A thesis submitted in partial fulfillment of the requirements for the degree in Doctor of Philosophy

Transcription

1 Western University Electronic Thesis and Dissertation Reository August 016 Requiem Wendell Glick The University o Western Ontario Suervisor Dr Peter Paul Koroski The University o Western Ontario Graduate Program in Music A thesis submitted in artial ulillment o the requirements or the degree in Doctor o Philosohy Wendell Glick 016 Follo this and additional orks at: htts://irlibuoca/etd Part o the Comosition Commons Recommended Citation Glick, Wendell, "Requiem" (016) Electronic Thesis and Dissertation Reository 00 htts://irlibuoca/etd/00 This Dissertation/Thesis is brought to you or ree and oen access by Scholarshi@Western It has been acceted or inclusion in Electronic Thesis and Dissertation Reository by an authorized administrator o Scholarshi@Western For more inormation, lease contact tadam@uoca

2 Abstract Requiem is a ive-movement ork or SATB chorus and chamber orchestra and is aroximately 8 minutes in duration The text is a comilation o traditional and adated excerts rom the Roman Missal, combined ith oetry by Tamar Zehr and Psalm 67 rom the King ames Version o the Bible In this ork, contemorary texts are intertined ith traditional ones to exlore textual and musical narratives o doubt and aith, loss and gain, death and rebirth This document contains the ull score o the ork, olloed by three discussion chaters The irst chater oers a glimse into the background o the comoser as a oint-o-dearture or the comositional rocess The second chater describes key asects o the comositional rocess The inal chater surveys the outcome rom a theoretical and ormal standoint, examining the texts, harmony, instrumentation, textures, orm and thematic connections ithin and beteen the ive movements o Requiem Keyords Music, comosition, requiem, chorus, choir, chamber orchestra, Roman Missal, Tamar Zehr, Psalm 67 ii

3 We are no longer rey: the snare is broken And e have escaed At eve the rains come At eve the gentle singing o ater Tamar Patricia Zehr (01) iii

4 To anelle, my Rose Anchor Conidante Gladdening Sirit Whose light hits the gloom on my grey And to my children Lucas, my Bearer o Light Dante, my Enduring One Zoe, my Bringer o Lie and Baby Four (e ll name you soon) Who make me gro u a bit more every day But alays kee me a child iv

5 Acknoledgments This ork ould not have been ossible ithout the care and suort o many eole I oer my deeest thanks to riends, amily, instructors and colleagues or your continual suort o my journey through university and the comletion o this dissertation: To my best riend anelle, or roviding the insiration that I needed to invest a signiicant ortion o my lie in music comosition or alking this long journey ith me, and loving me through it all I have been buoyed by your atience, orbearance and sacriicial sirit, and remain orever in your debt To my suervisor, Dr Peter Paul Koroski, or believing in me and challenging me and hen I elt neither believable nor ready or a challenge You have imarted much to me more than I can ever roerly areciate Your conidence in my instincts, your gracious conrontation o my blind sots and your generous suort o my comositional ideals and aesthetic sensibilities have been invaluable To Tamar Zehr, or climbing aboard this roject and running ith it (ith very little to go on at irst), roviding hat as needed to give this roject lie and character Your trust o my reorking o your text and your lexibility ith the inal roduct as a signiicant asset to this roject Thanks are due to Matthe Zehr as ell or his role in the text editing rocess To my arents, Elmer and Dorothy, ho surrounded my lie ith music beore I as born and let me sing herever I anted to (excet at the table!) Thank you or not letting me get over it, and or heling me to sread my ings I oe so very much o ho I am to the values that you imrinted uon me and your sacriices on my behal I also thank my arents-in-la, Wayne and Dorene Martin, ho, in addition to raising the most beautiul oman ever, ket cheering or me even hen my dissertation comletion date as a constantly moving target Secial thanks are due to university aculty members ho have guided and sustained me through my rogram: Dr Paul Frehner, ho served on my advisory committee and rovided helul, detailed and stimulating eedback as second reader or my dissertation; Dr Omar Daniel, ho served as instructor and chair o my advisory committee; and Dr Catherine v

