Any discussion of past or present requiems inevitably begins with Wolfgang Amadeus Mozart’s 1791 Requiem, a work that has found itself the subject of myth and speculation, largely due to the fact that the composer died before its completion. It is reported that Mozart, suspecting his death was imminent, discussed its completion with his student Franz Xavier Süssmayr—a process that was followed through by Mozart’s widow in order to obtain the final payment on the work’s mysterious commission. Over the years, there have been various attempts at re-thinking the Requiem completion, including one by musicologist Robert D. Levin from 1993 that is the version offered up by Maestro Aram Demirjian and the Knoxville Symphony Orchestra on its Masterworks concerts this week.
Orchestras often construct concerts around Mozart’s Requiem by including others from the composer’s final major works, like the Piano Concerto No. 27, the Clarinet Concerto, the operas Die Zauberflöte or La clemenza di Tito, and certainly the motet Ave Verum Corpus. Maestro Demirjian went in a different intriguing direction, choosing two works by other composers that claim similarity of attitude (TJ Cole’s Death of the Poet) or similarity of thematic spirit (Villa-Lobos’ Sinfonietta No. 1 in B-flat Major). To my knowledge, both works were new to the KSO audience, but both surprisingly appreciated for their sophistication.
Admittedly, though, everyone was there for the Requiem—and this Requiem did not disappoint with its balance of solemnity, sadness, drama, and tradition. For the occasion, KSO was joined by its regular choral partner, the Knoxville Choral Society. The quartet of soloists produced an articulate and solid front. Bass David Crawford sang with powerful depth of authority and clarity that commanded attention—certainly the highlight of the Tuba Mirum. Mezzo-soprano Emily Marvosh commanded attention as well for her stunning vocal texture that set up some lovely contrasts with the other voices. Norman Shankle’s attractive tenor was able to cut through the choral density and soprano Abigail Santos Villalobos offered a lovely high end clarity.
The KCS, always admired for its diction and crispness in a diverse-age choral force, was prepared by John Orr, KCS director.
There is one more performance of this concert, headlined by Mozart’s Requiem, tonight (April 21)at 7:30 PM at the Tennessee Theatre. Tickets and Information.
