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The Music for the Requiem Mass is any music that accompanies the Requiem, a Mass in the Catholic Church for the deceased. It has inspired a large number of compositions, including settings by Mozart, Berlioz, Donizetti, Verdi, Bruckner, Saint-Saëns, Dvořák, Fauré and Duruflé. Originally, such compositions were meant to be performed in liturgical service, with monophonic chant. Eventually the dramatic character of the text began to appeal to composers to an extent that they made the requiem a genre of its own, and the compositions of composers such as Verdi are essentially concert pieces rather than liturgical works.
Common texts
The following are the texts that have been set to music. Note that the Libera Me and the In Paradisum are not part of the text of the Catholic Mass for the Dead itself, but a part of the burial rite that immediately follows. In Paradisum was traditionally said or sung as the body left the church, and the Libera Me is said/sung at the burial site before interment. These became included in musical settings of the Requiem in the 19th century as composers began to treat the form more liberally.
Introit
From 4 Esdras 2:34–35; Psalm 65:1-2
Requiem æternam dona eis, Domine: |
Eternal rest give unto them, O Lord,
|
Kyrie eleison
This is as the Kyrie in the Ordinary of the Mass:
Kyrie, eleison. |
Lord, have mercy.
|
This is Greek (Κύριε ἐλέησον, Χριστὲ ἐλέησον, Κύριε ἐλέησον). Each utterance is sung three times, though sometimes that is not the case when sung polyphonically.
Gradual
From 4 Esdras 2:34–35; Psalm 112:6
Requiem æternam dona eis, Domine: |
Eternal rest give unto them, O Lord;
|
Tract
Absolve, Domine, |
Absolve, O Lord,
|
Sequence
A sequence is a liturgical poem sung, when used, after the Tract (or Alleluia, if present). The sequence employed in the Requiem, Dies irae, attributed to Thomas of Celano (c. 1200 – c. 1260–1270), has been called "the greatest of hymns", worthy of "supreme admiration".[1] The Latin text is included in the Requiem Mass in the 1962 Roman Missal. An early English version was translated by William Josiah Irons in 1849.
Offertory
Domine Iesu Christe, Rex gloriæ, |
Lord Jesus Christ, King of glory,
|
Hostias et preces tibi, Domine, |
We offer to Thee, O Lord,
|
Sanctus
This is as the Sanctus prayer in the Ordinary of the Mass:
Sanctus, Sanctus, Sanctus |
Holy, holy, holy,
|
Agnus Dei
This is as the Agnus Dei in the Ordinary of the Mass, but with the petitions miserere nobis changed to dona eis requiem, and dona nobis pacem to dona eis requiem sempiternam:[2]
Agnus Dei, qui tollis peccata mundi: dona eis requiem. |
Lamb of God, Who takest away the sins of the world, grant them rest. |
Lux æterna
Lux æterna luceat eis, Domine: |
May light eternal shine upon them, O Lord,
|
As mentioned above, there is no Gloria, Alleluia or Credo in these musical settings.
Pie Jesu
Some extracts too have been set independently to music, such as Pie Jesu in the settings of Dvořák, Fauré, Duruflé and John Rutter.
The Pie Jesu consists of the final words of the Dies irae followed by the final words of the Agnus Dei.
Pie Jesu Domine, dona eis requiem. |
Merciful Lord Jesus, grant them rest;
|
Musical Requiem settings sometimes include passages from the "Absolution at the bier" (Absolutio ad feretrum) or "Commendation of the dead person" (referred to also as the Absolution of the dead), which in the case of a funeral, follows the conclusion of the Mass.
Libera me
Libera me, Domine, de morte æterna, in die illa tremenda: |
Deliver me, O Lord, from death eternal in that awful day.
