The Classical Music Requiem

The Classical Music Requiem is a new blog dedicated to exploring the best classical music out there. From Bach to Beethoven, we’ll be delving into the works of the great composers and finding out what makes them so special.

Introduction

A requiem is a composition in memory of a deceased person, typically a setting of the Mass. The term “requiem mass” can refer to the Mass itself, or to works setto the Mass text as a standalone piece. Requiems are often performed at funerals, although they can also be performed separately from any funeral service.

The earliest requiems were probably written in the 12th or 13th century, but the first extant examples date from the 15th century. The best-known requiems include those by Mozart, Verdi, Berlioz, Brahms and Fauré. In general, requiems are somber and introspective works that express grief and loss. However, there are also many lighter pieces in the requiem genre, and some composers have even used the form to express ideas that are not strictly related to death.

Requiems often make use of solo voices, choir, orchestra and/or organ. They can be either ceremonial or reflective in nature, and many contain both types of music. The text of a requiem typically includes traditional Catholic prayers for the dead (such as the “Dies Irae”), but composers have also set texts from other sources, including the Bible, poetry and even personal letters.

The History of the Requiem

A requiem is a mass for the dead, which is traditionally a Catholic funeral service. The origin of the requiem can be traced back to the medieval era. In those days, it was customary to have masses said for the repose of the soul of the deceased. These masses were usually said on the anniversary of the death.

The Gregorian Chant Requiem

The earliest known setting of the Requiem texts was composed in the late 8th or early 9th century, during the Monk of Saint Gall. This work is now lost, but it is believed to have been adapted from the Gregorian chant tradition. The first complete setting of the Requiem that is still extant was composed by Guillaume de Machaut in 1362.

Machaut’s Requiem is a extraordinary work, both for its time and for its musical quality. It is one of the first known works of polyphonic (multi-voiced) music, and it utilizes a then-new technique called hocketing, in which two voices share a melodic line by alternating notes. The overall effect is both ethereal and otherworldly.

The Requiem achieved widespread popularity in the late 14th and early 15th centuries, when numerous composers wrote settings of the texts. Notable examples from this period include the Requiems of Johannes Ockeghem and Antoine Busnois. These works continued to utilize the new techniques of polyphony and hocketing, resulting in some truly haunting pieces of music.

The 16th century saw a decline in popularity for the Requiem, as composers began to focus on more secular forms such as the madrigal and the chanson. It wasn’t until the early 17th century that interest in the genre was revived, with settings by such notable composers as Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria.

Palestrina’s setting is perhaps the most famous of all Renaissance requiems, and it served as a model for many subsequent settings of the text. In contrast to earlier works, Palestrina’s Requiem is much more restrained in its use of polyphony and complex hocketing effects. This results in a work that is more meditative and reflective in nature, befitting its subject matter.

Victoria’s setting, composed just a few years after Palestrina’s, takes a similar approach but with an even greater degree of simplicity. Victoria cleverly avoids undue polyphonic complexity by utilizing just four voices for much of the work. The result is a beautifully serene piece that feels almost like a prayer.

The Mozart Requiem

The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer’s death on December 5. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the piece for a memorial service for his wife on 14 February 1793.

Walsegg is believed to have pointed out to Süssmayr that “Mozart’s dying words were ‘the best of men cannot live forever.'” Süssmayr, who completed the Requiem using sketches left by Mozart, wrote in a preface to his score (now lost), “With these last words he sank back weary on his pillow and breathed his last; thus perished prematurely one of the greatest treasures of our nation.”

The Verdi Requiem

The Requiem Mass, a musical setting of the Catholic funeral mass, is perhaps the most frequently performed large-scale work in the classical music repertoire. And of all the requiems written in the past two centuries, Verdi’s Requiem is arguably the best known and most popular. The first performance of Verdi’s Requiem took place in Milan on May 22, 1874, at La Scala, one of the world’s most prestigious opera houses. The work was commissioned by Baroness Teresa Carafa on behalf of the Italian Music Society for use in a memorial service for Alessandro Manzoni, an Italian patriot and poet who had died two years earlier.

Verdi initially turned down Carafa’s offer, as he was busy working on his opera “Aida” at the time. However, after reading Manzoni’s obituary in newspapers and being deeply affected by it, he changed his mind and agreed to write the requiem. Verdi composed the work in less than four weeks, working feverishly day and night. He later said that he felt as if he were “possessed” by Manzoni’s spirit while composing it.

The Verdi Requiem quickly became one of the most popular pieces in the repertoire, and has been performed countless times all over the world since its premiere. It remains one of Verdi’s best-loved works today.

The Music of the Requiem

The Requiem is a composition for orchestra, chorus, and soloists. It is one of the most popular pieces of classical music ever written. The music of the Requiem has been described as both beautiful and harrowing. It is a work that is full of emotion and feeling.

The Kyrie

The Kyrie is the first section of the Requiem mass and is one of the most well-known sections, having been adapted numerous times in popular culture.

The Kyrie is a series of nine petitions for mercy, each beginning with the word “Kyrie.” The petitions are traditionally sung by a choir, with each petition repeated three times.

The first three petitions ask for mercy from God the Father, the Son, and the Holy Spirit. The next three ask for mercy from the Virgin Mary, from all of the saints, and from all of those who have died in Christ. The final three petitions ask for mercy from all evil spirits, from death itself, and from judgment day.

The music of the Kyrie is often haunting and beautiful, making it one of the most popular pieces of classical music to be adapted for use in popular culture.

