Mozart Requiem Mass

at the St. Charles Church Vienna

St. Charles Church (just a few hundred meters located from the place Mozart died) is one of Vienna's most impressing and significant buildings. Between April and October it is the ideal location to perform Mozart´s last work the REQUIEM. The concerts are performed by Choir and Soloists of the Salzburg Concert Society as well as by the Orchestra 1756. All together there are more than 40 musicians on stage. The Orchestra 1756 plays on so called historical instruments.

Klassische Konzerte im Wiener Mozarthaus

Orchestra 1756

Mozart’s 250th birthday was used as an opportunity to found the Orchestra 1756 in 2006. The ensemble devotes to the interpretation of music between 1750 and 1800. The unique Mozart sound originates from intensive occupation with the stylistics of the 18th century, historic instruments and balanced formations of musicians. The Choir of Salzburger Konzertgesellschaft depending on the repertoire consists of 16 to 24 singers.

St. Charles Church

Die Wiener Karlskirche In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716. After J.B. Fischer‘s death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church. As a creator of historic architecture, J.B. Fischer united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan‘s Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J.E. Fischer shortened and partly altered. The Karlskirche overlooks Karlsplatz Stadtbahn station.The iconographical program of the church originated from the imperial official Carl Gustav Heraeus and connects St. Charles Borromeo with his imperial benefactor. The relief on the pediment above the entrance with the cardinal virtues and the figure of the patron on its apex point to the motivation of the donation. This sculpture group continues onto the attic story as well. The attic is also one of the elements which the younger Fischer introduced. The columns display scenes from the life of Charles Borromeo in a spiral relief, however they also recall the Pillars of Hercules and act as symbols of imperial power. The entrance is flanked by angles from the Old and New Testaments. This continues in the interior as well, above all, the dome fresco by Johann Michael Rottmayr of Salzburg and Gaetano Fanti which displays an intercession of Charles Borromeo, supported by the Virgin Mary. The cardinal virtues surround the scene. The frescos in a number of side chapels are attributed to Daniel Gran. The high altar painting portraying the ascension of the saint was conceptualized by the elder Fischer and executed by Ferdinand Maximilian Brokoff. The altar paintings in the side chapels are by various artists, including Daniel Gran, Sebastiano Ricci, Martino Altomonte, and Jakob van Schuppen. As strong effect emanates from the directing of light and architectural grouping, in particular the arch openings of the main axis. The color scheme is characterized by marble with sparring and conscious use of gold leaf. Next to the structures at Schönbrunn Palace, which maintain this form but are more fragmented, the Karlskirche is Fischer‘s greatest work. It is also an expression of the Austrian joie de vivre stemming from the victorious end of the Turkish Wars.

Mozart's Requiem

The Requiem has a mysterious history, riddled with deception and manipulation. The work was commissioned by Count Walsegg in July 1791, who wanted to pass off the work as his own, so the circumstances of the commission were kept secret. Upon Mozart's death, Constanze (his wife) had the work completed by other composers, but in order to receive the final payment, their assistance had to be kept secret.

At the same time, Constanze wanted to present the Requiem as being entirely written by Mozart, in order for her to make the most of it. When it became known that others except Mozart assisted with the Requiem, Constanze insisted that Mozart left explicit instructions for the work's completion. Many claimed that Antonio Salieri played a role in the completion and commision of the Requiem as well as involving him in Mozart's death.

The Requiem in d-Moll

The Requiem played, is the one completed by Franz Xaver Süßmayr. The performance lasts approximately one hour.

Introitus: Requiem aeternam, Adagio, d [10] (Choir, Sopransolo, Choir). Followed by:
Kyrie, Allegro, d (Fuge) (Choir)
Sequence:
1. Dies irae, Allegro assai, d (Choir)
2. Tuba mirum, Andante, B (Solistenquartett)
3. Rex tremendae, g (Choir)
4. Recordare, F (Solistenquartett)
5. Confutatis, Andante, a (Choir)
6. Lacrimosa, d (Choir)
Offertorium
1. Domine Jesu, Andante con moto, g (Choir, Solists), Fuge Quam olim Abrahae (Choir)
2. Hostias, Es (Choir) mit Wiederholung der Fuge Quam olim Abrahae
Sanctus, Adagio, D mit Fuge Osanna (Choir)
Benedictus, Andante, B (Solistenquartett) und Fuge Osanna (Choir)
Agnus Dei, d (Choir).
Communio: Lux aeterna, Adagio, d (Sopransolo, Choir) und Allegro, d (Fuge, Choir)