Mozart Requiem Reconstruction of First Performance - Booklet

7/25/2019 Mozart Requiem Reconstruction of First Performance - Booklet

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W O L F G A N G A M A D E U S

D U N E D I N C O N S O RT J O HN BU T T



Dunedin ConsortJohn Butt director

Joanne Lunn sopranoRowan Hellier altoTomas Hobbs tenor Matthew Brook bass

W O L F G A N G A M A D E U S



R E Q U I E M I N D M I N O R , K . 6 2 6Reconstruction o the rst public per ormance, in the completion byFranz Xaver Süssmayr, given at the Jahn-Saal, Vienna, 2 January 1793

1. Requiem aeternam :2. Kyrie :

3. Dies irae :4. uba mirum :5. Rex tremendae :6. Recordare :7. Con utatis :8. Lacrimosa :9. Domine Jesu :

10. Hostias :11. Quam olim Abrahae :12. Sanctus :13. Benedictus & Osanna :14. Agnus Dei :15. Lux aeterna :16. Cum sanctis :

MISERICORDIAS DOMINI IN D MINOR , K. 22217. ‘Offertorium de tempore’ :

RECONSTRUCTION OF MUSIC PERFORMED AT THEREQUIEM MASS FOR MOZART 10 DECEMBER 1791

18. Requiem aeternam :19. Kyrie :

Recorded at Grey riar’s Kirk,Edinburgh, UK, 15–19September 2013

Produced and recorded byPhilip Hobbs

Assistant engineering byRobert Cammidge

Post-production byJulia Tomas

Sleeve image

Te Archangel Raphael akingLeave of the obit Family , 1637(oil on panel) by RembrandtHarmenszoon van Rijn /Louvre, Paris, France / PeterWilli / Bridgeman Art Library

Design byGareth Jones

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As a scholar once quipped in relation to Mozart’s nal work: ‘Requiem, butno Piece’. Mozart’s Requiem has been a site or controversy since almostthe time o the composer’s untimely death, and it is clear that it is nevergoing to be complete, at least as a piece by Mozart. On the other hand, itis perhaps testimony to the quality o what does survive that musiciansand scholars have given it such persistent attention. While some o itspopularity can be attributed to romantic notions o the dying genius doinghis utmost to crown his li e’s work in the most sublime ashion, there is nodoubt that the vast proportion o the surviving material is remarkable in itsmusical cohesion and emotional power.

In the early nineteenth century, the controversy was over how mucho the Requiem was really the work o Mozart and how much o it wascompleted by Franz Xaver Süssmayr. By the turn o our current century,the extent o Süssmayr’s involvement had been clearly established – so aras is likely to be possible – and the discussion moved towards the questiono whether modern scholars could provide a completion superior toSüssmayr’s. Now that there are a number o ‘new’ versions o the Requiem,perhaps per orming the ‘original’ completion is almost as controversial asper orming a modern version.

MOZART’S REQUIEM – RECONSTRUCTIONOF FIRST PERFORMANCES



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I Süssmayr’s completion does contain obvious weaknesses in terms ocertain movements (most obviously the ‘Sanctus’ and ‘Osanna’), and o various details o part-writing and orchestration, Süssmayr remains theonly gure in this who actually knew Mozart and shared essential elements

o his musical culture. Moreover, it was Süssmayr’s version that was knownas ‘the’ Mozart Requiem or countless musicians and listeners until the lastdecades o the twentieth century. It provided material that nds echoes inseveral major composers (Verdi, Bruckner and Fauré immediately come tomind), so it would surely be wrong to discount a large period o productivereception on the pretext that inspired listeners were hearing partly in error.

Te recent publication o David Black’s new edition o Süssmayr’s versionprovides an excellent opportunity to record the original completion yetagain. Not only does the new edition show very clearly the areas completedby Mozart and the precise extent o Süssmayr’s additions, it also presentsseveral details that have been obscured by later ‘improvements’, particularlythose added in the rst published edition (which does not mentionSüssmayr), by Breitkop & Härtel in 1800. Black’s new edition there ore

returns the work to the state it was in during the rst, crucial years o itsexposure to the public, and this in turn provides an ideal opportunityto consider how the work may actually have sounded at its very rstper ormance.



