Requiem Archives - Ramblin' with Roger

Requiems, I’ve sung quite a few

Lenny

I love requiems. And I’ve sung quite a few. I stumbled across How To Compose a Requiem. “At some point in their journey, nearly every single composer is possessed by the idea of I need to write a requiem, and it’s not hard to see why…

“The secret to composing a requiem-style theme is to make sure your music contains four specific attributes:

It should be written in a minor key
It should use a few well-placed sus chords
It should have a slow-moving melody
It should use either counterpoint or part-writing to create the accompaniment.

“Understanding how to implement these four elements will help you compose music that is filled with the characteristic drama, despair, and existentialism that has long been associated with Requiems.”

My favorite 90 seconds of a requiem might be the beginning of the Dies Irae, a theme repeated throughout the Verdi requiem. Here’s a weird story: I was supposed to sing the Verdi as part of a mass choir in the late 1980s. I was walking to the bus stop when I saw a young man, maybe a tween, get hit by a car. Remarkably, he was so long-legged that the manner he was hit made him roll over the hood, across the top of the vehicle, and over the trunk of the car. He landed on his feet seemingly unharmed! But I stayed there, made a report to the police, and I never got to do the singing.

The requiem piece I have sung most frequently is the English translation of the fourth movement of Brahms’s German Requiem, How Lovely Is Thy Dwelling Place. I have sung it at several funerals, most recently the one for Jim Kalas.

Fauré

“Gabriel Fauré composed his Requiem in D minor, Op. 48, between 1887 and 1890. The choral-orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. Its focus is on eternal rest and consolation.” I know I sang this in both 2000 and 2002, and perhaps later.

Versions by: Sinfonia Rotterdam/ Laurenscantorij/ Conrad van Alphen (2015). VOCES8: “with the English Chamber Orchestra, conducted by Barnaby Smith. The performance was filmed at Cadogan Hall, London in 2021 during the height of the pandemic, and this orchestration by Taylor Scott Davis was created especially for the concert.”

Rutter

“John Rutter‘s Requiem was completed in 1985. Five of its seven movements are based on text from the Latin Requiem Mass, while the second movement is a setting of “Out of the deep” (Psalm 130) and the sixth movement is an anthem, The Lord is my Shepherd (Psalm 23), which Rutter had earlier written.” Many years ago, I sang it in a choir and small orchestra, but it still sticks with me.

Out of the Deep, which features the cello, sounds like a blues. The Lord Is My Shepherd, which I’ve sung apart from the whole piece, would be a great funeral song.

Versions: Conducted by John Rutter – Florence Debut; UNT A Cappella Choir

Mozart

The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart, c. 1791, is almost certainly the best-known. Its creation (and non-completion) was presented in the 1984 movie Amadeus.

It is clearly my favorite requiem. I have sung this in performance at least thrice. Once was in the spring of 1985, for which I had a now long-long cassette recording. Another time was sometime in the mid-1990s. The last time was on September 11, 2002, when my friends Tim and Gladys, and I joined the Albany Pro Musica performance to honor the first anniversary of 9/11.

Versions: Leonard Bernstein (1988, after Lenny’s intro); Philharmonie Salzburg · Elisabeth Fuchs

Lent 2023

Requiem

Some random bits for Lent 2023.

No Earthly Good – Johnny Cash. This is a song John wrote. It was on The Rambler album in 1977 and the posthumous Unearthed Collection in 2003; this is the latter version. “Some people are so heavenly minded that they are of no earthly good” was attributed to Oliver Wendell Holmes, Sr.

The lyrics of the song include:

The gospel ain’t gospel until it is spread
But how can you share it where you’ve got your head
There’s hands that reach out for a hand if you would
So heavenly-minded, you’re no earthly good

I’ve come across responses suggesting the premise is false because they didn’t know anyone so focused on heaven that one could forget their neighbor on earth. In my experience, I have known a few who are so captivated by the hereafter that their Now is bereft of compassion.

I was taken by John Green’s recent four-minute vlog post Empathy and its Limits. Among other things, he notes, as I have noticed for decades, about the word invalid. One meaning is “a person made weak or disabled by illness or injury.” Another is “being without foundation or force, in fact, truth, or law.” They are spelled the same, though pronounced differently. And often, the sickly are invalidated.

Requiem pieces

I’ll admit to feeling a bit grumpy about a snippet of Lacrimosa from the Mozart Requiem being used for a pain reliever advertisement. I was so annoyed that my brain blocked out the product’s name. I’ve sung the Mozart Requiem thrice, the last time on September 11, 2002.

When I was at my former church back in the 1990s, we sang the Rutter Requiem. My favorite section is Out Of The Deep.

How Lovely Is Thy Dwelling Place is from Brahms’ German Requiem, done in English. Members of the choir of my old church, some other singers, and I sang it at the funeral of my friend Jim Kalas in 2022.

The John Rutter requiem

Rutter was born in 1945

I am a sucker for a good requiem. The John Rutter Requiem is one of my two favorites.

I’ve sung the Mozart, Faure, Durufle requiems, and probably a couple more. There’s often a certain pattern, to which the composer may add or leave out. The Wikipedia discussion is useful.

I must admit that the Verdi Dies Irae, a theme that shows up repeatedly in the piece, is both one of the most recognized and my favorite single two-minute musical pieces.

While I’ve never performed the Brahms German requiem, my former church choir has sung the fourth movement quite frequently, in English. One of my favorite people at my old church wants the choir to sing How Lovely Is Thy Dwelling Place at their funeral.

