Concert in the Martinskirche: from left Malin Panteleit (girl soprano), Susanne Böbel (viol.), Carola Ebert (viol.), Konstanze Liebeskind (cello), Susanne Dünnbier (conductor), Reinmar Wipper (organ). Photo: Bertram Seifert
NECKARTAILFINGEN. What else could Wolfgang Amadeus Mozart have achieved if he hadn’t died at the age of 35? An idle question, because up until then the master had already composed works of such flawless perfection that it was difficult to imagine intensifications without deviations.
Two of these works were recently performed by Susanne Dünbier with her choir ensemble “Die Damen” in the local Church of Reconciliation and the day before in the Neckartailfinger Martinskirche: the supernatural “Ave Verum Corpus” and the Missa Brevis KV 275 in B major. The four-part arrangement for equal female voices took nothing away from the musical substance and a minimalist instrumental group made the work delicately transparent. It is said that Mozart was reprimanded by the Salzburg bishop because his masses were too lavish and that they dominated the liturgical events around the altar; he should keep it brief. The then 18-year-old rascal promptly condenses Gloria and Credo, forgoes the usual closing lines and only deals with the praises and beliefs. The varied variety of musical ideas nevertheless does visual justice to the theological statements. Particularly impressive is the “Et incarnatus est”, celebrated in a captivatingly emotional way by the choir’s solo trio.
Instead, Mozart gave the Ordinary texts of the Sanktus, Benedictus and Agnus Dei an emotional breadth that was new for their time. Apparently, even as a young man, he opened his heart to the “Holy”, “Blessing” and “Lamb of God” rather than to the catechetical sentences and theological articles of Gloria and Credo. Emotion and transcendence, including a Dona nobis pacem in the style of a popular song, anticipates the Sacred Heart movement of the Romantic era and yet resulted in the official church’s opus KV 275 initially appearing to be of little use.
Susanne Dünnbier led the way to the grandiose mass with several movements from Mozart’s church music work: Jubilate, Laudate Dominum, Alleluia, Ave Maria, each crystal-clearly musically designed by the exquisite ladies’ choir, vocally, dynamically and creatively high-class. Thirteen singers merge congenially with their three soloists: Stefanie Schmid (soprano), Anneli Contag (mezzo-soprano) and Anne Koppenburg (alto). First among equals, a rare phenomenon in the local choir landscape. The choir was accompanied and supported by a fabulously sensitive and confident string trio with Susanne Böbel and Carola Ebert (violins), Konstanze Liebeskind (cello) and Reinmar Wipper on the organ. As a rare highlight in the first part of the program, the conductor presented her eleven-year-old singing student Malin Panteleit in the aria “Tu virginum Corona”. A striking delight from a special talent with enormous vocal power from the throat of a petite person who certainly has great things ahead of him. After both performances, a grateful audience greeted the artists with sustained applause.