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It would be natural to assume that the rst per ormance o the Requiemwas the one arranged by the original commissioner (and purportedcomposer), Franz Count von Walsegg, at a Mass in memory o his wi eat a church in Wiener Neustadt on 14 December 1793. But in act (and

probably without the count’s knowledge), Süssmayr’s completion o theRequiem had already been presented in Vienna on 2 January 1793, just overa year afer the composer’s death. Tis was at a well-documented bene tconcert or Mozart’s widow, Constanze, which his great riend and patron,Baron Gott ried van Swieten, promoted at a hall connected to a prestigiousrestaurant. Van Swieten was closely associated with Mozart’s assimilationo several key works by Bach and Handel during his Viennese years, but

he was also responsible or encouraging the composer to arrange severalsuch works, primarily by Handel, or per ormance with the Gesellschafder Associierten Cavaliere in 1788–90. Tis society was reconvened orthe bene t concert o 1793, so – although we do not have any details othe orces or this speci c per ormance – Mozart’s Handel per ormanceso just a ew years previously offer a airly consistent picture o the typeand size o the per orming group involved. Among other details, the most

striking in terms o choral practice today is the act that the chorus o c.16singers is led by the our soloists rather than corralled as a separate bodyo per ormers. Tis not only helps to integrate the solo sections with thechoral ones (there are several swif changes rom one texture to the other,both across movements and sometimes within them); it also gives the choralline a different character, one in ected by soloistic projection. Tis methodo per ormance was entirely standard in much European choral music



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o the seventeenth and eighteenth centuries (and is well demonstrated inall Dunedin per ormances o works by Bach and Handel), and Mozart’spractice was no different in this respect.

I the two main challenges o this project are to explore the implications oMozart’s likely choral texture, and to try and envisage how the work mayhave been heard or the very rst time, both are made more problematic bythe strong possibility that there was an earlier per ormance o at least parto the Requiem. Te act that there was a Requiem Mass held or Mozart inSt Michael’s Church on 10 December 17 91 ( ve days afer his death)has been well established, but two o the our re erences to this note that

Mozart’s ‘own Requiem’ was per ormed. While there is an outside chance thatall the sketched movements (most o the sequence and the offertory) mayhave been per ormed with just the composed vocal parts and a realized organaccompaniment, the most likely sections to have been per ormed wouldbe the opening introit (entirely nished by Mozart) and the ‘Kyrie’, whichwas orchestrated with colla parte instruments by two unknown hands shortlyafer Mozart’s death. We have a relatively clear idea o the orces available

at the church: about hal the number o strings used in the 1793 premiereand a standard vocal complement o eight singers. Again, the singers wouldmost likely have comprised our o solo capability and our (or slightly more)doubling ripienists, so the basic choral principle would have been the same.Given that there is evidence o at least one other per ormance with a choiro this small scale during the early years o the work’s existence, there is everyincentive to imagine what a small- orces version might have sounded like.



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Te library o St Michael’s Church also contains parts or Mozart’s earlyoffertory Misericordias Domini, K. 222, recently identi ed by David Black.Tese date rom around 1791 (there are records to show that a motet byMozart was copied in May that year) and there ore imply a per ormance at

the church during the last year o Mozart’s li e, with the same scale o orcesas was to be used in the Requiem service. Tis piece urthermore providesa very interesting companion to the Requiem, given that it is in the samekey and is an essay in contrapuntal construction. Te short text (‘I willsing o the mercies o the Lord or ever’) spawns a piece o almost comicallength: not only is virtually every contrapuntal combination o the openingmaterial explored in turn, but Mozart in ‘neo-modal’ style visits virtually

every key centre o the scale (except the awkward phrygian mode o thesecond degree). Tis systematic approach to composition is balanced by anoverall orm that uses sonata principles (the ‘second subject’ is uncannilysimilar to the opening o Beethoven’s ‘Ode to Joy’) and a dramatizedconclusion. At the very least, this ascinating piece gives us an idea o someo the compositional challenges that Mozart relished, particularly those thathe would tackle to such effect in his very last work.

Mozart would probably have balked at his swif canonisation and oundthe issues o the Requiem’s authorship rather amusing: composition to himwas normally a spontaneous affair, somewhat akin to per ormance, andimpersonation was one o his own speci cally musical gifs. Yet throughthis mercurial, renetic approach to his pro ession, Mozart achieved apro undity that is truly startling. Within the necessary sobriety o a church



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idiom he was able to pack in virtually all the styles and textures he haddeveloped on the opera and concert stage, bringing a dramatic air to theRequiem text that has been a challenge to all subsequent composers in thegenre. Te opening movement sees him taking the traditional elements o

church music – plainsong cantus rmus and ugue – and imbuing themwith a lyricism and momentum that would normally be associated withmuch more up-to-date genres o music. Mozart’s debt to the openingchorus o Handel’s uneral anthem Te ways of Zion do mourn (which maywell have also played a part in the invention o the ‘Song o the ArmedMen’ romDie Zauber öte, written at very nearly the same time) seemsalmost certain. But the trans ormation is clearly Mozart’s own, rendering

this opening, with its very human, almost limping gait, one o the mostrecognizable in western music. It would be easy to imagine that such acombination o ‘modern’ human elements and traditional church stylemight render the latter as a sort o parody, but somehow both styles areintegrated without either necessarily sounding like the ‘home’ style.