Published in 1985

Still, the Rutter as a whole touches me greatly. Requiem aeternam, the first movement, “opens with a steady beat of the tympani, to which instruments enter, first without a defined key.” And I think I like the musical uncertainty

The second movement, Out of the Deep, begins with a cello solo; I love a good cello solo. The voices join, and they’re low in the register as well. The text is from Psalm 130; I’ve learned that the text is commonly used at Anglican funerals. The quartet from my choir sang it in the autumn of 2021. Ultimately, this could be transformed into a blues piece, and I can hear it clearly that way.

Pie Jesu is the third movement, featuring the soprano, then the chorus. It includes the prayer to Jesus for rest.

The fourth movement, Sanctus, is ” a lively, and exclamatory movement which is brightly orchestrated with bells, flute, and oboe and occasional timpani recalling the passage in Old Testament scripture in Isaiah 6, and the worship of the six-winged seraphim in the heavenly throne-room of God.”

Choirs I’ve been in have performed The Lord Is My Shepherd, the sixth movement. The text, of course, is Psalm 23, scripture commonly used at many funerals.

Finally, Lux aeterna, for soprano and solo, “includes words from the 1662 Book of Common Prayer Burial Service (‘I heard a voice from heaven…’)”

The recording I own is this one.

Fauré: Cantique de Jean Racine

Verbe égal au Très-Haut

Gabriel Faure 1864 — Gabriel Fauré, 1864

I love the Cantique de Jean Racine by Gabriel Fauré, Op. 11. In French, of course. The problem singing it that it’s so beautiful that I have to fight back breaking into tears.

“The text, ‘Verbe égal au Très-Haut’ (‘Word, one with the Highest’), is a French paraphrase by Jean Racine of a Latin hymn… The nineteen-year-old composer set the text in 1864–65 for a composition competition at the École Niedermeyer de Paris, and it won him the first prize.

“The work was first performed the following year on 4 August 1866 in a version with an accompaniment of strings and organ.”

In my church, the members may ask the choir if it would sing at a funeral. This was the case in mid-September. The member’s father had died, in his 90s. Although the now-deceased had an ambivalence about religion and God, he specifically requested that his service be held in his son’s church.

The music staff had offered five suggestions of appropriate pieces in the choral repertoire. Jean Racine was one. Another one, which was also selected, was the final movement, In Paradisum, from Fauré’s Requiem in D minor, Op. 48, composed between 1887 and 1890. Jean Racine is similar in style to the Requiem, and “the two works are often performed together.” I’ve sung the entire Fauré Requiem at least twice.

BRAHMS

I wonder if one of the other pieces recommended, but not chosen, for the service came from a piece from Ein Deutsches Requiem by Brahms. The Fauré Requiem resembles it in structure, “although Fauré set Latin liturgical texts to music, whereas Brahms chose German Bible quotations.”

The fourth Brahms movement, How lovely is thy dwelling place, in English, is a funeral standard. One of my friends from my former church I know has specifically requested it for his service. If invited, I would surely sing it, hopefully, years from now.

LISTEN

Fauré: Cantique de Jean Racine
Fauré: In Paradisum from the Requiem
Brahms: How lovely is thy dwelling place from the German Requiem

Music throwback: requiems for Holy Week

Requiem æternam dona eis, Domine: et lux perpetua luceat eis.

Requiem. Orozco, José Clemente: Mexican, 1883 – 1949

There was a pastor of my church who considered himself a Lenten person, rather than an Easter person. I totally got it. And requiems are the music I most associate with the period between Mardi Gras and Easter, arguably more interesting that the tunes associated with the culmination of the season.

Maybe it’s because it’s the music I have sung personally most often that it resonates so. Or, to quote Elton John yet again, Sad songs say so much.

I’ve only sung one movement of A German Requiem by Johannes Brahms (1833–1897), and that in English, but several times during services. But I’ve sung the requiems by Giuseppe Verdi (1813-1901) in the mid-1990s, Gabriel Fauré (1845–1924) in 2000 and 2005, Maurice Duruflé (1902-1986) in 2008, and John Rutter (1945- ) in the mid-1990s. the ones from this century I have recording of.

The famous Wolfgang Amadeus Mozart (1756–1791) requiem I’ve sung thrice, once in 1985, once in the mid-1990s, and most recently on September 11, 2002, outdoors on a windy day, the only time I’ve ever worn a tuxedo to work.

There’s usually a pattern, starting with the introit:

Requiem æternam dona eis, Domine:
et lux perpetua luceat eis.
Eternal rest give unto them, O Lord,
and let perpetual light shine upon them.

Then
Kyrie, eleison.
Christe, eleison.
Kyrie, eleison.

It ends with In paradisum deducant te Angeli -May the angels lead you into paradise.

Not every requiem uses every element, or exactly the same text, but they are quite similar.

Listen to:

How Lovely Is Thy Dwelling Place (from A German Requiem by Brahms) – Mormon Tabernacle Choir and Orchestra

Verdi: Requiem, UC Davis Symphony Orchestra and University Chorus

Faure: Requiem Opus 48, Atlanta Symphony Orchestra & Chorus

Durufle: Requiem, Opus 9, Choir of King’s College, Cambridge

Rutter Requiem, Choir of Clare College, Cambridge, and members of the City of London Sinfonia

Mozart – Requiem, Academy Of St. Martin In The Fields