Mozart's Requiem, Brooklyn Conservatory Chorale, Jan 29 &amp

brooklyn conservatory

Subject: Mozart's Requiem, Brooklyn Conservatory Chorale, Jan 29 &amp

The Brooklyn Conservatory Chorale

perform Mozart’s Requiem

Two Concerts:

Friday, January 29, 8pm
Old First Reformed Church
126 7th Ave., at Carroll St. in Park Slope
$10/$5 students & seniors

Sunday, January 31, 3pm
St. Ann’s Church
157 Montague St., at Clinton St. in Brooklyn Heights
$1o/$5 students & seniors

In two momentous concerts not to be missed, the Brooklyn Conservatory of Music proudly presents the Brooklyn Conservatory Chorale and who will be joined by members of the Brooklyn Conservatory Community Orchestra, to perform Mozart’s Requiem.

A dynamic group with high musical standards, the Brooklyn Conservatory Chorale has expanded significantly in the past three years since its founding. The group explores a rich variety of musical styles, both a cappella and with instrumental accompaniment, performing works ranging from the Renaissance period to the contemporary. The Conservatory Chorale is lead by director Nelly Vuksic.

The Requiem Mass in D minor by Mozart was composed in Vienna in 1791, during the last year of the composer's life. The requiem was Mozart's last composition and is one of his most popular and respected works, although the question of how much of the music Mozart managed to complete before his death and how much was later composed by Franz Xaver Süssmayr or others is still debated.

At the time of Mozart's death on 5 December 1791, only the opening movement (Requiem aeternam) was completed in all of the orchestral and vocal parts. The following Kyrie (a double fugue) and most of the Sequence (from Dies Irae to Confutatis) were complete only in the vocal parts and the continuo (the figured organ bass), though occasionally some of the prominent orchestral parts have been briefly indicated, such as the violin part of the Confutatis and the musical bridges in the Recordare. The last movement of the Sequence, the Lacrimosa, breaks off after only eight bars and was unfinished. The following two movements of the Offertorium were again partially done — the Domine Jesu Christe in the vocal parts and continuo (up until the fugue, which contains some indications of the violin part) and the Hostias in the vocal parts only.