Mozart’s late contrapuntal style is also evident in the ‘Kyrie’ (again borrowing

rom Handel, this time rom the end o the Dettingen anthem) and ‘Quam olimAbrahae’ ugues, ones in which we can almost hear the composer’s imaginarycompetition with Bach, as he discovers and deploys as many combinationsas possible. Perhaps it is this sense o historical competition that givesthese pieces such dramatic energy, a sort o desperation that is a model oranguished music in the classical era. Another particular challenge musthave been the sequence, with its long, rambling text. Rather like a keyboard



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antasia in its variety o stylistic allusions, Mozart’s sequence takes usswifly rom dramatic antasy, through operatic ensemble, French overture,ritornello vocal ‘concerto’, back to antasy and closing lament (a survivingsketch by Mozart suggests that an Amen ugue may originally have been

planned). Te musical sequence thus provides a sort o roundedness thatthe text here tends to lack. Only the ‘ uba mirum’ is in a completely openorm, ending with no re erence to its opening melody, as i it were ollowing

the swif psychological progress o an operatic ensemble.

Aspects o sonata style are also a means o providing contrast withincohesion: in the very rst movement the ‘ e decet hymnus’ section, set to

the Gregorian tonus peregrinus, provides a contrasting ‘second subject’.Yet the circling guration o the instrumental parts at this point is laterintegrated into a countersubject or the return o the ‘Requiem’ theme.O the various vocal idioms that Mozart had at his disposal, only aria iseffectively absent. But aspects o aria style are readily evident in ully choralnumbers such as the ‘Lacrimosa’ and ‘Hostias’, and also in the largelyconvincing ‘Benedictus’ ensemble, or which there is sadly no evidence o

Mozart’s direct compositional involvement. In all, absolute originality omusical material is clearly not the essential aspect o Mozart’s achievement.Rather it is his stunning ability to combine the diverse idioms and genreso varying ages, in such a way as to generate works that seem ever new anddirect. And such directness almost always seems to bring with it the traceo human emotions and movement, as i Mozart could capture the physicaland mental essence o people in a way that we can almost recognize.



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PERFORMANCE ISSUESMozart’s own Requiem Mass in St Michael’s Church on 10 December

1791 seems to have been organized partly by the impresario, librettist andactor (and thus Mozart’s close collaborator in Die Zauber öte), EmanuelSchikaneder. Te church was speci cally associated with the court, itsmusicians and the operatic community. Both the available lists omusicians and the parts or the Misericordias point to an ensemble o eightsingers, single wind and single lower strings with doubled violins.It may well be that the opera musicians came up with instruments that

were not normally available, speci cally the two basset horns. Te doublingo vocal lines in contrapuntal music by trombones was standard practice,evident in the Misericordias parts, and is particularly effective when thereare only two singers per part. While it is likely that trumpets and timpaniwould have been available or Mozart’s ully nished introit, it is not clearwhether the parts or these instruments in the ‘Kyrie’ were written be ore10 December 1791, so they are omitted in the small, ‘church’ version o

the ‘Kyrie’.

For the 1793 per ormance o the completed Requiem, the surviving partso several o Mozart’s Handel per ormances give us a reasonable indicationo the numbers involved. Tese per ormances had also been promoted by van Swieten with the same society and, indeed, Mozart’s version o Acis andGalatea was per ormed in the same venue as the Requiem, the Jahn-Saal



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in Vienna. Te vocal orces there ore comprise the our soloists plus upto three ripienists and the strings are provided with a relatively generoussix violins to a part, with slightly smaller numbers or the lower parts. Te

sorts o soloist available in the Handel per ormances were very clearlyassociated with dramatic per ormance ( or instance, Mozart’ssister-in-law, Aloysia Weber, was a regular member o the ensemble),which might suggest that the choruses bene ted rom a relatively soloistic

orm o delivery. One particular issue about the venue was the act that noorgan was available in the hall. While the role o a keyboard continuo is less vital here than in earlier church styles, it is unlikely that it would have been

missed out entirely. Te 1793 per ormance may well thus have employed aortepiano or the purpose (a re erence survives or the use o a ortepianoin a per ormance o the Requiem in Stockholm, some ten years later).

Tis project would not have been possible without the wonder ul supporto Dr David Black, who gave me early access to his new edition o theSüssmayr version o the Requiem and also to his seminal dissertation on

the church-music culture o Mozart’s Vienna. He has pointed me in theright direction in numerous ways, particularly in relation to the sources orthe size and type o orces. Tanks are also due to David Lee or preparingthe per orming edition o the Misericordias rom the original St Michael’sChurch parts.

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KEY SOURCESTere are probably more writings on Mozart’s Requiem than or virtually

any other piece o classical music (at least in proportion to its relativelyshort duration). Te re erences listed here are the ones particularly relevantto the preparation o this recording.

