From the outset a sacred, heavenly sound was heard throughout the Usher Hall auditorium as three motets, written by Anton Bruckner, were performed by The Edinburgh Academy Choir and Choral Society, accompanied by trombones and organ.
The performance of the three motets, written between 1869 and 1885, demonstrated musicality and pure vocal timbre, and displayed evidence of Bruckner's ingenious, devotional character - often said, the emotional key to his music.
The second piece of the evening was Stamitz's clarinet concerto in B flat major, performed by Andrew Scott. Due to Andrew feeling unwell, his performance was stopped part-way through the first movement, Adagio moderato. However, it was evident that this young soloist captured the stylistic nuances of the work, supported by a sound technique – best wishes to him in future study and performances.
Commissioned by a 'stranger in grey,' Mozart began work on the Requiem in 1791 – albeit, convinced the Requiem would be for him!
Although he was busy with the score of Die Zaubeflűte, he promptly started work on the Requiem and completed the Requiem aeternam and Kyrie eleison, returning to the work in September, 1791. Mozart being In poor health prior to his untimely death, Franz Sűssmayr is credited with the completion of the work.
The combined talent and versatility of soloists, choral and orchestral members and conductor was evident throughout the performance as heard in the Kyrie eleison, a magnificent choral fugue; the grand and awesome choral setting of Dies irae; the trombone solo, and for the first time the combined solo voices heard in Tuba mirum; the imposing choral Rex tremendae; the beautiful performance of Recordare with solo voices entering imitatively; the dramatic Confutatis, and the most touching choral Lacrimosa.
Time: Sunday 17th June, 2013 at 7.30 pm