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Mozart Requiem Libretto Toronto Symphony Orchestra Sir Andrew Davis, Interim Artistic Director Wednesday, January 15, 2020 at 8:00pm Thursday, January 16, 2020 at 8:00pm Friday, January 17, 2020 at 7:30pm Saturday, January 18, 2020 at 8:00pm Mozart Requiem Sir Andrew Davis, conductor Jenavieve Moore, soprano Jillian Bonner, mezzo-soprano Charles Sy, tenor Trevor Eliot Bowes, bass Toronto Mendelssohn Choir Jenavieve Moore, Jillian Bonner, Charles Sy, and Trevor Eliot Bowes are members of the Equilibrium Young Artists initiative. Wolfgang Amadeus Mozart Symphony No. 39 in E-flat Major, K. 543 I. Adagio – Allegro II. Andante con moto III. Menuetto: Allegretto IV. Finale: Allegro Intermission Wolfgang Amadeus Mozart Requiem, K. 626 (compl. by Süssmayr) I. Introitus – Requiem IV. Offertorium II. Kyrie Domine Jesu III. Sequenz Hostias Dies irae V. Sanctus Tuba mirum VI. Benedictus Rex tremendae VII. Agnus Dei Recordare VIII. Communio Confutatis Lacrimosa The January 15 performance is generously supported by Blake and Belinda Goldring. Appearances of Sir Andrew Davis this season are generously supported by Hans and Susan Brenninkmeyer. Appearances of the Equilibrium Young Artists are generously supported by Sharon Groom and Robert Polese. As a courtesy to musicians, guest artists, and fellow concertgoers, please put your phone away and on silent during the performance. JANUARY 15, 16, 17 & 18, 2020 17 ABOUT THE WORKS superficial. Beneath the euphonious surface, tempests sometimes rage. Even in the slow movement, a warmly lyrical outpouring, there Wolfgang Amadeus Mozart are dark and troubled passages. In fact, the symphony is rife with surprising harmonic Symphony No. 39 in E-flat digressions; the ostensibly joyous finale, a Major, K. 543 whirling contredanse, passes through keys (both major and minor) as distant as E, B, and F-sharp. Born: Salzburg, Austria, Jan 27, 1756 Emotional and psychological complexity were Died: Vienna, Austria, Dec 5, 1791 typical of the later Mozart, even in those works Composed: 1788 27 that seem the most complacently “Classical.” min Over the years there have been many attempts to unlock the underlying meaning of this remarkable symphony. For instance, the key Mozart composed his last three symphonies, of E-flat major, which has three flats in its key his greatest works in this form, in a signature, had special Masonic significance remarkable six-week period in the summer of for Mozart: it is the principal key of some of 1788. The impetus for this ambitious project the music he wrote for Masonic lodges; of has never been conclusively determined. The The Magic Flute, which alludes unmistakably evidence suggests, however, that he wrote to Freemasonry; and of the Divertimento for them in haste for a planned concert series. string trio, K. 563, which he wrote for a fellow- Difficult as it is to imagine that an inspired Mason. It was also, at least in part, a tribute to and original masterpiece like No. 39 was his friend and mentor Joseph Haydn. It opens dashed off by a cash-strapped composer who with a slow introduction, a device invented by considered a symphony to be less important Haydn, and its finale, like so many movements than a piano concerto or opera, most likely by Haydn, is built up almost entirely from a that is what happened. little motif introduced in the opening bars. As These last three symphonies are astonishingly the motif is batted around like a shuttlecock individual. No. 40 is dark, passionate, throughout the orchestra, we hear that Romantic, and tragic, while No. 41—the marriage of high comedy and intellectual “Jupiter”—is bright, formal, Olympian, and rigour so characteristic of Haydn’s art. optimistic. No. 39 has never incited as much No. 39 builds its originality on topics that were admiration or discussion as its two cousins; clichés of 18th-century music. The magnificent it is both less conspicuously eccentric and Adagio introduction, for instance, features less problematical. That being said, it is the the pompous dotted rhythms and rapid scale most melodious, the most graceful, sociable, figures characteristic of the stately ouverture, and accessible of the last three symphonies, a staple of French Baroque court music. The a study in pure sonority. There is no more Allegro, in 3/4 time, has the courtly elegance of a vibrantly colourful Mozart symphony: the French minuet. In the third movement, the Trio music shimmers. Mozart creates an especially is a sweet, gently ironic country dance, based “open” and radiant sound by using a flute on a tune—assigned to his beloved clarinet— and two clarinets and omitting the plangent, borrowed from an actual Austrian Ländler, and penetrating sound of the oboe. He persistently set against a homely oom-pah accompaniment. pits the sonorities of strings and woodwinds As in all of his late symphonies, there is a whole against each other to brilliant effect. world in No. 39; the music is as inclusive and If beauty takes precedence over profundity in accommodating as it is idiosyncratic. No. 39, the music is by no means simplistic or Program note by Kevin Bazzana 18 TORONTO SYMPHONY ORCHESTRA Wolfgang Amadeus Mozart Desperate for funds, Mozart’s wife Constanze Requiem, K. 626 took it upon herself to find someone to complete the Requiem so that she could sell (compl. by Süssmayr) it as Mozart’s. The project was undertaken by Composed: 1791; compl. 