Richard Maunder, Mozart’s Requiem: On Preparing a New Edition(Ox ord: Ox ord University Press, 1988).Tis relates to the late twentieth-century reaction against Süssmayr’s

version, which Maunder led with his own completion, but it also introducesthe likely relationship between the rst per ormance and Mozart’s practicein his Handel arrangements.

New Mozart Edition (Neue Ausgabe sämtlicher Werke), X, Werkgruppe 28:Critical Commentaries to Mozart’s Handel Arrangements (esp. Vol. 1/2, Der Messias[ Messiah]) (Kassel: Bärenreiter, 1962).

Tese commentaries provide important details about the parts (and theirquantities) or Mozart’s van Swieten per ormances.



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Christoph Wolff, trans. Mary Whittall, Mozart’s Requiem – Historical and

Analytical Studies (Ox ord: Ox ord University Press, 1994).Tis provides a thorough study o the sources and gives much o thesurviving documentation in English. It also contains some o thein ormation pertaining to the rst per ormances.

Simon P. Kee e, Mozart’s Requiem – Reception, Work, Completion (Cambridge: Cambridge University Press, 2012).

Tis gives a thorough history o the reception o the Requiem and outlinesmost o the disputes that have surrounded the work. Among many otherthings, it provides a good case or not dismissing the Süssmayr version.

David Ian Black, ‘Mozart and the Practice o Sacred Music, 1781–91’,PhD thesis (Harvard University, 2007).Black’s dissertation is indispensible in providing a thorough and revised

view o Mozart’s work in Vienna as a church composer. It is particularlyimportant or its study o the circumstances surrounding the Mass inmemory o Mozart at St Michael’s Church.



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TEXT AND TRANSLATIONSREQUIEM IN D MINOR, K. 626

I. INTROITUS 1. Requiem aeternamRequiem aeternam dona eis, Domine,et lux perpetua luceat eis.

e decet hymnus, Deus, in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis. II. KYRIE

2. KyrieKyrie eleison.

Christe eleison.Kyrie eleison. III. SEQUENZ 3. Dies iraeDies irae, dies illaSolvet saeclum in avilla,

Grant them eternal rest, Lord,and let perpetual light shine on them.You are praised, God, in Zion,and homage will be paid to you in Jerusalem.Hear my prayer,to you all esh will come.Grant them eternal rest, Lord,and let perpetual light shine on them.

Lord, have mercy on us.

Christ, have mercy on us.Lord, have mercy on us.

Day o wrath, day o angerwill dissolve the world in ashes,



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teste David cum Sibylla.Quantus tremor est uturus,quando judex est venturus,cuncta stricte discussurus! 4. Tuba mirum

uba mirum spargens sonumper sepulcra regionum,coget omnes ante thronum.Mors stupebit et natura,cum resurget creatura, judicanti responsura.Liber scriptus pro eretur,in quo totum continetur,unde mundus judicetur.Judex ergo cum sedebit,quidquid latet, apparebit,nil inultum remanebit.Quid sum miser tunc dicturus?Quem patronum rogaturus,

cum vix justus sit securus? 5. Rex tremendaeRex tremendae majestatis,qui salvandos salvas gratis,salve me, ons pietatis.

as oretold by David and the Sibyl.Great trembling there will bewhen the judge descends rom heavento examine all things closely.

Te trumpet will send its wondrous soundthroughout earth’s sepulchresand gather all be ore the throne.Death and nature will be astounded,when all creation rises again,to answer the judgement.A book will be brought orth,in which all will be written,by which the world will be judged.When the judge takes his place,what is hidden will be revealed,nothing will remain unavenged.What shall a wretch like me say?Who shall intercede or me,

when the just ones need mercy?

King o tremendous majesty,who reely save those worthy ones,save me, source o mercy.



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6. RecordareRecordare, Jesu pie,quod sum causa tuae viae;ne me perdas illa die.Quaerens me, sedisti lassus,

redemisti crucem passus;tantus labor non sit cassus.Juste judex ultionis,donum ac remissionisante diem rationis.Ingemisco, tamquam reus:culpa rubet vultus meus;supplicanti parce, Deus.Qui Mariam absolvisti,et latronem exaudisti,mihi quoque spem dedisti.Preces meae non sunt dignae,sed tu, bonus, ac benigne,ne perenni cremer igne.Inter oves locum praesta,et ab haedis me sequestra,statuens in parte dextra. 7. ConfutatisCon utatis maledictis,

ammis acribus addictis, voca me cum benedictis.Oro supplex et acclinis,cor contritum quasi cinis,gere curam mei nis.

Remember, kind Jesus,my salvation caused your suffering;do not orsake me on that day.Faint and weary you have sought me,

redeemed me, suffering on the cross;may such great effort not be in vain.Righteous judge o vengeance,grant me the gif o absolutionbe ore the day o retribution.I moan as one who is guilty:owning my shame with a red ace;suppliant be ore you, Lord.You, who absolved Mary,and listened to the thie ,give me hope also.My prayers are unworthy,but, good Lord, have mercy,and rescue me rom eternal re.Provide me a place among the sheep,and separate me rom the goats,guiding me to your right hand.

