Cadogan Hall was filled to near capacity for the Bernstein, Barber & Mozart concert on 10 March - the largest audience from outside the choir in our 10 performances there. The only Cadogan Hall concert that sold more tickets overall, was the very first one, when most of the tickets were sold through choir members, as, explained secretary Sylvia Walker, “they were very, very enthusiastic.” Most tickets were sold to the general music-going public through Cadogan Hall, which, sa
Soloists Katharine Crompton & Edward Grint, Adam Tunnicliffe, and Theo Golden, singing in a concert that will move you to tears at Cadogan Hall, 10 March We are not sure how much of the Requiem Mozart wrote or planned in detail with his pupil Franz Sussmayer, before he died a few bars into the Lacrimosa ('Mourning'). But when you hear the Work performed at Cadogan Hall on 10 March, "enjoy it all – whether it's your hundredth Requiem or your first," as BBC Radio 3 presenter T
- So wrote composer Kevin Jones in his review of the Choir's last performance of Mozart's Requiem in May 2006. Thames Philharmonic Choir sang this "mellow and awe-inspiring work" with "musical precision, ease and relaxed commitment..." he continued. "John Bate’s direction secured an exceptional transparency of sound and textural subtlety sustained throughout the entire performance; dramatic precision balanced by lyrical serenity." There was "a freshness and subtlety to the in
Classical music critic, writer and presenter Tom Service wrote in an article about Mozart's Requiem in The Guardian in December 2011: "The real mystery of the piece isn't so much the story [of who composed which bits] but the music that Mozart did manage to write. The problem is that it's too easy to take the Requiem for granted and not hear what Mozart was actually doing in his composition."
Mozart's orchestration drew inspiration from earlier sources such as Handel and Bac
Wolfgang Amadeus Mozart died, aged 35, leaving his best-loved choral work - the Requiem - unfinished. He only completed the first movement Requiem aeternae, drafted a few others, and died later in the day he of writing the first 8 bars of the aptly named Lacrimosa (weeping). His pupil Franz Süssmayr finished the composition and claimed that Agnus Dei and Sanctus were all his own work. There have been many other versions of the Requiem, but it is Sussmayr’s that Thames Philha