J.C. Bach: Magnificat in C
Marianna Martines: Dixit Dominus
W.A. Mozart: Requiem in D Minor, K. 626 (Süssmayr)
“Mozart was an almost constant attendant at her parties, and I have heard him play duets on the piano-forte with her, of his own composition. She was a great favourite of his.”
—memoirs of Irish tenor Michael Kelley, 1820s
Don’t miss the chance to hear the first period-instrument performance of Viennese keyboardist, composer, and singer Marianna Martines’ masterpiece. Unjustly neglected, this talented and dedicated musician was a key figure in the musical salons of Vienna, and regularly played duets with Mozart. Dixit Dominus earned her the distinction of being the first woman admitted (100 years after its founding) to the Accademia Filarmonica of Bologna, an exclusive society of composers that still exists today.
Youngest son of J.S. Bach, Johann Christian Bach moved to London when he was just 27 years old. “John Bach,” as he was known in England, met the 8-year-old prodigy Mozart in London, and the two became fast friends and admirers of each other’s work. John Bach’s joyful Magnificat beautifully illustrates his melodic, Italianate style, which was a strong influence on the talented young Mozart.
We close our concert and season with Mozart’s powerful Requiem, commissioned by a mysterious, anonymous patron. Mozart, ill and convinced he was composing his own Requiem Mass, died before finishing the piece, which was completed from his extensive notes by his student, Süssmayr. Marked by the dark colors of basset horns, trombones, and bassoons, and by haunting harmonies, the Requiem remains one of Mozart’s most memorable and moving compositions.