1792 one of Mozart’s pupils, Franz Xavier Süssmayr. 60 min Thanks to his efforts, the Requiem was completed by February 1792, and Constanze was paid the full amount owed. It is perhaps one of the greatest paradoxes of Not surprisingly, the Requiem does not classical music that perhaps the most-often resemble any of Mozart’s earlier large- heard and best-loved of Mozart’s works is scale choral works. Gone are the operatic the one of which he actually composed the flourishes evident in his earlier choral works. smallest percentage. The circumstances of his Likewise, the work both lacks the brilliance Requiem’s composition are by now common of his earlier choral works and eschews the knowledge. In July 1791, Mozart received a apocalyptic drama of the later Requiems by commission, via anonymous courier, from the Verdi and Berlioz. Notably, Mozart omits the Count Franz von Walsegg, a Viennese nobleman upper woodwinds, using no flutes, oboes or with a habit of commissioning music from well- clarinets, and no French horns. The resulting known composers and then passing it off as his tone is undeniably dark, but warm, with none own. His offer was substantial, and Mozart, ever of the desperation of a man who knows his on the edge of poverty, accepted. end is nigh, as has often been suggested. Mozart set to work on the Requiem in October Süssmayr’s work has been harshly criticized, 1791, but had completed only a fraction of the not without good reason: the Requiem is full work before taking to his bed in mid-November, of errors in harmony, and his musical ideas with what was to be his final illness. At the time were no match for Mozart’s. However, despite of his death, only the introductory “Requiem its detractors, the Süssmayr completion of Aeternam” was finished. Of the Kyrie, part the Requiem has remained the standard of the Sequenz, and the Offertorium, he had version, despite several new completions in completed only the vocal parts, a bass line with recent years. This may be because, despite figures (to indicate harmonies), and occasional what Süssmayr (or anyone else) might have fragments of instrumental sketches. The done to the Requiem, its tone remains purely remaining movements—Sanctus, Benedictus Mozartean—and the work remains one of the and “Hosanna”, Agnus Dei, and Communio— greatest settings of the Requiem text in history. were apparently completely uncomposed at Program note by Margot Rejskind the time of his death. BRING YOUR RACHMANINOFF & SCHEHERAZADE VALENTINE TO February 14–16 THE TSO! Elim Chan leads the Orchestra in Rimsky-Korsakov’s bewitching Scheherazade, plus Stephen Hough plays Rachmaninoff’s Second Piano Concerto. TSO.CA 416.593.1285 JANUARY 15, 16, 17 & 18, 2020 19 MOZART REQUIEM LIBRETTO I. INTROITUS I. INTROITUS (Solo Soprano and Chorus) (Solo Soprano and Chorus) Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let perpetual light shine on them. Te decet hymnus, Deus, in Sion, A hymn in Zion befits you, O God, et tibi reddetur votum in Jerusalem. and homage will be paid to You in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. to You all flesh will come. Requiem aeternam dona eis, Domine, Grant them eternal rest, O Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. II. KYRIE II. KYRIE (Chorus) (Chorus) Kyrie, eleison. Lord, have mercy on us. Christe, eleison. Christ, have mercy on us. Kyrie, eleison. Lord, have mercy on us. III. SEQUENZ III. SEQUENZ (Chorus) (Chorus) Dies irae, dies illa, Day of wrath, that day of anger solvet saeclum in favilla; when the world will be reduced to ashes; teste David cum Sibylla. as was foretold by David and the Sibyl. Quantus tremor est futurus, Great trembling there will be, quando judex est venturus, when the Judge descends from heaven cuncta stricte discussurus! to examine all things closely! (Solo Quartet) (Solo Quartet) Tuba mirum spargens sonum The trumpet, sounding forth its wondrous call per sepulcra regionum, through the tombs of every land, coget omnes ante thronum. summons all before the throne. Mors stupebit et natura, Death and Nature will be struck powerless, cum resurget creatura, when all Creation rises again judicanti responsura. to give answer to the Judge. Liber scriptus proferetur, A book will be brought forth, in quo totum continetur, in which all will be written, unde mundus judicetur.
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