Chief Conductor of both the Cleopatra (), Juliette (Roméo Australia’s Golden Jubilee/50th Anniversary, appearances include Beethoven’s Ninth Symphony Orchestra and the Opera in et Juliette), Marie (La Fille du Regiment), Prokofiev’s Love for Three Oranges and Symphony with the London Symphony Basel from 2003 to 2006. He was Principal Gilda (), Konstanze (Die Entführung The No 1 Classical Album 2007 and 2009 Orchestra and Haitink, Das von der aus dem Serail), Amina (La Sonnambula), Guest Conductor of Orchestra in (Decca). Recent engagements include Erde in Bordeaux, Dvorˇák's Stabat Mater at Giulietta (), the 2008 and made his debut with the TSO Haydn Harmoniemesse (TSO), St Matthew the Basilique Cathédrale de Saint-Denis, four heroines (The Tales of Hoffmann), the following year. He took up the post Passion and St John Passion, Nancy T’ang Tamino in at Semperoper and Cunegonde (Candide). Further career of Chief Conductor and Artistic Director in Nixon in China (Victorian Opera), Mozart Dresden, Mozart’s Requiem with highlights include Mahler’s Symphony of the Tasmanian Symphony Orchestra Requiem and Beethoven Symphony No 9 Thielemann in Salzburg, the Italian Singer No 4 with Orchestre Philharmonique de at the start of 2012. Marko Letonja has ( Symphony), Mary in The in with the National Monte Carlo with Yakov Kreizberg, Ismene Flying Dutchman (Sydney Symphony), Das Symphony Orchestra and Eschenbach worked with many orchestras in Europe (Mitridate) for the Sydney Festival and her Rheingold with Auckland Philharmonia, at the Kennedy Center, including the Munich Philharmonic, Vienna solo recordings: Emma Matthews in Monte (Queensland Symphony, Sydney orchestral songs with the Hallé and Sir Symphony and the Orchestra Filarmonica Carlo with Orchestre Philharmonique de della Scala, Milan; and in many renowned Monte Carlo (Deutsche Grammophon/ Philharmonia Choirs and Christchurch City Mark Elder, and a tour with Hengelbrock opera houses, such as the Vienna State ABC Classics) and Mozart Arias with the Choir), Mahler’s Songs of the Wayfarer and of the Handel opera pasticcio Armida e Symphony No 4 (Tasmanian Symphony and . His wide-ranging discography Opera, , , Milan, Tasmanian Symphony Orchestra (ABC ), recitals in Canberra and includes Bach cantatas with Sir John Eliot and the Semper Oper, Dresden. He has Classics). In 2015 her engagements Adelaide, concerts for Brisbane Festival, Gardiner, Martinů’s with Sir Charles also conducted at the Arena di Verona. His include the roles of Queen of the Night in Musica Viva, Australian String Quartet, Mackerras, Tippett’s A Child of Our Time engagements in Australia have included The Magic Flute and Donna Anna in for Opera Australia, Rosina in Coriole Festival, the world première of with Sir and the LSO, Brahms’ the West Australian Symphony Orchestra and Susanna in The Nootka and Bacalov’s Misa Tango in Canada Rinaldo with Michel Plasson, Richard Strauss and productions for Opera Australia Marriage of Figaro for West Australian and the Carmel Bach Festival in California. songs with Orchestra Victoria under Simone and the West Australian Opera. Future Opera, and performances with the Her engagements in 2015 include recitals Young, Schubert’s Winterreise, Saint-Saëns’ engagements include the Grand Théâtre de Melbourne and West Australian Symphony in Sydney and , Beethoven Symphony Hélène, and Britten folksong arrangements. Genève, Mozarteum Orchestra, Salzburg, Orchestras, Australian National Academy No 9 in Melbourne and Messiah with the Upcoming engagements include Bruckner’s Berlin Radio Orchestra and a return of Music with and with Melbourne and New Zealand Symphony Te Deum with the Chicago Symphony appearance at the Vienna State Opera. Ensemble Liaison. Orchestras. Orchestra and Riccardo Muti.