The Dies Irae

The Dies Irae, or “Day of Wrath”, is the best-known section of the Requiem and often thought to be the inspiration for Verdi’s famous operatic treatment of the same name. The text is a medieval Latin poem that describes the Day of Judgment and the Last Trumpet, when the dead will rise from their graves. The music is equally dramatic, with a series of ascending scales in the voices and orchestra that create a sense of urgency and foreboding.

The Sanctus

The Sanctus is the name of a hymn in Christian liturgy, sung in Latin as Sanctus, sanctus, sanctus Dominus Deus Sabaoth. The title comes from its opening words in Latin. The Sanctus forms part of the Ordinary and is sung at the end of the Eucharistic Prayer or Lord’s Prayer at Mass.

The Sanctus has been set to music by a number of composers, including Byrd, Victoria, Palestrina, Haydn, Mozart, Berlioz, Verdi, Duruflé, Britten and others. It is frequently included as a movement in musical settings of the Requiem Mass. In church services outside of Mass it is usually sung after the first reading from Scripture or after the Apostolic Collect.

The earliest settings of the Sanctus are in Gregorian chant. The best-known setting is probably that which appears as No. 32 in the Liber Usualis (a collection of chants for use in the Catholic Church). This chant setting is used as a cantus firmus for settings by later composers such as Byrd and Victoria. Other early settings include those by Josquin des Prez (c. 1500) and Heinrich Isaac (c. 1517). Palestrina’s setting was published in 1570 and appeared in several subsequent editions. It remains one of the most popular settings of the Sanctus and has often been used as a model for other settings composed since then.

Byrd’s setting was written c. 1592/93 and appears in his Cantiones Sacrae II (1591). This work includes some chromaticism not found in earlier settings of the Sanctus; this may be an indication that Byrd was influenced by Italian madrigals which were becoming increasingly popular at this time.

Victoria’s setting was written c. 1603/04 and published posthumously (1605) along with his motet O magnum mysterium which uses themes from this Sanctus setting. Palestrina’s setting influenced many later composers including J.S Bach who used it as a model for his ownsettings of the Sanctus (e.g., BWV 232 I).

Mozart’s setting (KV 337) was composed in Salzburg 1780/81; it appears to have been written for use during Lent and Holy Week but was also performed on other occasions such as Palm Sunday.(From: https://en.wikipedia.org/wiki/Sanctus_(liturgy))

The Agnus Dei

The Agnus Dei is the third and final section of the Mass Ordinary, after the Kyrie and Gloria. It consists of three parts: Lamb of God, Who takes away the sins of the world, have mercy on us; Lamb of God, Who takes away the sins of the world, grant us peace; and Amen.

The Agnus Dei is perhaps best known for its use in theRequiem Mass, where it takes on a more somber tone. In this context, it is a prayer for mercy and peace in the face of death.

The first two parts of the Agnus Dei are based on John 1:29, in which John the Baptist says, “Behold, the Lamb of God who takes away the sin of the world.” The third part is a traditional Amen.

The music of the Agnus Dei is generally quite simple, befitting its role as a prayer. However, there are some notable exceptions, such as Mozart’s Requiem, which features a very complex and beautiful setting of the text.

The Legacy of the Requiem

The Requiem is a musical composition for orchestra, choir, and soloists. It is typically used to commemorate the death of a beloved person. The first requiem was composed by Wolfgang Amadeus Mozart in 1791. Since then, the requiem has been composed by various composers and has become one of the most popular pieces of classical music.

The Requiem in the 20th Century

The Requiem remained a popular form in the 20th century, albeit with a few changes. The most significant changes came in the use of the orchestra and chorus. In the 19th century, the orchestra had become larger and more powerful, and composers began to write for ever-larger ensembles. This trend continued in the 20th century, with composers such as Mahler, Strauss, and Respighi writing symphonic requiems that made use of the entire resources of a large orchestra.

At the same time, the chorus also increased in size and power. The 40-voice mixed choir that Mozart had used in his requiem was now considered too small for a major work; choral societies began to perform with 100 or more voices, sometimes augmented by professional singers. This larger chorus made possible a new level of expressive power in the Requiem, as exemplified by Verdi’s Messa da Requiem (1874) and Brahms’s German Requiem (1868).

In addition to these changes in orchestration and chorus size, 20th-century composers also began to experiment with new musical styles in their requiems. These experiments ranged from incorporating elements of popular music (as in Britten’s War Requiem [1961/62]), to writing works that were expressly intended for performance outside of church (such as Walton’s Belshazzar’s Feast [1931]). Such experimentation reflects both the continued popularity of the Requiem as a musical genre, and the willingness of 20th-century composers to adapt it to express their own musical ideas.

The Requiem in Popular Culture

Since its inception, the Requiem has been one of the most popular and influential pieces of classical music. Its popularity is due in part to its ability to be adapted to various genres and styles, as well as its emotional power.

The Requiem has been featured in a number of popular films, including The Shawshank Redemption, The Green Mile, and Gladiator. It has also been used in a number of television shows, such as The Sopranos, Downton Abbey, and Criminal Minds.

The Requiem has also had a significant impact on popular music. A number of popular songs have been based on or inspired by the Requiem, including “Dust in the Wind” by Kansas, “My Immortal” by Evanescence, and “Requiem” by Linkin Park.

Conclusion

Now that you have read about the different requiems of classical music, it is clear that there is no one-size-fits-all when it comes to this genre. Each composer has his own unique take on how to best honor the dead. Whether you prefer the more traditional sounds of Mozart or the modern twist of John Cage, there is a requiem for everyone.