- Collegium Vocale Salzburg and its soloists
- Michael Schneider (Rehearsal)
- L’Orfeo Barockorchester
- Michi Gaigg (Direction)
W. A. Mozart: Requiem in d-Moll KV 626
W. A. Mozart: Maurerische Trauermusik KV 477
W. A. Mozart: Misericordias Domini KV 222
J. M. Haydn: Tenebrae facte sunt; Nos autem gloriari oportet
A great myth surrounds Mozart's Requiem, which was tragically to become his own swan song. The genesis of the Maurerische Trauermusik is also characterized by speculation. Is it Masonic music or ecclesiastical music?
Mozart borrowed from Michael Haydn's Schrattenbach Requiem for the choral theme in the Maurerische Trauermusik. He also took Salzburg Haydn's Requiem as a model, as he was involved in its premiere. In Misericordias Domini, the young Mozart sought to reinterpret the roots of the old church style by adapting a motif by the Salzburg composer Johann Ernst Eberlin.
Johann Michael Haydn's highly expressive a cappella works for Holy Week place the concert in the context of the Passion of Christ.
The L'Orfeo Barockorchester and the Collegium Vocale Salzburg under the direction of Michi Gaigg interpret the works directly and without frills with the visceral rhetoric that underlies the music. Enjoy a concert experience that stirs and touches in equal measure.