When the accused are con ounded,and doomed to ames o woe,call me among the blessed.I kneel with submissive heart,my contrition is like ashes,help me in my nal condition.



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8. LacrimosaLacrimosa dies illa,qua resurget ex avilla judicandus homo reus.Huic ergo parce, Deus,

pie Jesu Domine,dona eis requiem. Amen. IV. OFFERTORIUM 9. Domine JesuDomine Jesu Christe, Rex gloriae,libera animas omnium deliumde unctorum de poenis in erniet de pro undo lacu.Libera eas de ore leonis,ne absorbeat eas tartarus,ne cadant in obscurum.Sed signi er sanctus Michaelrepraesentet eas in lucem sanctam.Quam olim Abrahae promisistiet semini ejus. 10. HostiasHostias et preces tibi, Domine,laudis offerimus.

u sucipe pro animabus illis,quarum hodie memoriam acimus.Fac eas, Domine,de morte transire ad vitam.

Tat day o tears and mourning,when rom the ashes shall ariseall humanity to be judged.Spare us by your mercy, Lord,

gentle Lord Jesus,grant them rest. Amen.

Lord Jesus Christ, King o glory,liberate the souls o the aith ul,departed rom the pains o helland rom the bottomless pit.Deliver them rom the lion’s mouth,lest hell swallow them up,lest they all into darkness.Let the standard-bearer, holy Michael,bring them into holy light.Which was promised to Abrahamand his descendants.

Sacri ces and prayers o praise, Lord,we offer to you.Receive them on behal o those soulswe commemorate today.And let them, Lord,pass rom death to li e.



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11. Quam olim AbrahaeQuam olim Abrahae promisistiet semini ejus.

V. SANCTUS BENEDICTUS 12. SanctusSanctus, Sanctus, Sanctus,Dominus Deus Sabaoth;pleni sunt caeli et terra gloria tua.Osanna in excelsis.

13. Benedictus & OsannaBenedictus qui venit in nomineDomini.

Osanna in excelsis.

Which was promised to Abrahamand his descendants.

Holy, Holy, Holy,Lord God o Hosts.Heaven and earth are ull o your glory.Hosanna in the highest.

Blessed is he who comes in the name othe Lord.

Hosanna in the highest.



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VI. AGNUS DEI 14. Agnus DeiAgnus Dei, qui tollispeccata mundi,

dona eis requiem.Agnus Dei, qui tollispeccata mundi,dona eis requiem.Agnus Dei, qui tollispeccata mundi,dona eis requiem sempiternam.

VII. COMMUNIO 15. Lux aeternaLux aeterna luceat eis, Domine,cum sanctis tuis in aeternum,quia pius es.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

16. Cum sanctisCum sanctis tuis in aeternum,quia pius es.

Lamb o God, who take away the sins o the world,

grant them rest.Lamb o God, who take away the sins o the world,grant them rest.Lamb o God, who take away the sins o the world,grant them everlasting rest.

Let eternal light shine on them, Lord,as with your saints in eternity,because you are merci ul.Grant them eternal rest, Lord,and let perpetual light shine on them.

As with your saints in eternity,because you are merci ul.



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MISERICORDIAS DOMINI IN D MINOR, K. 222

17. ‘Offertorium de tempore’Misericordias Domini in aeternum cantabo.

Psalm 88 [89]: 2

I will sing o the mercies o the Lord or ever.

King James Bible

RECONSTRUCTION OF MUSIC PERFORMED AT THEREQUIEM MASS FOR MOZART 10 DECEMBER 1791

18. Requiem aeternamRequiem aeternam dona eis, Domine,et lux perpetua luceat eis.

e decet hymnus, Deus, in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis. 19. KyrieKyrie eleison.Christe eleison.Kyrie eleison.

Grant them eternal rest, Lord,and let perpetual light shine on them.You are praised, God, in Zion,and homage will be paid to you in Jerusalem.Hear my prayer,to you all esh will come.Grant them eternal rest, Lord,and let perpetual light shine on them.

Lord, have mercy on us.Christ, have mercy on us.Lord, have mercy on us.





