Download Dies irae : a guide to requiem music by Robert Chase PDF

By Robert Chase

On account that time immemorial, the reaction of the dwelling to dying 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 referred to as the requiem.

Traditional 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 diversified religions, Western and jap. This ebook, the 1st accomplished survey of requiem song for almost part a century, presents loads of various and specific details that may be of use to the pro musician, the musical pupil, the choral conductor, the theologian and liturgist, and the overall reader.

The major physique of the advisor is an outline of a few 250 requiems. each one access incorporates a concise biography of the composer and an outline of the composition. info of voicing, orchestration, variations, 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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Example text

Sanctu~sanctus,sanctus Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Osanna in excelsis. Benedictus qui venit in nomine Domine. Osanna in excelsis. Holy, holy, holy, Lord God of Sabaoth! Heaven and earth are full of Thy glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest. AGNUS DEI The Agnus Dei is one of the Ordinary mass sections and its text has been associated with Christian worship since the earliest days of the Church. The image of a lamb was designed to symbolize Christ's sacrifice.

GREGORIAN CHANT The Gregorian cantus, which had once been rigidly affixed to the tenor voice, appears in the top-most vocal line (cantus), along with the tenor. Composers began perceiving the Gregorian melody as material that had the potential to be paraphrased from both a rhythmic and melodic standpoint. No longer were they restricted to a long, sustained tenor vocal part, but they were free to create a novel approach that infused new life into the oft-used chant. All Franco-Flemish requiem settings possess fragments of older plainchant tunes, primarily the chant incipits that were still sung before most of the principal sections of the requiem mass.

There are three known masses (one requiem and two parody), more than a dozen settings of the Magnificat, about 30 Chapter3 twenty motets, and an equal number of secular chansons. His compositions are found in some seventy anthologies, published from 1519-1583, thereby attesting to his fame. In 1532, the Missa pro defunctis was published by Pierre Attaingnant (Paris), in a collection titled, Sextus liber duas missas habet ... Because this composition includes two texts and melodies, liked and used by Josquin, there exists the possibility that Richafort wrote it for Josquin's funeral service in 1521.

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