The Scottish Chamber Orchestra, with the SCO Chorus directed by Gregory Batsleer and soloists Louise Alder (soprano), Hanna Hipp (mezzo-soprano), Julien Henric (tenor), and Daniel Okulitch (bass-baritone), conducted by Riccardo Minasi, promised a glorious performance.
The first half featured Haydn’s Paukenmesse (Mass in Time of War) and the second was Mozart’s Requiem. What a programme. The history behind both pieces and their composers is fascinating—thoroughly considered and explained in the programme notes. The original Latin libretti and their English translations are also provided in full, offering an opportunity to compare and contrast the structure of each. But in the moment, in the concert hall, the music must stand on its own.
Haydn’s Paukenmesse and the Magnificence of Choral Music
I guess it helps if you already enjoy Christian choral music, but even for the novice, there are likely passages you’ve heard before. If not, be prepared to be transfixed, transported, and utterly delighted by the sheer magnificence and beauty of this genre. You don’t need to know the meaning or the historical context—fascinating and satisfying as that is—to be completely bowled over by it.
I guess it helps if you already enjoy Christian choral music, but even for the novice, there are likely passages you’ve heard before. If not, be prepared to be transfixed, transported, and utterly delighted by the sheer magnificence and beauty of this genre.
Haydn’s Paukenmesse feels very appropriate for the state of the world right now, although most of the work contains more passages of lightness and celebration than references to the ‘time of war’. But it is worth the wait for the timpani and trumpets which augur war—and perhaps triumph—in the final ‘Agnus Dei’. The programme notes mentioned that natural brass and timpani were to be used throughout the concert, and timpanist Louise Lewis Goodwin received a well-deserved ovation at the end of the Haydn.
Mozart’s Requiem: A Moving Encounter with a Masterpiece
The Mozart was an unfinished piece in his lifetime, completed at his widow Constanze’s request by Franz Süssmayr. At its first performance, it was even attributed to Mozart’s patron, Count Franz von Walsegg. David Kettle’s excellent programme notes are fascinating, but, again, simply listening to the piece is moving and uplifting enough, regardless of whether you know the intricacies of which sections Mozart actually wrote himself.
Each section has a voice of its own, yet there are passages which echo previous movements or herald ones still to come—largely because Süssmayr was knitting together Mozart’s existing work, keeping true to what had already been written. The Lacrimosa is one of the most well-known sections, taken by Süssmayr from the opening bars which Mozart had completed before he died. Mozart was seriously ill when he composed the Requiem, which made it all the more poignant and moving for me.
The soloists were British (soprano), Polish (mezzo-soprano), French (tenor), and Canadian (bass-baritone). Despite their varying levels of experience, they complemented each other well. The standout for me was tenor Julien Henric, whose richness of tone and serious attention to the music set him apart.
David Kettle’s excellent programme notes are fascinating, but, again, simply listening to the piece is moving and uplifting enough, regardless of whether you know the intricacies of which sections Mozart actually wrote himself.
The Chorus were magnificent, directed by Gregory Batsleer, who is deservedly considered one of the leading choral conductors of his generation if this performance was anything to go by. Amongst the ‘kent faces’ of the Chorus were several members of the Young Singers’ Programme—how wonderful, for us and for them.
Italian conductor Riccardo Minasi brought yet more internationalism to the programme, as well as one of the most energetic styles of conducting I’ve seen in a long time. He’s a real fireball: constantly on the move, passionate, and all-encompassing. It was a real treat to watch, especially as he appeared to have his eye on every corner of the stage—chorus, soloists, and orchestra alike.
I’m no expert and had only heard parts of the Requiem and possibly none of the Haydn before, but it was a joy and a revelation—much more varied than I’d expected. And yet, I had expected that I would be more viscerally moved by at least the Mozart, but that was not ultimately the case. All the parts were there, so perhaps it was just an unrealistic expectation. Otherwise, this was a first-class performance.
Featured Image: Mozart Requiem – Scottish Chamber Orchestra
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