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John Butt director

SoloistsJoanne Lunn sopranoRowan Hellier altoTomas Hobbs tenor Matthew Brook bass

SopranoJoanne LunnEmily MitchellRachel RedmondClaire Evans

AltoRowan HellierAmy LyddonJudy BrownHannah Cooke

TenorTomas HobbsMalcolm BennettDavid LeeWilliam Balkwill

BassMatthew Brook Robert DaviesJon Stainsby Dominic Barberi

DUNEDIN CONSORT



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Orchestra

ViolinCecilia Bernardini leader Sarah Bevan BakerSophie BarberColin ScobieHilary MichaelBeatrice Scaldini

Rebecca LivermoreKristin DeekenDaniel EdgarNia LewisJill Samuel

ViolaJames BoydAl onso Leal del OjoLouise HoganMark Braithwaite

CelloJonathan MansonAlison McGillivray Emily Ashton

Double Bassimothy Amherst

Sarah Halpin

Corno di BassettoNicola BoudKatherine Spencer

BassoonPeter WhelanCarles Cristobal

TrombonePhilip DaleEmily WhiteAdrian France

TrumpetPaul SharpSimon Munday

TimpaniAlan Emslie

Fortepiano/OrganRobert HowarthFortepiano kindly loanedby the University of Glasgow

Keyboard TechnicianKeith McGowan

Pitch: a ʹ= 430Hz



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Te Dunedin Consort takes its name rom Edinburgh’s castle(Din Eidyn) and, like that amous landmark, has great culturalsigni cance in Scotland’s capital city and beyond. Founded in1995, the Dunedin Consort has explored the major Baroquerepertoire and commissioned several new works. Under themusical direction o John Butt since 2003, it has consolidatedits existing strength in Baroque music, winning the 2008Midem Baroque Award and the 2007 Gramophone Award orBest Baroque Vocal Album ( or its recording o the originalDublin version o Handel’s Messiah).

Dunedin’s commitment to excellence in both liveper ormances and recordings, coupled with the latest researchin historical per ormance, is allied with a strong belie insupporting new music. As part o its contemporary strand, ithas commissioned and per ormed works by living composers– including William Sweeney, Errollyn Wallen, Peter Nelsonand Sally Beamish – to complement and enhance the meaningo the old masterpieces. Te Dunedin Consort has per ormedat music estivals in Scotland (including the EdinburghInternational Festival), Canada, Italy, Spain, Ireland, Germany,

DUNEDIN CONSORT



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Israel and France, broadcasts requently on BBC Radio 3 andBBC Scotland, and enjoys a close relationship with Linn.

Te Dunedin Consort’s 2008 releases o Bach’s MatthewPassion (last per orming version, c.1742) and Handel’s Acisand Galatea (original Cannons per orming version, 1718)both received many plaudits, including a Gramophone Awardnomination or Acis and Galatea .

In 2010 Dunedin released Bach’s Mass in B minor (Breitkop & Härtel edition, edited by Joshua Ri in, 2006)to critical acclaim, while 2013 saw the release o its JohnPassion (reconstruction o Bach’s Passion liturgy), whichwas nominated or a Gramophone Award and was bothGramophone and BBC Music Magazine’s ‘Recording othe Month’. Te year also saw the Dunedin Consort’s rstinstrumental release: Bach’s Brandenburg Concertos, whichreceived rave reviews.



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John Butt is Gardiner Pro essor o Music at the University o Glasgow andmusical director o Edinburgh’s Dunedin Consort.

As an undergraduate at Cambridge University, he held the offi ce o organscholar at King’s College. Continuing as a graduate student working on themusic o Bach, he received his PhD in 1987. He was subsequently a lecturer atthe University o Aberdeen and a Fellow o Magdalene College, Cambridge,be ore joining the aculty at UC Berkeley in 1989 as University Organist andPro essor o Music. In autumn 1997 he returned to Cambridge as a University

Lecturer and Fellow o King’s College, and in October 2001 he took up hiscurrent post at Glasgow. His books have been published by CambridgeUniversity Press: they include Bach Interpretation (1990), a handbook on Bach’sMass in B minor (1991) and Music Education and the Art of Performance in theGerman Baroque (1994).

Marking a new tack, Playing with History (2002) examined the broad cultureo historically in ormed per ormance and attempted to explain and justi y itas a contemporary phenomenon. Butt is also editor or joint editor o both theCambridge and Ox ord Companions to Bach and o the Cambridge History ofSeventeenth-Century Music (2005). His book on Bach’s Passions, Bach’s Dialoguewith Modernity , was published in 2010, and explores the ways in which Bach’sPassion settings relate to some o the broader concepts o modernity, such assubjectivity and time consciousness.

JOHN BUTT DIRECTOR



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Butt has been guest conductor with the Orchestra o the Age o Enlightenment,Irish Baroque Orchestra, Philharmonia Baroque Orchestra, Royal Academy

o Music/Kohn Foundation Cantata Series, Scottish Chamber Orchestra andRoyal Conservatoire o Scotland Chamber Orchestra and Chorus. Butt alsocontinues to be active as a solo organist and harpsichordist: 11 recordings onorgan, harpsichord and clavichord have been released by Harmonia Mundi.As conductor or organist he has per ormed throughout the world, includingrecent trips to Germany, France, Poland, Israel, South Korea, Canada, Belgium,Holland and the Irish Republic.

