Organization

Conductor

Nikos Maliaras

Singer

Mezzo-soprano

Athina Kastrinaki

Tenor

Zachos Terzakis

Bass

George Roupas

Orchestra

Athens Philharmonia Orchestra

Lux aeterna

Athens

Greece

Lux aeterna: Concert Various

Public

Concert

Anna-Maria Gkouni

Approved

The Athens Philharmonic Orchestra responded to the spirit of the days of Divine Passion, but also of the Resurrection, with perhaps the greatest work of religious music of all time: The famous Requiem in W minor by Wolfgang Amadeus Mozart .

The magnificent work of the great Viennese composer, his "stern song", was left unfinished when he died in early December 1791, at the age of just 35. The project was completed by Mozart's only student, Franz Xaver Süssmayrin such a way that it is not completely clear exactly which parts come from the teacher's pen and which from the student. Recent musicological research has made its suggestions, but we will never know for sure what exactly is the solution to this darkest mystery in the history of music. A mystery that already began with the creation of the work, which was commissioned to Mozart by a secret patron. The metaphysical dimension of the work, which stands in every respect on the border between life, death and afterlife, was approached by the concert of the Philharmonic, in collaboration with three choirs and four exceptional lyrical soloists.

The concert was accompanied by an important work by the emblematic composer of the Italian Baroque, Antonio Vivaldi: the Grosso Concerto for four violins and strings, work 3, no. 10. The roles of soloists were taken over by four of the orchestral musicians. The work belongs to the collection of concertos "L'estro armonico " (The harmonic oestrus) of the composer, written about 80 years before Mozart's Requiem, around 1711. The melancholy and introversion of the tonality of si minor, combined with the anticipation of the rapid onset of natural regeneration, as indicated by the overall title of the collection, corresponded exactly to the spirit of the days.

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