|
In paradisum
In paradisum deducant te Angeli: |
May the Angels lead thee into paradise:
|
History of musical compositions
For many centuries the texts of the requiem were sung to Gregorian melodies. The Requiem by Johannes Ockeghem, written sometime in the later half of the 15th century, is the earliest surviving polyphonic setting. There was a setting by the elder composer Guillaume Du Fay, possibly earlier, which is now lost: Ockeghem's may have been modelled on it.[3] Many early compositions employ different texts that were in use in different liturgies around Europe before the Council of Trent set down the texts given above. The requiem of Brumel, circa 1500, is the first to include the Dies Iræ. In the early polyphonic settings of the Requiem, there is considerable textural contrast within the compositions themselves: simple chordal or fauxbourdon-like passages are contrasted with other sections of contrapuntal complexity, such as in the Offertory of Ockeghem's Requiem.[3]
In the 16th century, more and more composers set the Requiem mass. In contrast to practice in setting the Mass Ordinary, many of these settings used a cantus-firmus technique, something which had become quite archaic by mid-century. In addition, these settings used less textural contrast than the early settings by Ockeghem and Brumel, although the vocal scoring was often richer, for example in the six-voice Requiem by Jean Richafort which he wrote for the death of Josquin des Prez.[3] Other composers before 1550 include Pedro de Escobar, Antoine de Févin, Cristóbal de Morales, and Pierre de la Rue; that by la Rue is probably the second oldest, after Ockeghem's.
Over 2,000 Requiem compositions have been composed to the present day. Typically the Renaissance settings, especially those not written on the Iberian Peninsula, may be performed a cappella (i.e. without necessary accompanying instrumental parts), whereas beginning around 1600 composers more often preferred to use instruments to accompany a choir, and also include vocal soloists. There is great variation between compositions in how much of liturgical text is set to music.
Most composers omit sections of the liturgical prescription, most frequently the Gradual and the Tract. Fauré omits the Dies iræ, while the very same text had often been set by French composers in previous centuries as a stand-alone work.
Sometimes composers divide an item of the liturgical text into two or more movements; because of the length of its text, the Dies iræ is the most frequently divided section of the text (as with Mozart, for instance). The Introit and Kyrie, being immediately adjacent in the actual Roman Catholic liturgy, are often composed as one movement.
Musico-thematic relationships among movements within a Requiem can be found as well.
Requiem in concert
Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use of operatic vocal soloists.
Notable compositions
Many composers have composed a Requiem. Some of the most notable include the following (in chronological order):
- Ockeghem: Requiem, the earliest to survive, written in the mid-to-late 15th century
- Morales: Two notable requiems: Officium defunctorum (ca. 1526–28) and Missa pro defunctis (1544).
- Guerrero: Requiem (Missa pro defunctis), 1582.
- Victoria: Requiem of 1603 (part of a longer Office of the Dead)
- Zelenka: Requiem in D minor, ZWV 48 After Augustus the Strong Circa 1730
- Mozart: Requiem, K. 626 (1791: Mozart died before its completion; Franz Xaver Süssmayr's completion is often used)
- Salieri: Requiem (1804) (played at his funeral on May 7, 1825)
- Cherubini: Requiem in C minor (1815) and Requiem in D minor (1836)
- Berlioz: Grande Messe des morts (1837)
- Verdi: Messa da Requiem (1874)
- Saint-Saëns: Messe de Requiem (1878)
- Dvořák: Requiem, Op. 89 (1890)
- Fauré: Requiem, Op. 48 (1890)
- Delius: Requiem (1916)
- Duruflé: Requiem, Op. 9, based almost exclusively on the chants from the Graduale Romanum (1947)
