Dies Irae: A Guide to Requiem Music

By Robert Chase

When you consider that time immemorial, the reaction of the dwelling to loss of life has been to commemorate the lifetime of the departed via ceremonies and rituals. for almost millennia, the Christian quest for everlasting peace has been expressed in a poetic-musical constitution often called the requiem. conventional requiem texts, between them the nameless medieval Latin poem Dies Irae ('Day of Wrath'), have encouraged an untold variety of composers in several a while and serving varied religions, Western and japanese. This e-book, the 1st entire survey of requiem song for almost part a century, offers loads of various and distinctive details that may be of use to the pro musician, the musical student, the choral conductor, the theologian and liturgist, and the final reader. the most physique of the advisor is an outline of a few 250 requiems. every one access contains a concise biography of the composer and an outline of the composition. info of voicing, orchestration, variants, and discography are given. an intensive bibliography contains dictionaries, encyclopedias, prayer books, monographs, and articles. An appendix lists greater than 1700 requiems no longer mentioned in the major textual content.

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A lot of his mass settings are parody plenty; a kind that the Council of Trent attempted to abolish. Of the mass settings, are nice masterpieces; the Missa Mi-Mi and the Missa Prolationum. the previous is a gorgeous, moody paintings; the latter, a wonder of canonic complexity and ingenuity. Ockeghem's Requiem professional defunctis is the oldest extant polyphonic environment of the funeral textual content. It was once most likely composed for the funeral of Charles VII in July of 1461. One perplexing point of the paintings is the dissimilarity well-liked and scoring of the routine.

Schwann, DUsseldorf. 1930 period 8 routine, 376 mm. , perf. c. 18' VOICING Choir: SAITB diversity: S-06; B-F3 OUfLINE Introit: fifty six mm. , 2 sections [Requiem Reternam & Te decet, sattb] Kyrie: forty-one mm. , three sections [Kyrie, Christe, Kyrie, sattb] Graduale, Si Ambulem: fifty six mm. , 2 sections [Si ambulem & Virga tua, sattb] Offertory: ninety nine mm. , 2 sections [Domine Jesu Christe & Th suscipe, sattb] Sanctus: 30 mm. , 2 sections [Sanctus & Pleni sunt coeli, sattb] Benedictus: 20 mm. , 1 part [Benedictus, sattb] Agnus Dei: 31 mm.

His requiem surroundings, Officum mortuorum, exists in a manuscript courting from 1614. for a very long time, the paintings used to be ascribed to Di Lasso and interestingly, is presently incorporated within the amassed ~rks of Orlando Di Lasso. it's scored for SATB choir. The four-part texture is still consistent in each 62 Chapter4 a part of the requiem. The behavior of atmosphere the Agnus Dei in expressive homophonic texture and of conserving the Graduale textual content, Si ambulem, tell us approximately De Kerle's Franco-Flemish origins. like any different composers of the period, De Kerle wrote a Gregorian cantus-firmus requiem.

Kerll frequently hired tools within the following type: strings doubled the SATTB choral passages, yet have been lowered to an easy basso continuo for the concertante, SATTB soli passages. even though, accompaniments for solo arias have been way more colourful and self reliant from the vocal line. within the aria, Quantus tremor, the bass soloist is followed by way of four-part strings, taking part in tremulando. within the tenor solo, Tuba mirum, the 124 bankruptcy five strings play a martial, trumpet-like figuration. Dramatic, dotted rhythms accompany the alto solo, Mors stupebit.

Numerous different concertante requiems and lots more and plenty (including one a cappella setting), a Laetatus sum, a moment environment of the Vespers and an Offertory, represent the majority of his efforts. The Baroque Requiem a hundred and one Biber's requiem settings exhibit his present for inventing attractive melody, in addition to his mastery of contrapuntal writing. A century after the discovery of monody (a kind of vocal-solo writing during which the melody is supported by way of an easy, chordal accompaniment), Biber wrote florid, coloratura melodies for the solo and choral elements; a melodic kind derived from the idiomatic taking part in form of the violin.

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