My Tafelmusik … with Shelagh Hewitt Kareda

The first of an ongoing series featuring long-term supporters, “My Tafelmusik” invites donors to share their story in a Tafelmusik house program, and various digital platforms.

 Individual support is integral to Tafelmusik. It funds live concerts in Toronto and across the world, education programs for young people, innovative new multi-media and recording projects … in addition to bringing renowned guest artists to our stage.

By Shelagh Hewitt Kareda, Tafelmusik donor

I grew up in Toronto at a time when the arts were beginning to flourish in the city. From a very early age my parents took me to the ballet, to the theatre, and to concerts. At four years old I began music lessons, first Rhythm Band and then piano with 90-year-old Mrs. Tattersall. Each week, she would play a little piece of classical music and tell me about the life of the composer when he was a child.

At the University of Toronto I met Urjo Kareda, whom I later married, and my real education in classical music began. I had been resistant to opera, but he skillfully, as he did with his public audience, turned me into a devotee, with one exception: Wagner, with whom I drew the line.

Music was always an essential part of our life together and our range of listening was wide, including classical, popular, vocal, instrumental, opera, musicals, choral, soloists, contemporary, and ancient. Of all of these it was baroque music to which I was particularly drawn, with Bach leading the pack.

Since Tafelmusik appeared on the Toronto music scene in 1979, I have been a devoted fan, at first only when Urjo was reviewing, but soon going to other concerts throughout the season and then as a subscriber. It has been wonderful to watch the orchestra, and the variety of musical presentations, grow under Jeanne Lamon’s leadership. I love to see musicians whom I feel I know well both in the orchestra and as special guests, and of course, it is always exciting when new talent appears and gradually takes leadership roles in their section.

It is very important to me that Tafelmusik continue its fine work, both on stage and in its teaching role. I subscribe to Tafelmusik because it gives me so much pleasure. I donate to Tafelmusik so that its future will be secure for the generations that follow us.


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inspiring the love of baroque and classical music. Give today!

Tom Georgi’s “Baroque Bootcamp”

Tafelmusik violinist Thomas Georgi started a Baroque Boot Camp this summer where a bunch of musicians congregate at his house every second Monday morning and just fawn over baroque music together.

We asked two of the musicians to share their experience with us. Raha Javanfar and Kailey Richards are no strangers to Tafelmusik. Raha is Tafelmusik’s projections designer for Alison Mackay’s multimedia productions, and Kailey is enrolled in the Master’s program at University of Toronto, studying with Tafelmusik musicians. As well, both Raha and Kailey are alumni of Tafelmusik’s Baroque Summer Insititute (TBSI).

Don’t miss the Baroque Boot Camp recital on August 23 at 7pm at Heliconian Hall. It’s a Pay-What-You-Can concert and everyone is welcome.

Julia Wedman, Gretchen Abberger, Molly Evans, Andrew Dicker, Kailey Richards, Raha Javanfar, and Elena Spanu

By Raha Javanfar

Raha Javanfar. Photo credit: Jen Squires

Well, for a gathering that includes friends getting together, playing beautiful music, sharing a lovely meal, and having some laughs, “Boot Camp” seems like an unfair description! Thomas Georgi’s Baroque Boot Camp has got to be the most relaxed and enjoyable boot camp ever. It’s quite the casual and delightful affair: gathering around a harpsichord in Tom’s kitchen every other week, about six to eight of us eagerly attend to keep our TBSI chops in shape…not to mention our quiche chops!

Tafelmusik fans who’ve caught any of Alison Mackay’s multimedia concerts like House of Dreams, The Galileo Project, or most recently, Visions & Voyages, may have caught a glimpse of me at some point, sitting at the back of the audience, operating the lights and projections which I design for those shows. But they might be surprised to learn that I’ve been playing violin since I was four years old, and that I now play fiddle in a Western swing band, electric violin in an Afro-funk Persian band, bass and lead vocals in a blues/R&B band, and fiddle and vocals in a jazz/swing/blues/rockabilly band called Voodoo Raha & Speedy Wax (fact: Speedy Wax is none other than Tafelmusik’s own oboist, Marco Cera, disguised as a rip-roaring electric guitar player!)

So how did I get from afro-funk-blues-jazz-swing-rockabilly to Tom’s kitchen? Good question. The truth is that I grew up with very strict and disciplined classical violin training. Clearly, a little rebellion (or creative exploration, if you will!) led me down some other musical roads, but at the bottom of my heart and in the depths of my soul lies a tremendous love for classical music, and more specifically: baroque.

