Saturday 15 June 2024 at 8 pm
La Badinerie, mixed choir from Louvain-la-Neuve & Friends
invite you to an exceptional concert
at the majestic Salle Henry Le Bœuf
W. A. MOZART’s Requiem &
Carl ORFF’s Carmina Burana
Les soloists Rita Matos Alves soprano, Aveline Monnoyer mezzo-soprano, Berus Komarschela tenor et Samuel Namotte baritone and 120 chorists will be accompanied on keyboards by pianists Mariano Ferrández and Bernard Guiot and five percussionists, under the musical direction of Laëndi.
Wolfgang Amadeus Mozart’s Requiem will be performed in a version completed by Joseph Eybler, a close friend of Mozart’s, Franz Xaver Süßmayr, a young disciple of Mozart’s, and Robert Levin (1993), a Harvard musicologist and specialist in Mozart’s works.
The version proposed by Levin has retained the structure of the orchestration and a part of Süßmayr’s contributions, while adjusting the orchestration, voice direction and other instrumental passages, in an attempt to bring the instrumentation more into line with Salzburg practice.
Other notable features include the inclusion of the Amen fugue after the Lacrimosa, an extension of Süßmayr’s Osanna fugue following the models of the Great Mass in C minor. The orchestration of the Sanctus-Benedictus and Agnus Dei, as well as the choral parts in the Mozartian style, are very convincing and faithful to Mozart’s thought:
« Even though I’ve got into the habit of always imagining the worst – because death, strictly speaking, is the real final goal of our lives – over the last few years I’ve become so familiar with this true best friend of mankind that its image no longer frightens me, but rather reassures and consoles me » !
The transposition for two pianos and tympani was written by pianists/composers Raymond Alessandrini and Mariano Ferrández.
Carl Orff’s Carmina Burana comprises twenty-four songs, framed by an invocation to Fortuna, the goddess of destiny and luck. [explain the history here]
They are organised into three main thematic sections: Spring, the Tavern and Love.
These were the favourite themes of the goliards and vagants, clerics who remained secular.
– The bucolic gaiety of spring is evoked by the unison of a litany, before the joyous call of love launched by chiming bells. The dialogue gives way to a drunken invocation of the Queen of England, probably Eleanor of Aquitaine, wife of King Henry II Plantagenet, and initiator of one of the most famous courts of the courtly era.
– The theatrical spirit of the second part of the work, “In Taberna” (at the tavern), is truculent: it begins with a satirical confession and, with unbridled pleasure, professes “pravitas”, depravity. This scene of revelry culminates in a rousing male chorus celebrating the pleasure of drinking with orgiastic exuberance.
– In the third part, the “Cour d’amours”, feigned innocence alternates with refinement, amorous lament and the quest for love.
The reprise of O Fortuna at the end symbolises the wheel of fate turning in on itself; Orff had discovered it in miniature form in the Carmina Burana collection.