64 65 (1756-1791) [COMPLETED BY FRANZ SÜSSMAYR, ED NOWAK]

Requiem Mass, K 626 Mozart’s Requiem also contains music INTROIT of great tenderness and consolation. In a letter of April 1787 Mozart almost Requiem seemed to welcome death as a friend, but TEDDY TAHU RHODES TSO CHORUS Kyrie resignation with mild protests is probably SEQUENCE closer to Mozart’s real feelings. The best Dies irae evidence is in the music, which seems to Teddy Tahu Rhodes studied with Mary The TSO Chorus is an auditioned group of express acceptance of a world beyond life Tuba mirum and death. Mozart’s instrumentation reflects Adams Taylor and David Harper, is a approximately 80 voices. June Tyzack has Rex tremendae the two facets of the music: fierce, with graduate of the Guildhall School of been Chorusmaster since 2001 and she Recordare trumpets and drums in the sterner sections; Music and Drama and was a finalist in is supported by Assistant Chorusmaster Confutatis coloured elsewhere by the mild, liquid tones of basset horns. the Kathleen Ferrier Award. Roles for Andrew Bainbridge. Founded in 1992 to Lacrimosa Opera Australia have included Dandini (La Mozart’s Requiem is a kind of summation present concert performances of opera, the Amen Cenerentola), Count Almaviva and Figaro of its models and counterparts in the music TSO Chorus in its first five years performed OFFERTORIUM of contemporaries and predecessors. (Le nozze di Figaro), Guglielmo (Così fan La traviata, La bohème, Madama Butterfly, Domine Jesu Haydn’s admiration was surely a tribute tutte), Escamillo (Carmen), Don Giovanni, Carmen and La cenerentola. Since then the Hostias to the Requiem’s successful uniting of Stanley (A Streetcar Named Desire) and different styles and forms. This Requiem repertoire has broadened to include the SANCTUS Billy Budd. He sang Joe (Heggie’s Dead is a cantata mass in the sense that the requiems of Mozart, Fauré, Brahms and BENEDICTUS Sequence (beginning Dies irae) is divided Man Walking) for the San Francisco Opera, Sculthorpe; masses by Haydn, Puccini and AGNUS DEI up into separate choral and solo ensemble Bendrix (Heggie’s The End of the Affair) in movements, but Mozart brought choral Schubert; and symphonies by Beethoven, COMMUNION Houston, Billy Budd in Santa Fe, and Ned and solo movements into balance with Mendelssohn and Vaughan Williams. Many Lux aeterna Keene (Peter Grimes) and Escamillo for the each other. In his earlier unfinished Mass performances are broadcast on ABC Classic Cum sanctis tuis in C minor K 427, each movement was Metropolitan Opera, and has appeared with FM. In addition to performing with the TSO developed on a massive scale; Mozart may the opera companies of Cincinnati, Dallas, Haydn said that Mozart’s fame would be and touring regional Tasmania, the TSO have felt it lacked stylistic unity. Philadelphia and Austin. In Europe he secure if he had written nothing but the Chorus is frequently invited to augment Requiem, but it is a problematical work, Given that sacred music is an inherently sang Stanley for the Theater an der Wien, conservative genre, it is no surprise that interstate symphonic choirs. Since 2006 the which Mozart did not live to complete. Escamillo and Al Kasim (Henze’s L’Upupa) Mozart, mortally ill and agitated while the Requiem includes Baroque elements, TSO Chorus has performed at the Sydney in Hamburg, Papageno (Die Zauberflöte) composing it, chose the key of D minor: revealing the impact of Bach and Handel. Opera House, the Adelaide Festival and The use of Gregorian melodies, as at the for the Welsh National Opera, Escamillo one associated with tragic drama in works Perth Concert Hall. In 2012 members of the such as Don Giovanni or the D minor Piano words “Te decet hymnus”, was common in in Paris and Munich, and Lescaut (Manon Concerto. The terrifying drive of the Dies Austrian masses, and occurs in a strikingly TSO Chorus made their international debut Lescaut) in Leipzig. He sang his first Scarpia irae; the powerful rhythmic bite of the Rex similar way in a Requiem by Michael Haydn, (Tosca) for the West Australian Opera. He augmenting WASO Chorus in performances tremendae, with its contrasting “Salva me”; brother of Josef, which Mozart heard in filmed The Little Prince for BBC television, of Brahms’ Ein deutsches Requiem in Hong the Confutatis – all these are painted with Salzburg 20 years before. Michael Haydn’s the dramatic intensity of a composer who is a remarkable and stern work, with appears on the DVDs of Peter Grimes (EMI) Kong with Jaap van Zweden and the Hong believed he was writing his own Requiem. resemblances to Mozart’s in content and and Carmen (Deutsche Grammophon) from Kong Philharmonic Orchestra. Concerts The commission for the work was delivered scoring: like Mozart, the younger Haydn the Metropolitan Opera, and has recorded with the TSO in 2015 include the Mozart by a messenger in grey acting on behalf of banishes flutes, oboes and horns, and extensively for ABC Classics. Future Requiem and Cherubini’s Requiem in C an anonymous patron. In Mozart’s mind he uses the three trombones characteristic was an emissary of death. We now know of Salzburg church music. So the musical engagements include Méphistophélès minor and, at the , the that he was a servant of Count Walsegg- experience of Mozart’s youth and maturity (Faust), Don Giovanni and Don Alfonso for Berlioz Te Deum with the Sydney Symphony Stuppach, who liked to pass off music by fused, in the urgency of death’s imminence, Opera Australia. and Sydney Philharmonia Choirs. professional composers as his own. into a testament of church music “as

