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

'Playing the violin in Mozart’s last masterpiece is always a special mission for me; it makes my life richer and happier, and reminds me that music is simply necessary for our life.'- Hungarian violinist Nandor Szederkényi, who will lead Thames Festival Orchestra in their performance of the Requiem at Cadogan Hall on 10 March with Thames Philharmonic Choir. The concert also includes what Szederkenyi calls 'miracle music’ which can leave ‘no human being untouched’ – Samuel Bar

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

​​Singing Hebrew in Leonard Bernstein’s Chichester Psalms is a challenge for the 99 percent of the Choir that doesn't speak the language. It doesn't matter that we don't understand the words and must master unfamiliar stresses, vowel sounds and sibilance. The result is wonderfully satisfying - for the rhythms and resonance of the words are an integral part of the music - that's why Bernstein used the language of his Jewish faith - even though the Work was written for an Engl