St. George's Choral Society will be performing works by Baroque and Classical masters, including Vivaldi, Salieri, Mozart, Michael Haydn and Pergolesi, on November 23 at 3 PM at Church of the Holy Apostles, Ninth Avenue at 28th Street in New York City. Matthew Lewis, Artistic Director for the group, shares his insights on these composers and the program.

Laura Daly: For this concert you have selected composers who overlap in style, era and influence, but with very different reputations and legacies. Can you tell us why you chose to group these composers into one program?

Matthew Lewis: Well, it really started with the Vivaldi Magnificat -- an incredible piece I have wanted to do for some time. It's not his most popular work and I'm not sure why. Once that piece was on the program, one thing led to another, and then we had Pergolesi and Salieri (continuing in the Italian style), which took me to other sacred works, including the Michael Haydn Te Deum and Mozart Mass in C.

LD: How would you describe the major differences between Baroque and Classical music? How does this program highlight those differences?

ML: Vivaldi is really the Baroque composer in this program, but it's Baroque "light." It doesn't contain the complexities of many Baroque compositions, although it does contain Vivaldi's flair for contrasts and drama. The Classical works, by comparison, are immediately accessible and usually clearer in texture and style. The Age of Enlightenment didn't support the old styles and forms that make Baroque music what it is. Just compare a keyboard piece by Bach to one by Mozart and you will easily hear the difference.

LD: Vivaldi's Gloria is much more well known and frequently performed today than his Magnificat. Why did you choose to perform his Magnificat? What are the major differences between the two works? Additionally, are there any notable distinctions between this Magnificat and others?

ML: I think most people have sung or heard the Gloria, and with good reason! It's a delightful piece, also full of contrasts and drama. So, I was looking for something that perhaps people didn't know. At our rehearsals we've learned that only one singer has sung it before. The Gloria is a slightly more developed (longer) piece, scored for more instruments. The Magnificat is for strings, and the soloists tend to sing in combinations (duets, etc.).

LD: Pergolesi's music often feels intimate and lyrical. How does that contrast with the more dramatic gestures of Mozart or Salieri?

ML: A funny thing about Pergolesi is the number of works that were long attributed to him, but now we know others wrote them. The Magnificat in B-flat major is such an example -- we now know that it was written by Durante. And to be honest, the motet on this program was probably written by another composer. But that doesn't really matter -- it is a stunning piece written in a dramatic style of the old masters. Think about Perglosi's Stabat mater -- it is one of the most dramatic pieces in the vocal repertoire. I hear it as quite operatic. Yes, there are intimate moments, but there are very dramatic ones as well.

LD: Michael Haydn is sometimes overshadowed by his brother Joseph. What qualities in his choral works stand out to you?

ML: Michael Haydn was considered by many to be the better composer of sacred choral works. He knew liturgy well, having vast experience as a church musician. While Joseph Haydn wrote many incredible (monumental, even) choral works, his brother seemed to really understand how to write in a specific setting, which makes the listener aware of the meaning of the text.

LD: How would you describe your style in rehearsing a chorus? For this concert, what challenges do singers face when shifting from the ornamented style of Vivaldi or Pergolesi to the cleaner Classical lines of Mozart or Haydn? How are you preparing your chorus to navigate these stylistic differences?

ML: I like to see where people are, meet them there, then figure out how we can accomplish something wonderful together. Fortunately, we are blessed with a group of very fine singers! So, we are able to focus on musical things and don't have to spend all our time learning notes. We can finesse stylistic details, dynamics, diction, etc., all in hope of bringing the music to life and communicating with our audience. And this challenge is good for us. Making a difference in Baroque and Classical (both of which demand precision) keeps us in line technically and demands we have a musical concept in mind.

LD: Is there a particular piece in this program that has personal meaning for you?

ML: I think the Vivaldi is what shapes the program for me. I love it and feel it leads to the other works quite naturally. The Vivaldi is scored for strings with organ continuo, then the Haydn and Mozart add trumpets and timpani, so it's an exciting journey!

LD: What do you hope an audience will hear, learn, or feel by experiencing these composers side by side?

ML: I hope they will hear what we are trying to communicate something that transcends our daily lives. Something that gives us purpose and rewards us. And that we love these pieces enough to spend so many weeks with them

LD: St. George's Choral Society always welcomes new singers. Who would you say would be an ideal candidate? How can potential members schedule an audition? Is there still time to audition for the fall program?

ML: Singers can schedule an audition by e-mailing us through our website. It's not a scary process! We just need to hear people sing to make sure they are in the appropriate section for them. There is still time, although we've already had a few rehearsals. And we provide online tools so people can do some work at home, to help them prepare for rehearsals which sometimes move quickly. Singing in a choir is a great way to keep music active in our lives, and I strongly encourage it!

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The program for November 23:

• Vivaldi: Magnificat, RV 610
• Salieri: De Profundis
• Mozart: Mass in C, KV 220 "Sparrow"
• Michael Haydn: Te Deum
• Vivaldi: Concerto for Strings in G, RV 157
• Pergolesi: O Sacrum Convivium

For more information about the November 23 St. George's Choral Society concert, please visit Current Season -- St. George's Choral Society. Tickets will be available online or at the door.