The concert will open with a refined work by Leopold Koželuch, the Concerto for Piano Four Hands, entrusted to the elegant interpretation of Barbara Cattabiani and Claudia Agostini.

A leading figure of Viennese Classicism, Koželuch was admired by his contemporaries for his clear and brilliant style, capable of combining the melodic grace of his time with a vibrant and expressive pianistic writing. In this rare performance for piano four hands, the close dialogue between the two performers will offer the audience a moment of balance and lightness, preparing the way—through its luminosity—for the listening of Mozart’s monumental

Requiem in the second half of the concert.

The Requiem Mass K 626 in D minor, Wolfgang Amadeus Mozart's last unfinished work, represents a labyrinth of contradictions and mysteries that over time has divided historians and musicologists, fueling conjectures and igniting passions. Mozart completed only the Introit: Requiem aeternam, and wrote the main parts of the opera, indicating the melodic motif of the accompaniment from time to time. Kyrie, Sequentia (with the Lacrimosa which stops after the first eight bars) and the Offertorium arrived at this stage.

After Mozart's death, his wife Constanze delegated the completion of the Requiem to her husband's three pupils, in order to get closer to the original intentions of the work, but only Franz Xaver Süssmayr continued the work, homogeneously rearranging the work of the previous collaborators and completing the totally missing passages of the manuscript. From the very first notes there is a sense of anguish, it is as if the author was afraid of death and

judgment and it is as if it were already present.