66 67 work from. It seems unlikely, on the basis of INTROIT INTROIT Süssmayr’s original compositions, that he Requiem Requiem could have composed such a movement Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, as the Benedictus unaided. It is not known et lux perpetua luceat eis. and may light perpetual shine upon them. whether the repetition of the Kyrie fugue Te decet hymnus Deus in Sion, To you, O God, praise is given in Zion, for the “Cum sanctis tuis” was his idea or et tibi reddetur votum in Jerusalem. and prayer shall go up to you in Jerusalem. Mozart’s. Exaudi orationem meam, Give ear to my supplication, The chief criticisms of Süssmayr’s ad te omnis caro veniet. to you shall all flesh come. completion concern the instrumentation Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, and the filling out of inner parts. Some of et lux perpetua luceat eis. and may light perpetual shine upon them. the part-writing and distribution is inept; Kyrie Kyrie above all, scoring the entire work for the Kyrie eleison. Lord, have mercy upon us. same instrumental palette is monotonous Christe eleison. Christ, have mercy upon us. and often heavy. The trombones are used Kyrie eleison. Lord, have mercy upon us. in inappropriate places and with a lack of SEQUENCE SEQUENCE restraint, but the tenor trombone solo in Dies irae Dies irae the Tuba mirum is undoubtedly Mozart’s. Dies irae, dies illa, The Day of Wrath, that day The extent of Süssmayr’s contribution has Solvet saeclum in favilla, shall dissolve the world in ashes, always been a matter of controversy, and Teste David cum Sibylla, as David and the Sibyl testify. scholars incline to the view that it was less than used to be thought. Nevertheless, Quantus tremor est futurus, What trembling shall there be Mozart’s Requiem is with us in a form partly Quando judex est venturus, when the Judge shall come determined by Süssmayr, and in that form Cuncta stricte discussurus! who shall thresh out all thoroughly! it has remained, ever since the early 19th IT IS BELIEVED THAT MUSIC FROM MOZART'S Tuba mirum Tuba mirum REQUIEM WAS FIRST PERFORMED AT THIS CHURCH, century, one of his most admired and loved Tuba mirum spargens sonum The trumpet, scattering a wondrous ST MICHAEL'S, VIENNA, ON 10 DECEMBER 1791, works. Per sepulcra regionum, sound through the tombs of all lands, FIVE DAYS AFTER THE COMPOSER'S DEATH © David Garrett Coget omnes ante thronum. shall drive all unto the throne. transcendental”, writes Karl Geiringer, “as it Mors stupebit et natura Death and nature shall be astounded is human, as out of terror and guilt it leads The TSO first performed this work with conductor Cum resurget creatura when all creation shall rise again Vladimir Verbitsky, soloists Merlyn Quaife, Judicanti responsura. to answer the judge. us gently towards peace and salvation”. Elizabeth Campbell, Christopher Doig and John Wegner, and the Tasmanian Conservatorium Liber scriptus proferetur A written book shall be brought forth Mozart’s Requiem, then, is a treasure Chorale in Hobart and Launceston on 8 and of artistic heritage, but it is a flawed 9 November 1991. The most recent TSO In quo totum continetur in which shall be contained all masterpiece, incomplete. The manuscript performance was with Johannes Fritzsch, Emma Unde mundus judicetur. for which the world shall be judged. shows that Mozart had completed the Matthews, Catherine Carby, David Hamilton, Stephen Bennett and the TSO Chorus in Hobart Judex ergo cum sedebit And therefore when the Judge shall sit, Introit in full score. Other sections are on 11 November 2006. Quidquid latet apparebit: whatsoever is hidden shall be manifest: half finished, vocal parts written in full, Nil inultum remanebit. and nothing shall remain unavenged. instrumental parts sometimes complete, sometimes only sketched. These are: Quid sum miser tunc dicturus, What shall I say in my misery? the Sequence as far as bar eight of the Quem patronum rogaturus, Whom shall I ask to be my advocate, Cum vix justus sit securus? When scarcely the righteous may be without fear? Lacrimosa; the Domine Jesu Christe and Hostias. There is no proof of any Mozart in Rex tremendae Rex tremendae the ending of the Lacrimosa, the Sanctus, Rex tremendae majestatis, King of awful majesty, Benedictus and Agnus Dei. Qui salvandos salvas gratis; you who freely save the redeemed; Mozart’s widow was naturally anxious to Salva me, fons pietatis. save me, O Fount of Pity. collect the composition fee, and after other musicians had declined the task Recordare Recordare of completion gave it to Franz Xavier Recordare, Jesu pie, Remember, merciful Jesus, Süssmayr, Mozart’s pupil, who had assisted Quod sum causa tuae viae that I am the reason for your journey, Ne me perdas illa die. let me not be lost on that day. him with many late works. We do not know what sketches Süssmayr may have had to

