It is one of the great legends of classical music – and there are many – the mysterious black-clad messenger, evolved over time into a figure of Death, who brought the commission to Mozart for a Requiem, which Mozart may well have felt was his own as he was dying as he wrote, and it remained unfinished.
But there is no mystery about who the patron was. He was Count Walsegg, who wanted the music as a memorial to his wife Anna, who died young. The Count had the rather unendearing habit of asking his guests who had written the latest piece played to them at his regular music soirées, and he simply loved it when they suggested it might be him, and never denied it. It seems more than unlikely, if he asked anyone after the Requiem, finished by Franz Xavier Süssmayer, that they could really have thought it was the Count’s composition! Süssmayer was at Mozart’s bedside being instructed on how he should finish the piece. The last time Mozart was able to move was to try to hum the drum passage in the Requiem.
But the concert did not begin with the relatively short Requiem, but instead with one of Mozart’s piano concertos. This, of course, was played by James Sherlock on a modern grand piano. It was composed in 1788. I regularly show my visitors to RAM our 1785 Square Piano made by Christopher Ganer which is exactly the sort of instrument on which this concerto would likely have been played. With its rather tinkly sound, it would have been slightly up against it when playing with a chamber orchestra. James conducted, (when he could) as well as playing, which would have been quite normal at the time, and of course has long been re-introduced when it would be authentic, just as we have the harpsichordist for conductor in the pit for operas, leading to Joseph II rather letting down the Enlightenment when he told Mozart there were too many notes in one of his operas. One wonders what Mozart would have thought if presented with, say, a Steinway? Would he have been pleased? Ensemble Passio is incredibly consistent, whoever is playing, and were on excellent form. Mozart was very good at writing gratifying parts for the woodwind, to give it a chance to shine in the ensemble. I had not heard James play Mozart as far as I know; he obviously enjoyed himself as much as we did.
There was then a short pause while various bits of furniture and instruments were heaved around and then the Requiem could begin. Mozart would, I think, have loved the acoustics in this church, built only a few years before he was born – and I always think we have rather a Euro-look. Though there is hardly any totally solo singing, Christine Buras, our American soprano (it always prints that in the programme) was the lucky lady who got one – and grabbed her chance – and quite right too. Kathy Nicholson with her generous warm voice was our mezzo (and may I just mention the Pie Jesu in the Duruflé Requiem on Remembrance Sunday morning). Paul Robinson, as ever, was our Go-to Man for the tenor. And just to be quite clear – if you are in an opera at the RAM, soloist or chorus, rehearsals are compulsory. As reported in last month’s magazine*, Nicholas Mogg is “Don Giovanni” for RAM opera before the end of the month. He has been working 6 days per week, but was expecting to be free on Saturday. They changed the rehearsal schedule and there was nothing he could do. Step forward another example of the RAM, and the Cambridge Mafia to be found there. Malachy Frame, from Northern Ireland, is recent ex-RAM and he was back from the Wexford Festival in time to offer good baritone support. It was, for me, nice to catch up!
My experience of the Mozart Requiem has been watching it from time to time on the Proms on TV. I hadn’t really thought through that it was one of the Requiems which goes all out for gloom and doom. This gave great chances to two young trombonists who looked as if they shouldn’t be there without Mum, but they set to with a will on “Tuba mirum” and “Rex Tremendae” and made a very fine sound (I’ve never hidden my penchant for brass). The choir was impressive in volume and size. Handley seems to have a magic knack for finding tenors – and it was great to see the vicar on song in the bass line! Some of the very young ladies looked a bit lost, but they coped! Both James’s parents sang too. The bassoon also got a nice outing. I am delighted to report that Alison Bury and her colleagues are quite willing to go on playing for us when Mr A N Other arrives, if it suits him.
But I think James – and the administrators of the conducting course – made the right decision. This is his strongest suit – and getting stronger.
Mozart Requiem
Suzanne Pinkerton