Sydney Symphony Orchestra is working with the Sydney Philharmonia Choirs this week in a series of superb concerts featuring the very famous Mozart Requiem. Guest conductor for the series is Stephen Layton, world renowned for his choral directing.
Layton began his music education early, winning scholarships to Eton and King’s College, Cambridge. In the 1980’s he founded Polyphony who are now one of the most recorded choral groups in the world. He became Music Director of the Holst Singers in the early 1990’s and continues in that post to present day. He also held the esteemed post of Director of Music, Trinity College in London for 17 years, along with a number of directing positions for major choirs around Europe and the City of London Sinfonia.
His work with the Choir of Trinity College has been recorded on Hyperion earning many international awards. There are few choral directors in the world with a biography that matches his. Layton was last in Sydney with the SSO in 2023 directing Bach’s Magnificat and loves to program music that appeals broadly so everyone, no matter what their level of music education, can enjoy.
Opening the program was Mozart’s Requiem. It is always surprising to see how few musicians are on the stage for a work that, at times, sounds like it would raise the roof. The work was left unfinished when Mozart died at the age of just 35. There was much rumour at the time, spread by his wife Constanze, that a hooded figure would arrive with money and instructions from the commissioner of the work, not revealing the identity of the commissioner.
A couple of months after his death, Mozart’s colleagues finished the work and delivered it to Count Franz von Walsegg who was said to be the commissioner and already had a reputation for passing off works of other composers as his own. You can see this story play out, from Mozart’s point of view in the play and movie “Amadeus”. There are 8 diverse movements structured to match a religious requiem. With the work left incomplete, several versions have been created making their own finishes and edits, sometimes even repeating the opening movement. The version for this concert however, was originally completed by Mozart’s student and friend, Franz Xaver Süssmayr in his twenties, as requested by Constanze, to complete the commission for von Walsegg.
The performance of the Requiem felt a tad rushed but was still glorious in the quality and unity. Soloists were outstanding. Soprano Samantha Clarke, from Queensland and educated in Guildhall, London, offered an expressive, operatic interpretation with beautiful tone. Mezzo-soprano Ashlyn Timms, educated in Melbourne Conservatorium and Royal College of Music in London provided a marvellous, rich yet simple and clear part. Sydney born tenor Andrew Goodwin is perfect for this type of work with a bright, fine and articulate voice. Baritone Simon Meadows worked beautifully, particularly with the trombone duet — a favourite part for many. The trombone was rehearsing this as the audience entered the auditorium as a sneak peak of what was to come.
The second half did not disappoint at all. Often a program swirls the remaining works around the major work like a picture frame but, not in this case. A surprise start came from the choir outside the auditorium doors singing the original “Why Fum’th in Sight?” by Thomas Tallis from the 1500s. The muffled sound felt like a memory from all those years ago yet, the tune was unmistakable. This little work was the inspiration for the piece that immediately followed. Ralph Vaughan Williams was inspired, 400 years later, to take that memorable tune and make the most exquisite work for two ensembles of strings “Fantasia on a Theme by Thomas Tallis”. Originally he wrote for it to be played in the Three Choirs Festival in England in 1910. Picture a big cathedral as the performance space. The audience chairs are laid along the longest walls in the centre with the two ensembles are positioned at each end, creating a stereo effect for the audience.
Here’s the original song:
https://www.youtube.com/watch?v=pmCtFUsprfM
Then watch this performance of the BBC Symphony conducted by Andrew Davis at the Gloucester Cathedral where the work was premiered, starting so very gently. Listen to the acoustics!
https://www.youtube.com/watch?v=ihx5LCF1yJY
In a regular concert hall such at the Sydney Opera House, we can’t unfortunately get that stereo effect. However, on our stage, you can see the smaller ensemble set back on risers behind the main ensemble. It is a magical work.
To close the second half was a more recent work by composer John Rutter “Gloria”. Originally commissioned for Mel Olson, an American Choral Conductor in Nebraska, Rutter said Olson was very articulate in what was required by choral conductors everywhere in his brief. After the premier, which Rutter conducted himself, the work was published and quickly picked up by choirs all over the world, hungry for the new work. This gorgeous piece might not have been heard in Sydney before – though you are welcome to correct the writer if there was an earlier performance. It’s full, bright and happy with brass and percussion adding dynamics, compared to the earlier softer Vaughan Williams work.
The choir looked happy performing and the audience lifted to match their high vibration. There was a brief solo by Susanna Lawergren who lead the sopranos with a strong, expressive voice.
Looking at the complete program, Requiem started the evening which is stunning but certainly darker in its beauty. So the program very clearly rose from dark to light with such a sunny ending, everyone left the Opera House feeling light and inspired. The works were so fluent and the subtitle “Voices through time” was clearly demonstrated.
There were a few school groups in the hall. This program is HIGHLY recommended for those new to classical music as much as those well experienced. Get along to it if you can find a seat. Let’s hope it is repeated in the near future.
Further concerts
Friday 11 September 2026, 8pm
Saturday 12 September 2026, 8pm.
Artists
Conductor Stephen Layton
Samantha Clarke, Ashlyn Timms, Andrew Goodwin, Simon Meadows
Sydney Symphony Orchestra
The Sydney Philharmonia Choirs
Chorus master Elizabeth Scott
Program
WOLFGANG AMADEUS MOZART – Requiem in D minor K626
THOMAS TALLIS – Why Fum’th in Sight?
RALPH VAUGHAN WILLIAMS – Fantasia on a Theme by Thomas Tallis
JOHN RUTTER – Gloria
Related Links
Book your tickets or see what’s on next: https://www.sydneysymphony.com/concert-tickets
Polyphony choral group founded by Stephen Layton: https://polyphonychoir.com/
“ From memory, there have been 3 composers through the centuries of that name …” No. Maybe you’re thinking of John Tavener / Taverner?
“This gorgeous piece might not have been heard in Sydney before …” It was sung by Sydney Philharmonia in 2023, then by the St Mary’s Singers at St Mary’s Cathedral a year or so later. It’s a pretty popular work, so I’d be surprised if there haven’t been other performances before those.
“ The performance of the Requiem felt a tad rushed …” I’d argue that the extraordinarily fine detail in the choral preparation enabled the level of drive and energy in this performance. It certainly didn’t seem rushed from the cheap seats at the back; there was always absolute clarity.
“ Three Choirs Festival in London …” No, the Three Choirs doesn’t take place in London. 1910 was in Gloucester. This is actually in the concert’s programme notes. 🤦