After almost a decade of watching the masterful members of Tafelmusik play their instruments effortlessly and hearing the beautiful pieces that they bring such gorgeous interpretations to, I finally couldn’t stand it anymore! I was dying to try my hand at a period violin, and aching to play some Telemann, Vivaldi, Purcell, and Bach. And, not just like I’d secretly been doing on my modern violin in the safe privacy of my apartment, but in ensembles with other people. Heck, maybe even on a stage!

So TBSI was the obvious answer. I was so lucky to have the opportunity to attend that marvelous program, and for two weeks, I delved into it like a kid in a candy store. I practised and practised, took notes, paid attention, got corrected, practised some more. It was incredible. I felt so fulfilled … surrounded by other keen students, desperately holding on to their violins for fear of losing them during a shift. We played in orchestras and ensembles, squeezed in extracurricular duets, had private lessons, masterclasses … it was wonderful.

But as the final days of the Institute approached, I felt a doom coming over me. All this time and practising for what!? Only to say goodbye to this period instrument until next year’s TBSI? That didn’t seem quite right. And that’s where Tom Georgi stepped in and saved the day. His bi-weekly boot camp is an opportunity for some of us to keep a foot in that baroque world and gently keep up the practice that we took on so intensely during TBSI. I’ll be honest, having returned to regular life, finding time to practise as often as I’d like it a huge challenge, but the deadline of the next boot camp approaching is a perfect kick in the butt to take the baroque violin (one of Tom’s that he’s kindly lent me!) out of the case, at least a few times between sessions.

One great thing is that the pieces we play range in difficulty. The morning usually starts with everyone reading through one of Telemann’s Concertos for 4 violins (I think this is the first thing that happens? I’m ashamed to confess I’ve been late almost every time! The early start time is the only thing remotely boot camp-ish for me…maybe Tom should be stricter and take away my quiche rights next time I’m late!). If there are more than four people, we just double up on parts (another nice thing about the casual nature of it all … people don’t ever have to ‘sit out’). Then we sometimes practise this monster piece by Reincken that I don’t think too many people know very well. Tom gets very excited about some of the rarer and obscure pieces that he discovers, and it’s a real treat witnessing his joy when something he hasn’t heard before sounds good live! After that, more casual playing of some Leclair duets or Corelli sonatas happen while Tom prepares lunch. And, of course, Boot Camp is not complete until we’ve all enjoyed a lovely quiche and salad lunch.

For me, it’s also a wonderful opportunity to meet people in a musical circle that’s quite different from the one I putter in regularly. I’ve made new friends who I could perhaps continue to play music with even after Tom’s Boot Camp comes to an end (noooo!). Speaking of the end, we are putting on a little pay-what-you-can Boot Camp concert on August 23 at 7 pm at Heliconian Hall! I’m certainly looking forward to that.

All in all, Tom Georgi’s “Summer Baroque Kitchen Boot Camp” is one of the highlights of my summer so far. I’m so grateful to Tom, and I just hope I can practice enough this week and show up on time to the next one!

Kailey Richards

By Kailey Richards

It seems to me that the purpose of Baroque Boot Camp is to explore repertoire and playing with people who are equally as excited about historical performance as I am.

In some ways it is similar to an orchestra rehearsal, but it’s all violins (and viola d’amores and maybe a harpsichord if we’re lucky) so it feels much more like a jam session (meaning many of us on the same parts). Last class, we had both Tom Georgi and Julia Wedman there, and that really made it feel like a jam session with the professionals.

Tom seems to find all sorts of music, some that Tafelmusik has played often and some that no one has ever heard of. We looked at a piece by Reincken and at Bach’s harpsichord transcription of it as well, which I think was new to all of us and really fun to explore. We have also been playing some of Tom’s own arrangements, and it is really interesting to see how he approaches and works with the music.

One of the things I have been thinking about lately is just enjoying seeing how Tom and Julia approach baroque music, especially music they have not heard before. I love watching how they delve into the harmonies and structure and then explore how composers of the time examined the music as well. With the Reincken for example, it was so interesting to see how Bach transcribed the piece and then how Tom and Julia explored it with Bach’s interpretation in mind. I think this approach to studying the music offers not only a new and interesting way to think about it, but also very creative performance possibilities, which would not have been obvious at first glance.

I want to send out a HUGE thank you to Tom for spending the time to organize this!! I feel as a music student in Toronto that I am so lucky to be surrounded by professionals who are not only excited to play themselves, but also willing to share their knowledge with us. I am incredibly grateful.

