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Oxford Harmonic Choir Sings Mozart's Requiem and Hummel's Mass in Bflat
Part of the Oxford Harmonic Choir 2026-2027 Season
Add to my Calendar 29-11-2026 19:00 29-11-2026 21:00 36 Oxford Harmonic Choir Sings Mozart's Requiem and Hummel's Mass in Bflat Mozart tragically did not live to complete his Requiem (K. 626), but the score we have, completed by his pupil Franz Xaver Süssmayr, contains some of Mozart’s most gripping music. It is a work whose influence can be heard to resonate through the ages and even into the present day: echoes of the well-known “Lacrimosa” can be heard in the Oppenheimer (2023) soundtrack. Another of Mozart’s few students, Johann Nepomuk Hummel, composed the second piece in this programme. The Mass in B-flat, Op. 77, is filled with the senior composer’s clarity, grace and occasional daring moments. The imposing fugue that crowns the “Gloria” particularly stands out as the latter. Sheldonian Theatre, Oxford DD/MM/YYYYDetails
Sheldonian Theatre
Broad Street
Oxford
Oxfordshire
OX1 3AZ
England
Tickets
Prices: £15 - £40, wheelchair users may bring a companion/carer for free
Booking line: 01865 305305
Book Tickets
Programme
Johann Hummel – Mass in B flat major, Op.77
Wolfgang Amadeus Mozart – Requiem in D minor, K.626
Performers
Nazan Fikret – Soprano
Felicity Buckland – mezzo-soprano
Robert Lyn Evans – tenor
Richard Wiegold – bass
Robert Secret – Conductor
Oxford Harmonic Choir
The Orchestra of Stowe Opera
Programme Note
Mozart tragically did not live to complete his Requiem (K. 626), but the score we have, completed by his pupil Franz Xaver Süssmayr, contains some of Mozart’s most gripping music. It is a work whose influence can be heard to resonate through the ages and even into the present day: echoes of the well-known “Lacrimosa” can be heard in the Oppenheimer (2023) soundtrack.
Another of Mozart’s few students, Johann Nepomuk Hummel, composed the second piece in this programme. The Mass in B-flat, Op. 77, is filled with the senior composer’s clarity, grace and occasional daring moments. The imposing fugue that crowns the “Gloria” particularly stands out as the latter.