In 2003 Butt was elected to the Fellowship o the Royal Society o Edinburghand received the Dent Medal o the Royal Musical Association. Tat year hisbook Playing with History was shortlisted or the British Academy’s annualBook Prize. In 2006 he was elected Fellow o the British Academy and begana two-year Leverhulme Major Research Fellowship or his research on Bach’sPassions. In 2010 he was appointed to the Council o the Arts and HumanitiesResearch Council, and the ollowing January he became the fh recipient othe Royal Academy o Music/Kohn Foundation’s Bach Prize, or his work in theper ormance and scholarship o Bach. In 2013 Butt was appointed OBE or hisservices to music in Scotland.





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Joanne Lunn studied at the Royal College o Music in London, where she wasawarded the prestigious agore Gold Medal.

Lunn has per ormed with the Orchestra o the Age o Enlightenment, MonteverdiChoir and Orchestra, Academy o Ancient Music, Musiciens du Louvre, ConcertoKöln, Bach Collegium Japan, Akademie ür alte Musik (Berlin), Musik PodiumStuttgart and many others, at venues including the Conservatoire Royal (Brussels),

chaikovsky Concert Hall (Moscow), Sage Gateshead and St Paul’s Cathedral,and at the Halle Handel Festival and BBC Proms. Her repertoire includes Bach’s Matthew Passion, John Passion, B minor Mass, Easter Oratorio and Magni cat ,Haydn’s Heiligmesse, Harmoniemesse, Paukenmesse, Nelson Massand Creation, Handel’s Messiah, Saul and L’Allegro, Il Penseroso ed il Moderato, Purcell’s Didoand Aeneas, Fauré’s Requiem, Mozart’s C minor Mass, Mahler’s Fourth Symphony, Zelenka’s Missa votiva and John Rutter’s Mass of the Children.

Lunn’s extensive discography includes Vivaldi’s Laudate pueri with the King’sConsort (Hyperion), Haydn Masses with Sir John Eliot Gardiner and theMonteverdi Choir (Philips), Rutter’s Mass of the Children with the City o LondonSin onia conducted by the composer (Collegium), Gardiner’s Bach cantatacycle recorded during the Bach Pilgrimage in 2000 (Deutsche Grammophon/Soli Deo Gloria), Bach’sEaster Oratorio with Frieder Bernius and the StuttgartKammerchor (Carus) and Bach’s motets with the Hilliard Ensemble (ECM), Messiah with the RPO and Rutter, and Bach’s Wedding Cantata with BachCollegium Japan (BIS) and John Passion with the Dunedin Consort (Linn), whichwas nominated or a Gramophone Award.

JOANNE LUNNSOPRANO



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Rowan Hellier studied at the Royal Scottish Academy o Music and Drama andthe Guildhall School o Music and Drama. She then joined the International

Opera Studio at the Berlin Staatsoper, where her roles included Zweite Dame(Die Zauber öte), Annina ( La raviata ), Kate Pinkerton ( Madama Butter y ),Der rommler ( Der Kaiser von Atlantis), the Shepherd ( osca) and the title rolein Vanitas at both the Berlin and Hamburg Staatsoper.

Hellier has worked with leading conductors such as Alexander Vedernikov,Laurence Cummings, Vladimir Jurowski, Julien Salemkour, Nicholas Collon,

Leo Hussain, Alexander Soddy, Omer Meir Wellber and Stephen Barlow.Hellier’s concert per ormances include the world premiere o AlasdairNicolson’s Five Hauntings with the BBC Symphony Orchestra at the St MagnusInternational Festival, as well as regular appearances at the Wigmore Hall withthe Prince Consort. Other highlights include Elgar’s incidental music or Grania and Diarmid with the BBC SO or BBC Radio 3 and Judith Weir’swoman.life.song at both the Bregenz Festival and LSO St Luke’s. Hellier hasgiven recitals at the Opéra de Lille, Ox ord Lieder Festival and Perth Festivalo the Arts. Oratorio per ormances include Handel’s Messiah, Rossini’sStabat Mater , Verdi’s Requiem and Beethoven’s Missa solemnis.

Among Hellier’s recordings, she is the mezzo soloist in Honegger’s Roi David or the Junges Ensemble Berlin.

ROWAN HELLIERALTO



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Tomas Hobbs studied at the Royal College o Music and the Royal Academy oMusic. He was a Royal Philharmonic Society Young Artist and an Associate Artist o

Classical Opera. Hobbs has per ormed and recorded with many leading ensembles,including the Cardinall’s Musick, the allis Scholars, I Fagiolini, the Sixteen,Polyphony and the Dunedin Consort, with the last o whom he has recordedHandel’s Acis and Galatea and Bach’s B minor Mass to critical acclaim. Hobbs works

requently with Philippe Herreweghe and Collegium Vocale Gent, with whom heregularly tours throughout Europe and the USA as a soloist.

