Labadie Leads Mozart's 'Requiem'

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Thursday, March 31, 2016

Conductor Bernard Labadie conducts today's program of 18th century works. (Melanie Burford/NPR)

Tune in at 9 pm Thursday to hear a conductor Bernard Labadie lead the New York Philharmonic and New York Choral Artists in a program of works entirely from the 18th century. First the orchestra will play J.S. Bach's Cantata No. 51, Jauchzet Gott in allen Landen, featuring former principal trumpet player Philip Smith as soloist. This is followed by Handel's oratorio, Samson: Let the Bright Seraphim. Mozart's towering Requiem Mass caps off the program.

Program Playlist:

J.S. Bach: Cantata No 51, Jauchzet Gott in allen Landen
Handel: Samson: Let the Bright Seraphim
Mozart: Requiem Mass

Conductor: Bernard Labadie
Soloists: Miah Persson, soprano
Stephanie Blythe, mezzo-soprano
Frédéric Antoun, tenor
Andrew Foster-Williams, bass
Philip Smith, trumpet
New York Choral Artists; Joseph Flummerfelt, director


Comments [1]

Les from Miami, Florida

This re-broadcast from the 2013 season of this program of three of music's supreme masters repays the listener with not only in the joy of repeated hearing, but in learning more about the compositions and choices of instrumental forces, as explained by Bernard Labadie. His comments and performance should be available for purchase, I would think. This is one of the most rewarding and satisfying programs I've ever heard by the New York Philharmonic. "Jauchzet Gott in allen landen" and "Let the Bright Seraphim" share the same forces: the solo soprano and solo trumpet with strings and continuo. J.S. Bach's "Jauchzet..." does indeed fall in the middle of the soprano's range most of the time, as is evidenced by looking at the part in soprano C clef: there are just two high C's, the first repeated in the initial "Aria" and the other in the finale "Alleluja!", (2-4 time) which, to my wonderment, is played immediately after the preceding "Chorale" (3-4 time). "Let the Bright...", a true Handelian show-stopper, is straight-forward in thematic material and structure, with a short b minor section for contrast. My orchestra score (Ba"renreiter) and recorded listening experience until this broadcast has been only with the Su"ssmyr completion of Mozart's "Requiem". The "Introitus" and "Kyrie" are Mozart's entirely; and from there on in the collaborative hand is present. I think clarinets were used in this performance rather than basset horns; and the three trombones do indeed double the alto, tenor and bass vocal lines for the most part. The "Offertorium" and "Hostias" in this performance edition show string fragments played by the reeds and vocal entrances delayed or prolonged, which is all my first hearing of this edition will allow.

Apr. 03 2016 03:07 PM

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