The Library Facelift

By William Norris, Managing Director

One of the rather crucial elements of putting on a concert is of course the music – as in, the sheet music. It’s probably not something people give a lot of thought to – it’s just there, the musicians play from it, it’s taken for granted. But of course it has to come from somewhere, and most orchestras, Tafelmusik included, have some sort of music library.

Now this blog is not going to get into the detail of how the library works or how it is catalogued or looked after – that’s perhaps the subject of a future post. But it is going to touch on the physical library.

As you may know, Tafelmusik’s offices live in the basement of the Trinity-St Paul’s Centre, and tucked behind the office is a room known as the ‘Orchestra Room’. Its name is slightly misleading however, because actually it’s primary purpose is as Tafelmusik’s Music Library – ably looked after by our Librarian Charlotte Nediger, assisted by Cristina Zacharias.

I say prime purpose because the room also does serve as a space for the orchestra to use – for the men to change and get ready before concerts and also for the orchestra as a whole to hang out and grab a refreshment during rehearsal breaks.

Added to that it has a third purpose – the only real meeting room for our offices. So, as you can imagine it’s a busy space.

As with many arts organizations we focus on investing on what goes on on stage – that’s why we exist. So our offices aren’t what you’d call glitzy or high spec. No downtown skyscraper for us! But we decided that the time had come to give our Orchestra Room a little refresh as it had become quite a dark and cluttered space and not a very nice to meet, work or hang out in.

Luckily we have a bit of a project management star in our office team – a certain Mara Brown. With her help and lots of input from musicians we worked up a plan for a refit. This was no small undertaking – the window of opportunity was small. The library is in such heavy use most of the year that big disruption is just not possible. Plus we had to remove ALL the music, store it and then put it back.

All the work was completed (amazingly) within a two week window. The biggest task was perhaps undertaken by Charlotte and Cristina who had to unpack all the stored music after the construction period, find the best way to utlise the new shelf-space(it’s deeper than before so tissue boxes were used in some places as a crafty way and then put all the music back in the right order.

That done the room is now ready for use. Many of the best things are the little things. So we now have lighting that reaches the end of the room. We have full-length mirrors (so no excuses for not looking immaculate gentlemen of the orchestra!), and for the first time all the musicians have a shelf to call their own to store their instrument and personal effects. And we have a lot more storage space – so as we continue to explore our repertoire and add to our library we now have room to store our exciting new musical discoveries.

Arrivederci Stefano

Arrivedirci Stefano

By Patrick Jordan, viola

After two years of excellent and devoted engagement with Tafelmusik, we bid a very sad farewell to our colleague, violist Stefano Marcocchi. The demands of his family in Italy are such that he has made the very difficult decision to return to Europe.

His beginning with the orchestra was auspicious. In Tafelmusik’s audition process we rarely hire someone outright — we most often propose a trial period of some sort, to make sure that the fit will work. Stefano, presenting himself as a very mature artist at our auditions, was hired immediately.

Stefano performing in "Let Us All Sing! Tafelmusik Chamer Choir at 35" with violist Patrick Jordan, and violinist Thomas Georgi. Photo credit: Trevor Haldenby
Stefano performing in “Let Us All Sing! Tafelmusik Chamber Choir at 35” with violist Patrick Jordan (right), and violinist Thomas Georgi (left). Photo credit: Trevor Haldenby

Our trust in his capacities, passion, and seriousness were well founded. As dubious luck would have it, he joined the orchestra at a moment when we had three different memorized programs in one season, all of which he learned (I think the absence of Isabella, his girlfriend and subsequent wife during that period may have nefariously worked to the orchestra’s advantage …). His broad knowledge, experience, and insatiable curiosity about the business of historically informed performance practice have been a rejuvenation for the entire orchestra.

We are of course a small band, and the violas, for most of the orchestra’s history, have been a section of two. It might not seem obvious from the outside, but two people playing one part requires an incredibly sensitive pair of players, willing to give and take on a minute and dynamic level. We were lucky to attract a fine musician with those skills, but on top of that,  I personally have gotten a new friend, which has been a dream come true.

Dreams too often skitter away, tantalizingly out of our reach. My late father, upon hearing the laments of someone who had been recently jilted, asked that person “Why can’t you just be glad that you had the fun years together that you did?” Those have been encouraging words in the last few months. Indeed, none of us will be here forever, and the good we can do is a fine measure of our efforts. Stefano leaves the orchestra, and his section-mate, considerably better in many ways than when he arrived. Arrivederci caro amico!