68 69 Quaerens me sedisti lassus Seeking me, you sat weary. Hostias Hostias Redemisti crucem passus; You redeemed me, suffering the Cross: Hostias et preces tibi, Domine, We offer unto you, O Lord, Tantus labor non sit cassus. let not such labour have been in vain. laudis offerimus. sacrifices and prayers of praise. Tu suscipe pro animabus illis, Receive them on behalf of those souls Juste judex ultionis, O just Judge of Vengeance, quarum hodie memoriam facimus. whom we commemorate today. Donum fac remissionis give the gift of redemption Fac eas, Domine, Make them, O Lord, Ante diem rationis. before the day of reckoning. de morte transire ad vitam. to cross over from death to life, Ingemisco tamquam reus: I groan as one guilty; Quam olim Abrahae promisisti, as once you promised to Abraham Culpa rubet vultus meus. my face blushes at my sin. et semini ejus. and his seed. Supplicanti parce, Deus. Spare the supplicant, O God. SANCTUS Qui Mariam absolvisti You who absolved Mary Sanctus, sanctus, sanctus, Holy, holy, holy, Et latronem exaudisti, and heard the prayer of the thief, Dominus Deus Sabaoth. Lord God of Hosts. Mihi quoque spem dedisti. you have also given hope to me. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Preces meae non sunt dignae, My prayers are not worthy, Sed tu, bonus, fac benigne, but you, O good one, show mercy, BENEDICTUS Ne perenni cremer igne. lest I burn in everlasting fire. Benedictus qui venit in nomine Domini. Blessed is the one who comes in the name of the Lord. Inter oves locum praesta Give me a place among the sheep, Hosanna in excelsis. Hosanna in the highest. Et ab haedis me sequestra, and separate me from the goats, Statuens in parte dextra. setting me on the right hand. AGNUS DEI Agnus Dei Lamb of God, Confutatis Confutatis qui tollis peccata mundi; you who take away the sins of the world, Confutatis maledictis, When the damned are confounded dona eis requiem sempiternam. give them eternal rest. Flammis acribus addictis, and consigned to sharp flames, voca me cum benedictis. call me with the blessed. COMMUNION Lux aeterna Lux aeterna Oro supplex et acclinis, I pray, kneeling in supplication, Lux aeterna luceat eis Domine, Let everlasting light shine on them, Cor contritum quasi cinis, a heart as contrite as ashes, cum sanctis tuis in aeternum O Lord, with your saints for ever: Gere curam mei finis. take my ending into your care. quia pius es. for you are good. Requiem aeternam dona eis Domine, Grant them eternal rest, O Lord, Lacrimosa Lacrimosa et lux perpetua luceat eis. and let light perpetual shine upon them. Lacrimosa dies illa That day is one of weeping Qua resurget ex favilla on which shall rise again from the ashes Cum sanctis tuis Cum sanctis tuis Judicandus homo reus. guilty humankind, to be judged. Cum sanctis tuis in aeternum: With your saints forever; Huic ergo parce, Deus. Therefore spare this one, O God. quia pius es. for you are good. Pie Jesu Domine: Merciful Lord Jesus: Dona eis requiem. Grant them rest.

Amen Amen Amen. Amen.

OFFERTORIUM Domine Jesu Domine Jesu Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of glory, libera animas omnium fidelium deliver the souls of all the departed faithful defunctorum de poenis inferni, from the torments of Hell, et de profundo lacu; and from the deep pit; libera eas de ore leonis, deliver them from the mouth of the lion; ne absorbeat eas Tartarus, that Hell may not swallow them up, ne cadant in obscurum. and that they may not fall into darkness. Sed signifer sanctus Michael But may the holy standard-bearer Michael repraesentet eas in lucem sanctam. bring them into the holy light; Quam olim Abrahae promisisti, which thou didst promise of old to Abraham Photo page 63: The Last Judgement, Sistine Chapel, et semini ejus. and his seed. Michelangelo Buonarroti [Public domain], via Wikimedia Commons

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