I usually make a weekly trek to Quiapo, mainly to check out the latest classical DVDs not found anywhere else. Guess what, I bought a copy of Mozart's Waisenhaus Mass, and shorter works like the Ave Verum Corpus. This concert of sorts featured the Vienna Boys' Choir, the Wiener Sangerknaben and some members of the Orchestra of the Vienna State Opera.
About the performance: If you ever wondered what made the Vienna Boys' Choir highly popular, this performance of Mozart's sacred works tells you why. The quality of boy soprano voices is different compared to female voices. For one, the amplitude of the vibratos is narrower, the pitch is clearer and cleaner, penetrating but never scratchy and ear-splitting. And the volume is definitely not louder. The innocence comes through quite distinctly, as opposed to a female soprano's whose vocal maturity allows her a wide range of emotions and color suitable for dramatic works such as verist opera.
Interestingly, the boys' voices were pitted against an all-male choir, with stunning effect. Mozart composed the Weisenhaus Mass when he was only 12 years old. So he knew very well the musical nuances emanating from young voices. The sounds seemed to descend from above, sort of like a ray of light illuminating the altar, amidst the heavy all-male voices which made sounds that seemed like it crept up from beneath the ground and slowly, and gradually joined forces with the high voices of the Vienna Boys Choir. Visually, the performance made for an interesting contrast as well. Boys not older than 12, with unkempt hair and wandering eyes, beside older, mature men, stiff and regal, who look like they may be the fathers of these boys. Youth and maturity combined in a solemn prayer. Wonderful. The final number, the famous Ave Verum Corpus, was so brief, but solemn, dignified and subtle. Full of power.
I kinda wonder, a lot has been written about Mozart's being a free-mason. Of course, during his time, freemasonry was frowned upon by the Church and society in general. The point is that many writers believe Mozart turned away from his Christian beliefs when he became a Mason.
I find this hard to believe, however. Because if one looks at the number and quality of the religious works Mozart composed, even towards the end of his life, you'd realize that these works, especially the ones performed by the Vienna Boys Choir mentioned earlier, are very personal and spiritual. He cannot be an atheist or a non-believer and compose monumental religious works such as the Weisenhaus and the Requiem. You have to listen to the music to understand what I'm talking about.
The Requiem, or the Mass for the Dead, probably the most famous Requiem ever composed, contains some of the most profound music ever and leaves the hair on my skin standing on its end. Why? Because he probably felt his time was nearing, his appointment with his Maker was inevitable. And he composed it for his impending death, a final appeal for deliverance, despite the fact that it was commissioned under mysterious circumstances (go watch the movie "Amadeus"). The appeals for eternal rest via a double fugue from a mixed chorus, contrasted by the thundering chords of the orchestra never fail to remind me of the possible pain of purgatory and the torments of hell. You can almost visualize yourself agonizing over your wasted life. Extraordinary. Mozart is a genius.
We're approaching the lenten season. And what better way to remind us of our own unworthiness and mortality by listening to Mozart's music. By the way, musicians around the world are celebrating Mozart's 250th birth anniversary. Despite the fact that he struggled during his lifetime and was buried in a pauper's grave, we are eternally grateful. We have his music.
About the performance: If you ever wondered what made the Vienna Boys' Choir highly popular, this performance of Mozart's sacred works tells you why. The quality of boy soprano voices is different compared to female voices. For one, the amplitude of the vibratos is narrower, the pitch is clearer and cleaner, penetrating but never scratchy and ear-splitting. And the volume is definitely not louder. The innocence comes through quite distinctly, as opposed to a female soprano's whose vocal maturity allows her a wide range of emotions and color suitable for dramatic works such as verist opera.
Interestingly, the boys' voices were pitted against an all-male choir, with stunning effect. Mozart composed the Weisenhaus Mass when he was only 12 years old. So he knew very well the musical nuances emanating from young voices. The sounds seemed to descend from above, sort of like a ray of light illuminating the altar, amidst the heavy all-male voices which made sounds that seemed like it crept up from beneath the ground and slowly, and gradually joined forces with the high voices of the Vienna Boys Choir. Visually, the performance made for an interesting contrast as well. Boys not older than 12, with unkempt hair and wandering eyes, beside older, mature men, stiff and regal, who look like they may be the fathers of these boys. Youth and maturity combined in a solemn prayer. Wonderful. The final number, the famous Ave Verum Corpus, was so brief, but solemn, dignified and subtle. Full of power.
I kinda wonder, a lot has been written about Mozart's being a free-mason. Of course, during his time, freemasonry was frowned upon by the Church and society in general. The point is that many writers believe Mozart turned away from his Christian beliefs when he became a Mason.
I find this hard to believe, however. Because if one looks at the number and quality of the religious works Mozart composed, even towards the end of his life, you'd realize that these works, especially the ones performed by the Vienna Boys Choir mentioned earlier, are very personal and spiritual. He cannot be an atheist or a non-believer and compose monumental religious works such as the Weisenhaus and the Requiem. You have to listen to the music to understand what I'm talking about.
The Requiem, or the Mass for the Dead, probably the most famous Requiem ever composed, contains some of the most profound music ever and leaves the hair on my skin standing on its end. Why? Because he probably felt his time was nearing, his appointment with his Maker was inevitable. And he composed it for his impending death, a final appeal for deliverance, despite the fact that it was commissioned under mysterious circumstances (go watch the movie "Amadeus"). The appeals for eternal rest via a double fugue from a mixed chorus, contrasted by the thundering chords of the orchestra never fail to remind me of the possible pain of purgatory and the torments of hell. You can almost visualize yourself agonizing over your wasted life. Extraordinary. Mozart is a genius.
We're approaching the lenten season. And what better way to remind us of our own unworthiness and mortality by listening to Mozart's music. By the way, musicians around the world are celebrating Mozart's 250th birth anniversary. Despite the fact that he struggled during his lifetime and was buried in a pauper's grave, we are eternally grateful. We have his music.
No comments:
Post a Comment