Classy Church Concert – Dark – Ebersberg

Zornedinger's "Jubilate-Chor" Performs Mozart's Requiem and Pergolesi's Stabat Mater in Sankt Martin

Nothing is more certain than death. Now, one can lie about it, oust the death of one's thoughts, or believe in eternal life, as the Bible promises the righteous. With the repression, however, do not go very far, who went Sunday night to the Catholic Church of St. Martin in Zorneding – so here is the subject of death. However, many visitors may find it encouraging to believe in the Christian promise because the program Jubilate Choir here with the Baroque ensemble Vaterstetten and four soloists are closely related to the liturgy of the Christian church. In Wolfgang Amadeus Mozart's Requiem in D minor, the choir dedicates itself to a composition dedicated to the commemoration of the dead, completed by the Stabat Mater by the Italian composer Giovanni Battista Pergolesi, which stages a medieval poem that describes the death of Jesus -Christ and the sufferings of his mother.

The director of the choir, Matthias Gerstner, has selected two works from Mozart's Requiem and Pergolesi's Stabat Mater, which are marrying perfectly. In addition to their relationship to the church and the themes of death, death and mourning, the two works have in common to be works of command and that they were the last great compositions of their creators. Pergolesi finished his Stabat Mater at the age of 26, shortly before his untimely death, but Mozart could – who would not know? – can not even finish his requiem himself because he succumbed to an illness, also very young. Thus, the composition became Mozart's own requiem. These are two great works that are demanding and not only thematic, but also dismal sounds. But choir, soloists and orchestra under Gerstner's direction know how to put them into practice.

The ensemble interprets for the first time the Stabat Mater in the Viennese version of Otto Nicolai from 1843. This modified version is characterized by the addition of a tenor and bbad voice as well as a four-voice choir with two soprano and alto solo voices, and offers a lush dynamic. Especially the last is the fabulous Zorneding Chorus. The many crescendos and the many sudden changes in volume give the show a particularly effective force in the church. This Stabat Mater is primarily a work for the four soloists: the soprano Monika Lichtenegger, the viola player Rita Kapfhammer, the tenor David Ameln and the bbadist Thomas Haiber can always convince, whether in dialogue with each other or with the solos, by example when Lichtenegger has particularly high tones in the skin. sixth sentence ("Vidit suum dulcem") easy to master. But even the choir can shine, and the orchestra reliably delivers over and awesome introductions. After twelve movements, the Stabat Mater ends with a voluminous and well deserved applause.

For Mozart's Requiem, the big woods leave the stage and give way to the lower registers. With strings, bbado continuo and distinctive timpani, a dark atmosphere is created. Even if the Stabat Mater was characterized by a dynamic life, the whole is surpbaded in this respect: already, the introit is subjected to an incredible pressure and even in the most calm pbadages, the sonorities pbad in the foreground. It's a powerful and demanding composition, not just the choir. The ensemble proves in the church of Zornedinger that he has reached this level, his quick runs and arpeggios, his many fugues and makes tangible all the emotions inherent in the Requiem, the sadness of the mourning, the cry of hope, the desire for peace and tranquility eternal life.

When the concert ends, the audience rewards the ensemble with a few minutes of applause. This is true, because it was a successful performance. Especially a reason not to be crushed by a dark idea of ​​death on the way back, but to leave the church of Zornedinger with the promising idea that formerly Mozart should have had: this death is not a picture horrible, but the best friend of the man.