6 Nolan, Associate Dean o Graduate Studies, ho served on my advisory committee and also ket me motivated as rogram deadlines neared I thank Alain Trudel, Shalom Bard and the students o the Western orchestra or their eorts in reading excerts o my dissertation-inrogress I thank Wendell Nisly o Oasis Chorale and Benjamin Good o Sharon Mennonite Bible Institute, ho commissioned orks during this roject that became sources o rogress and cohesion in the riting o Requiem I also thank Oasis Chorale or reading and recording the oening o Psalm 67 hen it as still a ork in rogress, and or taking it to Maine and knocking it out o the ark in its ull remiere in May 016 There are many more ho nurtured and insired me, rom years gone by to the resent: grade school teachers, Sunday school teachers and summer Bible school teachers innumerable; Michael Gingerich and Matthe Raber at Fairhaven Christian School; Adin Stoltzoos (under hose instruction I rote my irst hymn) and Leonard Mast at Calvary Bible School; all the guys ho ere ubilaire (singular, not lural); Brandon Mullet at Faith Builders Educational Programs, along ith Lloyd Kauman and Lyle Stutzman and the rest o my colleagues at Shenandoah Christian Music Cam, hose stimulation and camaraderie have ket me simultaneously sane and crazy; Dr Lee Willingham, Laura Pudell and Elvera Froese o Wilrid Laurier University, ho dreamed bigger or me than I did mysel; Dr Larry Nickel, a hero and insiration or more than tenty years; Sir ames MacMillan, ho sent time ith my dissertation and oered kind ords o endorsement and advice at a time hen I needed both; Dr Glenn Buhr and Dr Peter Hatch o Wilrid Laurier University and Dr Christos Hatzis, Dr Alexander Raoort, and Dr Chan Ka Nin o the University o Toronto, all rior guides as comosition instructors and mentors; and Dr Andrzej Tereszkoski, ho started at Laurier a year behind me and inished at Western a year ahead o me, and ith hom I sent hours o thought-rovoking conversation at school and during commutes My lie has also been surrounded by a great cloud o itnesses, including (but not nearly limited to) my siblings and siblings-in-la and uncles, aunts and cousins; my church and school amilies at Countryside; Steven Brubaker and comany at Faith Builders; oe and Fern Ebersole and my comrades around the Camire; my students at Calvary Bible School, Faith Builders and Shenandoah Music Cam so much suort rom so many eole Thank you! vi

7 Table o Contents Abstract ii Keyords ii Acknoledgments v Table o Contents vii List o Tables ix List o Musical Examles x Preace xii Part I: Score 1 Part II: Discussion Document 87 Introduction 87 1 Background Foundations 88 1 Inluences 89 Process 9 1 English Poetry 9 Program and Symbolism 96 Requiem Texts 96 Early Concets Sel-Reerential Inclusions 10 Survey Text 106 Harmony 110 Instrumentation and Texture 116 Temoral Overvie 119 vii

8 5 Thematic Connections 11 6 Bookend Movements 10 Conclusion 15 Bibliograhy 16 Curriculum Vitae 10 viii

9 List o Tables Table 1 Comarison o Missal texts used in reresentative requiem mass settings 97 Table Requiem movements and their aroximate durations 119 Table Overvie o Requiem orm shoing general dynamic/textural intensity 11 Table Chiastic text layout o Psalm ix

10 List o Musical Examles Examle 1 Requiem, mm 88-95, strings 10 Examle Requiem, mm 5-55, oodinds 10 Examle Glick, Psalm 67 as ound in In Paradisum, mm Examle Schnittke, Requiem, XI, mm 19-, chorus 11 Examle 5 Requiem, mm 1-151, chorus 11 Examle 6 Requiem, mm 7-79, oodinds 11 Examle 7 Requiem, mm 9-57 Bass voice tritone resolution 11 Examle 8 Bartók, Sonata No 1 or violin and iano, I 11 Examle 9 Thomson, The Peaceable Kingdom, V, mm 1-6, chorus reduction 11 Examle 10 Requiem, mm Examle 11 Requiem, mm 8-0 Whole-tone descending sequence 116 Examle 1 Requiem, mm 0-5 Solo ensemble section 117 Examle 1 Glick, Blessed is the one ho inds isdom, mm 1-5 (ritornello/rerain) 118 Examle 1 Requiem, mm 9-01 Large-scale climax o the ork, 10 Examle 15 Requiem, mm Rerain o Blessed is the one ho inds isdom 1 Examle 16 Sketch o the six-voice theme 1 Examle 17 Requiem, mm 1-10 Primary theme (retrograde) in time 1 Examle 18 Requiem, mm 1-7 Comletion o the rimary theme (retrograde) 1 Examle 19 Requiem, mm x

11 Examle 0 Requiem, mm Examle 1 Requiem, mm Examle Secondary theme 17 Examle Requiem, mm Examle Requiem, mm Examle 5 Requiem, mm -5, selected instruments 19 Examle 6 Requiem, mm Examle 7 Durulé, Requiem, VIII Libera Me, mm 7-78, organ reduction 10 Examle 8 Requiem, mm Examle 9 Glick, Psalm 67, mm Examle 0 Glick, Psalm 67, mm Examle 1 Glick, Psalm 67, mm 9-1 Examle Requiem, mm xi

12 Preace The musical ork entitled Requiem is an original, unublished choral/orchestral ork, comosed by the author, Wendell Glick The texts are comiled by the author rom three external sources: the King ames Version o the Bible, traditional Latin requiem texts, and original, unublished oetry ritten or this roject by Tamar Zehr Zehr s oetry contains quotations by or derived rom Plautus, St Luke and St Augustine The ith movement (sans orchestral introduction) is available as a stand-alone a caella choral anthem, Psalm 67 xii

13 1 Part I: Score Wendell David Glick Requiem or SATB chorus and chamber orchestra duration ca 8 minutes University o Western Ontario London, Ontario