Leave a comment below or send your thoughts and wishes to Stefano here or at info [@] tafelmusik [.] org

 

Get-to-know TBSI alum, Matt Antal

Our annual Tafelmusik Baroque Summer Institute is at the halfway point of an intense two weeks of rehearsals, lectures, masterclasses and more. We recently introduced you to TBSI alum and violinist Michelle Odorico. Today, we would like you to meet violist Matt Antal, who is not only a TBSI alum from 2013, 2014 and 2015, but is a current TBSI participant in the first ever Viola d’Amore workshop with Tafelmusik’s Thomas Georgi.

Matt Antal in the 2017 TBSI Viola d’Amore workshop. Photo credit: Lysiane Boulva

Matt first applied to attend TBSI in 2013 on a bit of a whim just before starting his Masters, and it opened up a whole new perspective towards learning for him. Today, both Michelle and Matt are enjoying successful careers as musicians, including performing with Tafelmusik, and we feel privileged to have been able to play a large part in forming those careers. Matt has written about his experiences at TBSI and TWI below.

Matt Antal, viola (far right), performing with Music Director Designate Elisa Citterio and Tafelmusik Baroque Orchestra in Handel Water Music, September 2016. Photo credit: Trevor Haldenby
Matt Antal

I first attended TBSI during the summer before starting my masters in modern viola performance. I had always enjoyed early music, but had never had the opportunity to play a period instrument before, so I really did not know what to expect. Upon arriving, I was immediately immersed into a world full of intelligent people who were friendly and enthusiastic about music — something that is all too rare in my experience.

There is no better feeling than playing music with people that love music just as much as you do. Every single day featured several “mind- blowing” moments, when something I believed to be true my whole life would be disproved, in the best possible way. These moments made me realize how much there is to know and sparked my own desire to discover new topics of my own.

I attended TBSI the following two summers and subsequently TWI the two winters after that, and always looked forward to it as my favourite time of the entire year. I enjoyed not only the music but working with such fantastic teachers and fellow students. So I decided to pursue a Doctor of Musical Arts in early music at the University of Toronto, studying with members of Tafelmusik while gigging around town playing baroque viola almost exclusively.

Join us as we continue to build “baroque for the future” with a charitable gift towards the Artist Training Fund. Your contribution today ensures that musicians like Matt and Michelle have the opportunity to develop into the musicians they are destined to be: well equipped to share their gifts with appreciative audiences everywhere. If you wish to make a charitable gift, please give here.


Matt Antal’s appearances with Tafelmusik

Handel Water Music, September 2016
The Baroque Diva, March 2017

Upcoming Tafelmusik appearances

Mozart’s Piano with Kristian Bezuidenhout, November 2017
Handel Messiah, December 2017

Get-to-Know TBSI alum Michelle Odorico

The sixteenth year of the Tafelmusik Baroque Summer Institute (TBSI) and the sixth year of the Tafelmusik Winter Institute (TWI) are upon us. TBSI and TWI are world-renowned training programs for advanced students, pre-professional, and professional musicians in instrumental and vocal baroque performance practice, led by some of the world’s finest musicians in the field. It is inspiring to look back at a very long list of musicians who have participated in the Institutes over the years. The learning and music-making has enriched the musical lives of students and faculty alike on a level we could barely imagine fifteen years ago.

A baroque dance lesson with TBSI participants led by Opera Atelier’s Co-Artistic Director Jeannette Lajeunesse Zingg, 2013. Credit: Mariana Dempster

There are so many stories to share about our alumni. We remember Alberto from Costa Rica, who worked so hard to bring several members of his ensemble to TBSI, taking back what they learned to a culture where opportunities to study baroque music are almost non-existent. Our Australian tours have inspired numerous young musicians to journey to Toronto to work with us at both TBSI and TWI in a cultural exchange that is energizing for all of us. Violist Elmarie came from South Africa in order to take what she learned back to her students, with the aim of creating a period ensemble there.

There are also many participants who have gone on to appear on the Tafelmusik stage, both singers and instrumentalists, including violinist Michelle Odorico. We would like to introduce you to Michelle who has recently done just that, and was compelled to take up a career as a period performer because of her experience at TBSI and TWI.

Michelle Odorico, violin

Growing up in Pickering, my aunt and uncle would occasionally take me to see Tafelmusik performances. I loved going to these concerts and I believe they gave me a strong attraction to baroque music growing up.