Operatic parts include the title role in Albert Herring , Acis ( Acis and Galatea),

Ferrando ( Così fan tutte), Ramiro (Cenerentola), Conte ( Il barbiere di Siviglia),Fileno (La fedeltà premiata) and a critically acclaimed elemachus ( Te Return ofUlysses) or English National Opera. Recital highlights include Brett Dean’s WinterSongsat the Cheltenham Festival, Vaughan Williams’s On Wenlock Edge with theEdinburgh Quartet, Schubert’s Schöne Müllerin and Schumann’s Liederkreis Op. 39,a recital o Mozart songs at Kings Place, London, and recitals or the FestivalAccademia delle Crete Senesi in uscany, to which he is now invited regularly.

Hobbs’s recent concert per ormances have included tours with Collegium Vocale;Bach’s B minor Mass and the title role in Joshua with the Akademie ür Alte Musik;debuts with the Bournemouth Symphony, Northern Sin onia, City o BirminghamSymphony and Royal Scottish National orchestras; engagements with the Pygmalionand Capella Amsterdam ensembles; Handel’s Esther with the Dunedin Consortat the Wigmore Hall; Handel’s Utrecht e Deum with the Accademia Bizantinaconducted by Ottavio Dantone; Monteverdi’s Orfeo with the Academy o AncientMusic; and Bach’s Christmas Oratorio with the Australian Chamber Orchestra.

THOMAS HOBBS TENOR



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Matthew Brook has appeared as a soloist throughout Europe, Australia,North and South America and the Far East, working extensively as a recitalist

and concert artist with Gardiner, Hickox, Mackerras, Christophers, Rousset,McCreesh and Elder, and with many orchestras and ensembles, including thePhilharmonia, London Symphony and Royal Philharmonic orchestras,St Petersburg Philharmonic, Freiburger Barockorchester, BBC NationalOrchestra o Wales, Orchestra o the Age o Enlightenment, Hallé Orchestra,English Baroque Soloists, Collegium Vocale Gent, Gabrieli Consort, theSixteen, Melbourne Symphony Orchestra, Dresden Staatskapelle, Orchestre

de Chambre de Paris, Salzburg Mozarteum Orchester and OrchestraPhilharmonique de Strasbourg.

Highlights o Brook’s operatic roles include Seneca in L’incoronazione di Poppea

at the Maggio Musicale Fiorentino and Il Re in Ariodante with Il ComplessoBarocco and Alan Curtis.

Brook’s recordings include Counsel in rial By Jury and Friar uck inIvanhoe (both by Arthur Sullivan) with the BBC National Orchestra oWales (Chandos); Bach’s Christmas Oratorio and Rameau’s Anacréon withthe Orchestra o the Age o Enlightenment; a Gramophone Award-winningrecording o Handel’s original Dublin score o Messiah, Bach’s Matthew Passion and B minor Mass, and Handel’s Acis and Galatea and Esther, all with theDunedin Consort (Linn); and Il Re di Scozia in Handel’s Ariodante withIl Complesso Barocco and Joyce DiDonato in the title role (Virgin Classics).

MATTHEW BROOKBASS



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Creative ScotlandBinks rust

Dunard FundM&K Charitable FundHope Scott rustCruach rustPlum rustBacher rustCruden Foundation

Sir Muir & Lady RussellBrian & Deborah CharlesworthMatthew & Anne RichardsDr & Mrs Michael & Nora RadcliffeRosa SomervilleMartin BoyleAlison Gregson

Iain McGillivray John & Mary GilliesPro Michael Anderson & Elspeth MacarthurGavin McEwanJenni er Rees

And several anonymous donors

Te DunedinConsort would liketo acknowledge withgrateful thanks theassistance of thefollowing trusts andindividuals in makingthis recording possible.

SUPPORTERS





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DUNEDIN CONCERTS TRUSTCompany Registered in Scotland SC361385, Charity No. SC025336.77 Montgomery Street, Edinburgh, EH7 5HZ, United Kingdom

Tel: +44 (0)131 516 3718 E: in [email protected]@DunedinConsort

www. acebook.com/Dunedin

www.dunedin-consort.org.uk

Music Director John Butt

Patrons Pro essor Neil Mackie Sir John Shaw

Board of Directors Sir Muir Russell ( )Jo Elliot

Shonaig MacPherson Kirsteen McCue

David McLellanDavid Strachan

Chief Executive Al onso Leal del Ojo

Production David Lee

Administrator Vicky Fraser

Finance Offi cer Charlotte ucker



Glasgow Road, Waterfoot, Eaglesham, Glasgow, G76 0EQT: +44 (0)141 303 5027 | E: [email protected]

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Mozart Requiem Reconstruction of First Performance - Booklet

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