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Since time immemorial, the response of the living to death has been to commemorate the life of the departed through ceremonies and rituals. For nearly two millennia, the Christian quest for eternal peace has been expressed in a poetic-musical structure known as the requiem. Traditional requiem texts, among them the anonymous medieval Latin poem Dies Irae ('Day of Wrath'), have inspired an untold number of composers in different ages and serving different religions, Western and Eastern. This book, the first comprehensive survey of requiem music for nearly half a century, provides a great deal of diverse and detailed information that will be of use to the professional musician, the musical scholar, the choral conductor, the theologian and liturgist, and the general reader. The main body of the guide is a description of some 250 requiems. Each entry includes a concise biography of the composer and a description of the composition. Details of voicing, orchestration, editions, and discography are given. An extensive bibliography includes dictionaries, encyclopedias, prayer books, monographs, and articles. An appendix lists more than 1700 requiems not discussed within the main text.
Since the awakening of consciousness, the very dawn of man, they have looked for a way to leave their mark on nature. To make something in their own image. After acting as Gods, they finally accomplished their goal. But with every good there is bad, and in this case it is the same. The survivors of mans ultimate break through are living, striving, to stay alive with the back lash that has ensued. is there a cure? And if so where does it lie? Perhaps there is my son, but if there is not all shall be doomed for the arrogance of man
As found in the Roman Missal, the Dies Irae is a Latin poem of fifty-seven lines in accentual (non-quantitative), rhymed, trochaic metre. It comprises nineteen stanzas, of which the first seventeen follow the type of the first stanza: Dies irae, dies illa, Solvet saecum in favilla: Teste David cum Sibylla. The remaining stanzas discard the scheme of triple rhymes in favour of rhymed couplets, while the last two lines use assonance instead of rhyme and are, moreover, catalectic: Lacrimosa dies illa, Qua resurget ex favilla, Judicandus homo reus. Huic ergo parce Deus: Pie Jesu Domine, Dona eis requiem. Amen. The Dies Irae is the opening image of In Understanding Dominic - A Folio of the Poetical Writings of Jeffrey Keith Gough. The protagonist of the work is Dominic, a fictitious character, who is a deeply religious Catholic man, troubled in his relationships with others; especially in his interactions with the women closest to him. His quest for meaning in his life - and relevance in his work - is enduring throughout the work. Dominic's focus on death - and his yearning for the grave in order to obtain relief from his misery and tribulations - is disturbing. An insightful collection of reflections, which shed light onto the eyes of a man in turmoil, whose heart, mind, and soul are never truly satisfied. Recommended reading for those seeking an appreciation of how a small minority of troubled people may view the world and the people around them.
"'When was the score of the Requiem completed?' is a question that everyone has asked; . . .but Wolff goes on to ask: 'Where do the technical and stylistic premises for the Requiem lie, and to what extent could these be taken into account after Mozart's death?' This question is rich in implications, central to the uniqueness of the work, and virtually undiscussed in the Mozart literature."—Thomas Bauman, co-author of Mozart's Operas
Viola part of "Aida" prelude by Giuseppe Verdi for string quartet (Violin I, Violin II, Viola, Cello) by Enrico Zullino. Intermediate level - key D maj / duration 3 (+-). Score & Parts available in series. Scan Qr code (in cover) for audio demo or visit www.glissato.it. product code: EG0468.
Organ and piano duet teams will appreciate Billie Nastelin's skillful arrangement of the beautiful "How Lovely Is Thy Dwelling Place" from the Brahms Requiem. Each player has opportunities with both melody and accompaniment, and congregations and audiences will request this over and over. Two copies of the music are included. Also arranged for organ/piano duet by Nastelin: "And the Glory of the Lord," from Messiah (GOPD9901),
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