After completing my Bachelor of Music from the University of Ottawa in 2012, a friend and I attended TBSI, thinking it would be a fun thing to do. Little did I know that it would be an intensive university course, jam-packed into two weeks. I was overwhelmed with the depth and amount of information, but was completely hooked. What stood out was how the faculty fostered a safe, encouraging, and inspiring environment — their enthusiasm and patience eased the transition to learning a new style of playing. I loved meeting people from all over the world, and being surrounded by the unique playing styles of my peers and mentors.

I knew after TBSI that this was what I wanted to do, and thanks to Jeanne Lamon and Charlotte Nediger, I was able to begin a Master’s degree in baroque performance at the University of Toronto that fall. I returned to TBSI the following summer, and attended TWI from 2013–2016.

I believe that every musician should go to TBSI. Having this groundwork in place helps bring the music to life. I try to teach these principles of baroque playing to my own students, and I see how much they enjoy learning about them.

My ultimate goal as a musician is to be able to use the baroque violin as a way to communicate and connect to others. Because of TBSI and TWI, I have been able to do this much more than I ever could have anticipated.

Join us as we continue to build “baroque for the future” with a charitable gift towards the Artist Training Fund. Your contribution today ensures that musicians like Matt and Michelle have the opportunity to develop into the musicians they are destined to be: well equipped to share their gifts with appreciative audiences everywhere. If you wish to make a charitable gift, please give here.


Appearances with Tafelmusik

Purcell Dido & Aeneas, October 2016
Let Us All Sing!, November 2016
Asia Tour, November 2016
Toronto Education Concerts, January 2017
Visions and Voyages, February 2017
Ontario Tour, March 2017
U.S. Tour, Feb/Mar, 2017
Mozart Mass in C Minor, May 2017

Upcoming Tafelmusik appearances
Handel Alexander’s Feast, February 2018
Beethoven Pastoral Symphony, May 2018
Australia Tour, May/June 2018

Michelle Odorico (violin) with Tafelmusik Baroque Orchestra and  Chamber Choir in Let Us All Sing, November 2016. Credit: Trevor Haldenby

Behind the Musik: Mozart Mass in C Minor

Download the Program Notes | Download the Program Listing

PROGRAM NOTES
By Charlotte Nediger

Haydn Symphony no. 98 in B-flat Major

Johann Peter Salomon

Haydn’s life changed quite abruptly in 1790 with the death of Prince Nikolaus Esterházy, his employer for almost 30 years. His son and successor, Prince Anton, had little interest in music and disbanded the court orchestra. Haydn moved to Vienna, and was soon visited there by Johann Peter Salomon, a German-born violinist who had moved to London and established a career as a successful impresario. It is reported that Haydn’s visitor announced himself with the famous words: “I am Salomon of London and have come to fetch you. Tomorrow we will arrange an accord.”

An accord was indeed arranged, and the pair left for London shortly thereafter, on December 15, 1790. In a letter home, Haydn wrote of his arrival:

[After the journey] I am fresh and well again, and occupied in looking at this endlessly huge city of London, whose various beauties and marvels quite astonished me. My arrival caused a great sensation throughout the whole city, and I went the rounds of all the newspapers for three successive days. Everyone wants to know me. I had to dine out six times up to now, and if I wanted, I could dine out every day; but first I must consider my health, and second my work. Except for the nobility, I admit no callers until two o’clock in the afternoon, and at four o’clock I dine at home with Mr Salomon … Everything is terribly expensive here … I wished I could fly for a time to Vienna, to have more quiet in which to work, for the noise that the common people make as they sell their wares in the street is intolerable. At present I am working on symphonies.

Salomon’s series opened in March 1791, two months after their arrival, and several of Haydn’s works were performed with great success. Performances were co-directed by Haydn at the keyboard (alternately the harpsichord or fortepiano, whichever was at hand), and by Salomon at the violin: he apparently stood in the curve of the keyboard instrument. For Haydn the experience of the audience was entirely different from that at the Esterházy court: this was a paying public, keen to be entertained, and vocal in their response. It was usual for the audience to applaud each movement, and to insist upon instant encores of favourite movements.

