Wolfgang Amadeus Mozart (1756-1791) - Exsultate, jubilate KV 165
          Exsultate, jubilate (Allegro)
          Fulget amica dies (Recitativo)
          Tu virginum corona (Andante)
          Alleluja (Allegro)

Program notes 1

Johann Baptist Vanhal (1739-1813) - Symphony in g minor Bryan g1
          Allegro moderato
          Andante cantabile
          Menuetto - Trio
          Finale: Allegro

Program notes 2

Joseph Haydn (1732-1809) - From the oratorio Il ritorno di Tobia: „Anna, m'ascolta!“

Ilia Marinescu, soprano

Chamber Orchestra Concerto Sacro Wien

Ingmar Beck, conductor/harpsichord

Programm notes:


Welcome again tonight from the Piano Gallery Vienna. Thank you very much for watching our concert tonight as well as thank you to the huge number of listeners of our concert last week. We were surprised how many people watched our concert last week. Because of this success we decided to play a second live-stream concert tonight. Thank you to the Spanish and Turkish Cultural Instituts and to the President of the Albrechtsberger Society Vienna, Doris Füreder, for your donations and for your special support. 

In the beginning you heard the motet Exsultate, jubilate by Mozart. It was composed in January 1773 shortly before Mozart’s birthday at the age of 16 during a concert tour to Italy. Mozart was inspired by the castrato Venanzio Rauzzini. Often we can see in music history that excellent singers or instrumentalists inspired composers to write for them, as you could hear last week - when we played an aria which Hasse composed for his wife Faustina Bordoni. 

Now you will hear the symphony in g minor by Johann Baptist Vanhal. He was born 1739 in Bohemia, and he was sent to Vienna by a duchess who recognized Vanhal’s musical talent. Vanhal studied with Dittersdorf in Vienna. This symphony is typical for the period Sturm und Drang (storm and stress). In addition, I want to mention that Vanhal founded his own music company and published more than 300 works - so he was not dependent from donations of the aristocracy and could live independently as an artist.


After this stormy symphony by Vanhal I want to introduce our musicians. We are a international group: Alicia Edelmayer (cello) from Hungary, Simon Schellnegger (viola) from Austria, Jolanta Sosnowska (2nd violin) from Poland, and Cornelia Neumann (concert master) from Germany - and our French-Romanian soprano Ilia Marinescu. Because we artists are only allowed to perform online in these days, some of us found a new job for these days, including Cornelia:

I don’t want to sit bored at home and want to make sports, so I got a job as a biker at a delivery service. I signed up and am delivering food since yesterday. It is fun for me and I am doing sports while being paid. So when you are living in the 2nd, 3rd or 4th district, it’s possible that I am coming to your home when you order at

As the final piece of our concert tonight you will hear the aria Anna, m’ascolta! from Haydn’s oratorio Il ritorno di Tobia. Probably you won’t know the oratorio which was composed 25 years before Haydn’s famous oratorios Creation and Jahreszeiten. The Neapolitan oratorio sung in Italian was very popular in Vienna around 1770. Even the Messiah was performed in Italian. During lent it was not allowed in this time to perform operas, so they played oratorios in the opera houses. Haydn wanted to become a member of the Vienna Tonkünstler Society, and composed for them his oratorio Il ritorno di Tobia in 1775. Giovanni Gastone Boccherini (brother of cellist and composer Luigi Boccherini) wrote the libretto, as well as the libretti of many operas by Salieri. The subject of the oratorio is the son Tobia who heals his blind father Tobit. In the aria you will hear now (which stands at the beginning of the oratorio) the archangel Raphael tells to the wife of Tobit who the story will end. 

Thank you very much for listening and we hope to be allowed to perform live again soon.


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