Arts and Entertainment

Bremerton Symphony’s ‘Sacred Concert’ April 13, 14 | Kitsap Week

conductor Alan Futterman - Contributed
conductor Alan Futterman
— image credit: Contributed

BREMERTON — The Bremerton Symphony Orchestra, Bremerton Symphony Concert Chorale, and Anna’s Bay Chorale will unite to give two performances of the Mozart Requiem in the sanctuary of Our Lady Star of the Sea Church.

The performances — Bremerton Symphony’s “Second Sacred Concert” — are April 13, 7:30 p.m., and April 14, 2 p.m., at 1513 6th St., Bremerton.

For tickets, call the Bremerton Symphony, (360) 373-1722. Tickets will also be available at the door.

According to conductor Alan Futterman, the Mozart Requiem is one of the most beloved works in the concert’s repertoire. “Even after innumerable times through this score, musicians and audience alike still get shivers at the gripping double counterpoint as chorus and orchestra relentlessly hammer away at the repeated eighth notes and the 16th-note sequences building up, adding layer upon layer of sound, always rising higher and higher, taking the singers up to the very limit of choral possibility,” Futterman said.

“This is Mozart’s final work, his final burst of genius, his musical brain laid bare and open for all future generations of musicians to study, to marvel at, and to be humbled by a perfection that few humans will ever achieve.”

Soloists for the Mozart Requiem are Tess Altiveros, soprano; LeeAnne Campos, mezzo; Les Green, tenor; and Paul Nakhla, bass.

The first half of the concert features Samuel Barber’s Agnus Dei. This piece began as the slow movement of Barber’s String Quartet Opus 11, took on a life of its own as the “Adagio for Strings,” and finally metamorphosed into a vocal work when Barber arranged this music for choir using the words of the Latin Mass.

“We will open with a piece I discovered more than 30 years ago,” Futterman said. “One of my longtime hobbies is to pore over old music manuscripts in the dark and seldom-used back shelves of libraries. While still a teenager, I persuaded the music librarian at the Library of Congress to allow me access to their boxes of old music ...

“Gazing upon an early edition of ‘Absalon fili mi’ (‘Absalom, My Son’), I was bowled over by the innate beauty and power of this piece, one of the gems of the late Renaissance, with its brilliant use of four solo trombones. Heinrich Schütz, born exactly 100 years before J.S. Bach, is the towering musical figure of the German Renaissance though we seldom hear his works today.”

 

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