Haydn was persuaded to stay another year, and he spent the summer months at various country estates, away from the noise of the city. A second concert season followed in March 1792, and this included the premiere of Symphony no. 98. The symphony is often cited as the most personal of Haydn’s London symphonies, probably because it was composed soon after Haydn heard of Mozart’s untimely death. Haydn and Mozart were very close friends, greatly admiring each other’s work. Just before leaving for London, Salomon, Haydn, and Mozart dined together. Haydn’s friend and biographer A.C. Dies recounts:

… at the moment of parting, Mozart said, “We are probably saying our last adieu in this life.” Tears welled in both men’s eyes. Haydn was deeply moved, for he applied Mozart’s words to himself, and the possibility never occurred to him that the thread of Mozart’s life could be cut by the inexorable Fates the very next year.

The second movement is thought to be an homage by Haydn to his friend, opening with a quotation from the Agnus Dei of Mozart’s Coronation Mass, and later quoting a passage from the “Jupiter” Symphony. The final movement of the symphony is noteworthy, both as the longest finale of all of Haydn’s symphonies, and also for the inclusion of passages marked “Salomon solo” (i.e. for solo violin), and for a passage at the end marked “Haydn solo,” a short and witty little solo for the keyboard, described in a contemporary account of the first performance as “a passage of attractive brilliancy.” Audiences called for encores of both the first and fourth movements at the premiere.

Haydn left London to return to Vienna after the 1792 season, returning again in 1794 for one more year. It is a testament to Haydn’s popularity in London that Salomon’s tombstone in Westminster Abbey states simply, “He brought Haydn to England in 1791 and 1794.” The wonderful eighteenth-century music journalist Dr. Charles Burney wrote:

… it is well known how much [Haydn] contributed to our delight, to the advancement of his art, and to his own fame, by his numerous productions in this country and how much his natural, unassuming, and pleasing character, exclusive of his productions, endeared him to his acquaintances and to the nation at large.

Mozart Mass in C Minor

Constanze Mozart

During his employ at the archiepiscopal court in Salzburg, Mozart wrote a great deal of music for the Catholic church. After leaving Salzburg, Mozart wrote only a few sacred compositions: the motet Ave verum corpus, and the incomplete Mass in C Minor and Requiem. Ironically, the two incomplete works are Mozart’s great sacred masterpieces. Both are works of intensely powerful expression, masterful complexity, and sublime beauty. They are large-scale works, and even in their incomplete form give an impression of grandeur.

Although Mozart’s failure to complete the Requiem Mass can be explained by his final illness, the reasons for leaving the C-Minor Mass incomplete remain a mystery. Nor is it known with certainty why he undertook the composition of a full-scale mass in 1782, a year after leaving Salzburg. In a letter to his father dated January 4, 1783, he wrote:

I have truly promised this in my heart and hope to fulfill it … a proof of the reality of my promise, however, is the score of half a Mass, of which I have high hopes.

As to what he promised in his heart, it is thought that it was a vow to perform a new mass in Salzburg if he succeeded to bring Constanze there as his wife: after a difficult courtship they had married in August 1782. Others suggest it was connected with Constanze’s first pregnancy: a son was born in June 1783, but lived for just two months. In any case, the Mass was performed at St. Peter’s Church in Salzburg on October 23, 1783, with Constanze singing one of the solo soprano roles. In the performing score and parts, only the Kyrie, Gloria, and Benedictus are complete. The Credo breaks off after the Et incarnatus est, and the Agnus Dei is missing entirely. The orchestral parts for portions of the Credo are incomplete. It is not known how the 1783 performance was accomplished: whether, for example, parts were actually finished and subsequently lost, or whether Mozart completed the mass with a pastiche of earlier movements. In any case, the music that remains is remarkable. It is written in the form typical of baroque masses, with the text set in separate movements rather than set continuously, as in later masses. At the time of composition, Mozart was intensely studying works by Handel and Bach, and this is evident throughout the Mass, particularly in the choral writing. To this he adds two virtuoso solo soprano arias inspired by Italian opera. The result is a work that is a summation of the eighteenth century, and at the same time the work of a remarkably creative and original mind.

© Charlotte Nediger


PROGRAM LISTING

Directed by Ivars Taurins & Elisa Citterio, violin
Julia Doyle & Joanne Lunn, sopranos
Asitha Tennekoon, tenor
Joel Allison, bass-baritone
May 4–7, 2017, Koerner Hall, TELUS Centre for Performance and Learning

JOSEPH HAYDN 1732–1809
Symphony no. 98 in B-flat Major (London, 1792)
Adagio – Allegro
Adagio
Menuetto & Trio
Finale: Presto

INTERMISSION

WOLFGANG AMADEUS MOZART 1756–1791
Mass in C Minor, K.427 (Salzburg, 1783)
Mozart Mass edited by Franz Beyer (Amadeus Verlag)