- Britten: War Requiem, Op. 66, which incorporated poems by Wilfred Owen (1962)
- Stravinsky: Requiem Canticles (1966)
- Penderecki: Polish Requiem (1984, revised 1993 and 2005)
- Lloyd Webber: Requiem (1985)
- Rutter: Requiem, includes Psalm 130, Psalm 23 and words from the Book of Common Prayer (1985)
- Wilberg: Requiem (2008)
Other composers
Renaissance
- Giovanni Francesco Anerio
- Gianmatteo Asola
- Giulio Belli
- Antoine Brumel
- Manuel Cardoso
- Giovanni Cavaccio
- Joan Cererols
- Pierre Certon
- Jacob Clemens non Papa
- Guillaume Du Fay (lost)
- Pedro de Escobar
- Antoine de Févin
- Francisco Guerrero
- Jacobus de Kerle
- Orlando di Lasso
- Duarte Lobo
- Jean Maillard
- Jacques Mauduit
- Manuel Mendes
- Cristóbal de Morales
- Johannes Ockeghem (the earliest to survive)
- Giovanni Pierluigi da Palestrina
- Pietro Pontio (2 for four voices—both incomplete—and one for five low voices)
- Costanzo Porta
- Johannes Prioris
- Jean Richafort
- Pierre de la Rue
- Pedro Ruimonte
- Claudin de Sermisy
- Jacobus Vaet
- Tomás Luis de Victoria
Baroque
- Giovanni Francesco Anerio
- Johann Christian Bach (1757)
- Steffano Bernardi (1628)
- Heinrich Ignaz Franz Biber (1691)
- Carl Heinrich Biber (H.I.F. Biber's son, 1740)
- Antonio Caldara (1723)
- André Campra (1725)
- Francesco Cavalli (1672)
- Marc-Antoine Charpentier H.2, H.7, H.10, H.12, H.234 (1670 - 1690)
- Francesco Durante (1738 in G minor, 1746 in C minor)
- Johann Joseph Fux (Kaiserrequiem, 1720)
- Jean Gilles (1705)
- Johann David Heinichen (1726)
- Johann Caspar Kerll (1689)
- Duarte Lobo (1639)
- Antonio Lotti (Requiem in F Major) (1715)
- Benedetto Marcello (Requiem in the Venetian Manner, 1729)
- Claudio Monteverdi (lost)
- Michael Praetorius
- Johann Rosenmüller (1660)
- Bonaventura Rubino (1653)
- Heinrich Schütz (Musikalische Exequien, 1636)
- Andrzej Siewiński
- Philippus van Steelant (Antwerp Requiem, 1650)
- František Tůma (1742)
- Jan Dismas Zelenka (1733)
Classical period
- Johann Georg Albrechtsberger
- Franz Joseph Aumann
- Johann Christian Bach (1757)
- Domenico Cimarosa (1787)
- Carl Ditters von Dittersdorf (1784)
- Joseph Leopold Eybler (1803)
- Johann Joseph Fux (1720)
- Florian Leopold Gassmann
- François-Joseph Gossec (1760)
- Johann Adolf Hasse (1763)
- Michael Haydn (1771)
- Amandus Ivanschiz
- Niccolò Jommelli (1756)
- Józef Kozłowski (1798)
- Joseph Martin Kraus (1775)
- Andrea Luchesi (1771)
- Giovanni Battista Martini
- Wolfgang Amadeus Mozart (1791)
- Georg von Pasterwitz
- Giovanni Platti (1752)
- Ignaz Pleyel
- Anton Reicha (1805)
- Franz Xaver Richter (1789)
- Antonio Salieri (1805)
- Václav Tomášek
- Joseph Vogler (1808)
- Jan Zach (1762)
Romantic era
- Hector Berlioz (1837)
- João Domingos Bomtempo (1820)
- Giovanni Bottesini (1877)
- Johannes Brahms (1865–68)
- Anton Bruckner, Requiem in D minor[4] (1849)
- Alfred Bruneau (1883)
- Ferruccio Busoni
- Luigi Cherubini (For Louis XVI, 1816)
- Peter Cornelius (1867)
- Carl Czerny
- Gaetano Donizetti: Requiem in D minor (for Bellini, 1835)
- Felix Draeseke (1880-1881)
- Antonín Dvořák (1890)
- Gabriel Fauré (1888)
- Charles Gounod (1891-93)
- Théodore Gouvy (1874)
- Asger Hamerik (1887)
- Friedrich Kiel (1862)
- Franz Lachner (1865)
- Franz Liszt (1871)
- Jean-Paul-Égide Martini (For Louis XVI & Marie Antoinette, 1815)
- Saverio Mercadante (Requiem breve, 1836)
- Sigismund von Neukomm (1815)
- José Maurício Nunes Garcia (1816)
- Lorenzo Perosi (1897)
- Giacomo Puccini
- Max Reger, Hebbel Requiem (1916), Lateinisches Requiem (fragment, 1915)
- Josef Gabriel Rheinberger (1899)
- Antonín Rejcha (1805)
- Camille Saint-Saëns (1878)
- Robert Schumann (1852)
- Giovanni Sgambati (1901)
- Franz von Suppé (1855)
- Charles Villiers Stanford (1896)
- Sergei Taneyev (John of Damascus, a Russian Requiem, 1883) Zdroj:https://en.wikipedia.org?pojem=Requiem_(music)
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