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By Robert Chase
In view that time immemorial, the reaction of the residing to demise 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 long time and serving diverse religions, Western and japanese. This e-book, the 1st accomplished survey of requiem track for almost part a century, offers loads of various and certain details that may be of use to the pro musician, the musical student, the choral conductor, the theologian and liturgist, and the overall reader. the most physique of the consultant 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, versions, and discography are given. an intensive bibliography comprises 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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Extra info for Dies Irae: A Guide to Requiem Music
Liber scriptus, AT duet/str. /ww. ; Judex ergo, B solo/str. /ww. ; Quid sum miser, T solo/str. ; Rex tremendae, satb choir/str. /ww. five vv. Recordare: sixty four mm. [fm] un poco Iento. A solo/str. /ww. ABA shape. Quaerens me: 127 mm. [B flat M] andante. T solo/str. /ww. Binary shape. Juste judex: nine mm. [E flat M]largo. satb choir/str. /ww. An followed choral recitative. Inter oves: eighty mm. [FM] andante. Inter oves; Confutatis & Oro supplex [GM] adagio. A solofstr. fww. three vv. AB[A truncated] shape. Lacrymosa: seventy one mm. [em] andante. Lacrymosa, satb/choir/full orchestra; Huic ergo, SA duet/str. ; Dona eis, satb choir/full orchestra. three sections. Offertory: 107 mm. , events, ABA shape Domine Jesus Christe: forty-one mm. [B flat M] andante. 2 sections, Domine ]esu & Sed signifer, satb choir/ str. /ww. Hostias: sixty six mm. , [em] andantino. three sections. Hostias, SSA soli/str. ; Quam olim Abrahae [E flat M] & Domine ]esu Christe (da capo) [B flat M] satb choir/str. / ww. Sanctus: forty mm. Sanctus [FM] andante; Pleni sunt coeli, andante. satb choir/str. /ww. ; Osanna, SA soli/satb choir/ str. /ww. Benedictus: seventy four mm. Benedictus [CM] Un poco Iento. A solo/str.. Osanna is repeated. Agnus Dei: 39 mm. Agnus Dei [em] andante. AA duet/str. Communion: thirteen mm. Lux aeterna [FM] andante. unison TB choir, Gregorian intonation of the Te decet; Requiem aeter-nam: the 1st move, Requiem aeternam, is repeated. DISCOGRAPHY Opus 111, OPS 30-80, eleven Fondament, dir. Paul Dombrecht. JUAN DE HERRERA c. 1670-February/March 1738 De Herrera was once born in Bogota, Colombia (New Grenada), the place he it sounds as if bought his schooling and spent his occupation. He used to be a chaplain and tune instructor at Santa Ines Convent. From 1703 until eventually the top of his existence, he used to be the choirmaster of Bogota's Santa Fe Cathedral. Of the present three-dozen compositions, such a lot are polychoral. There The Baroque Requiem 159 are entire lots for 8 voices, a partial Officum Defunctorum, a Lautlate Dominum for 3 choirs and continuo, 3 requiem settings (for 5, 8, and 9 voices), and, finally, a dozen villancicos for twofive and 7 voices. The Misa de Difuntos for 5 voices was once most likely composed for the Santa Fe Cathedral within the early years of the eighteenth century. For its interval, it is still a conservative, stile antico version of requiem writing. Its scoring for 4 vocal elements (SSAT) and one instrumental half (basso segunte) provides the paintings a gentle and ethereal caliber. the existing texture is complex homophony, with occasional passages of simplified, imitative polyphony, resembling these present in the Introit and Kyrie. There are curious one-measure breaks within the choral writing, inflicting one to invest no matter if those breaks have been utilized by the composer to discover the resonant acoustics of the cathedral or whether or not they have been packed with the interludes of an accompanying organ. Gregorian intonations are wanted for the Introit, Graduale, Offertory, Sanctus, Benedictus, and Agnus Dei, and the next polyphonic paraphrases seem to be taken from the few commencing notes of these chant parts that persist with the intonations.