14 Requiem Instrumentation lutes 1 oboes 1 clarinets in B-lat 1 bassoons 1 horns in F 1 timani SATB chorus strings Including the olloing texts as extracted and adated rom the Roman Missal, English oetry by Tamar Zehr and Psalm 67 rom the King ames Version o the Bible I Introit Requiem aeternam dona nobis, Domine, et lux eretua luceat nobis Te decet hymnus, Deus, in Sion et tibi reddetur votum in erusalem Exaudi orationem meam, ad te omnis caro veniet Grant us eternal rest, Lord, and let eretual light shine on us A hymn becomes you, O God, in Zion, and to you shall a vo be aid in erusalem Hear my rayer: to you shall all lesh come II Dies Irae When the city ell it ell in darkness Beneath a blackbird s cry contra sem sero We hoed or bread, or small joys A sace o quiet, a yard o green We kne not our time, Nor ho lean e slet hoe against hoe That ell morn, e sa them Still statues against the dan, Wing-carved against the sky At midday they le, Cutting the stones ith shado Crossing the city ith lines Dies irae, dies illa, Solvet saeclum in avilla Teste David cum Sibylla! Lacrimosa dies illa, Qua resurget ex avilla udicandus homo reus: Huic ergo arce, Deus The day o rath, that day ill dissolve the orld in ashes as oretold by David and the sibyl Tearul ill be that day, on hich rom the ashes arises the guilty man ho is to be judged Sare him thereore, God It could not last, or evil times all sudden; The battle as undone

15 We sa the eathers all, And lost our hoes beneath their loss: There ere no more ords To ing to the ind, and No more songs to sing Pie esu, Domine, dona nobis requiem Amen Merciul Lord esus, grant us rest III Oertory Sanctus Agnus Dei No dan is oened by song Where sleeless aces join The atchers o night no rest, no light, No sun to bless Those above hear not, Shut eyes, shut ears (incurvatus in se) Certa amittimus dum incerta etimus Sanctus, sanctus, sanctus Dominus Deus Sabaoth Sirits descend, like broken eathers, And death ascends, u, Sloly u Cobebs sit Unset in silent rooms The mirrored glass (incurvatus, incurvatus), First clouded, shatters, Crashing inards (curved in on itsel)* We lose things certain in ursuit o the uncertain** Holy, holy, holy Lord God o Hosts (curved in, curved in) By night, the ols erch; by day, The ravens call: crack the stones, Crack all allen, allen A dying murmur reeats, reeats: No and at the hour o our death Dona nobis acem Grant us eace We are undone Agnus Dei, qui tollis eccata mundi, dona nobis requiem Lamb o God, ho takes aay the sin o the orld, grant us rest IV Libera Me We oke, and led rom the ja o the snare (excurvatus) At dan e reached the limits, Sa beore us the oen air, And carried there our burden: That e kne death, and yet, Must bear a gited lie Someho, somehere (curved out)

16 Libera me, Domine de morte aeterna in die illa tremenda Deliver me, Lord From death eternal on that earul day But strange the sight that e should ind Small breathings in the hills: O nodding lie, ar rom ruined streets We stood and atched them lit Into a still dan sky: Flying out, in search o rest, Toard the sunburst joy o morning, And sang a hal-remembered song Dirige edes nostros in viam acis Nos, qui in tenebris et in umbra mortis Steer our eet in the ay o eace We ho are in darkness and the shado o death*** We are no longer rey: the snare is broken And e have escaed At eve the rains come At eve the gentle singing o ater V In Paradisum (Psalm 67) 1 God be merciul unto us, and bless us; and cause his ace to shine uon us; That thy ay may be knon uon earth, thy saving health among all nations Let the eole raise thee, O God; let all the eole raise thee O let the nations be glad and sing or joy: or thou shalt judge the eole righteously, and govern the nations uon earth 5 Let the eole raise thee, O God; let all the eole raise thee 6 Then shall the earth yield her increase; and God, even our on God, shall bless us 7 God shall bless us; and all the ends o the earth shall ear him * Phrase used by Augustine and later by Martin Luther ** Plautus (c 5 18 BC), Roman layright *** Parahrase o Luke 1:79

17 5 Score in C Trad Roman Missal Poetry by Tamar Zehr Psalm 67 Flutes 1 Oboes 1 Clarinets in Bb 1 Bassoons 1 Horns in F 1 Horns in F Timani Sorano Mezzo-sorano Alto I Alto II Tenor I Tenor II Baritone Bass Violin I divisi Violin II Viola Violoncello Contrabass 1 Adagio q = 60 Più mosso q = 66 Adagio q = 60 For SATB chorus and chamber orchestra Wendell David Glick (016) b æ æ j izz arco izz j j 1 Più mosso q = 66 Re Re Re Re Re Re Re - qui - qui qui - - qui qui - qui - Re - qui - Adagio q = 60 1 Più mosso q = 66 izz izz izz arco, div j arco Requiem izz b j B j j izz arco izz j izz izz - qui

18 6 Fl 1 1 rall Temo rimo q = 60 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb m b b b em, re - qui - em ae - ter - nam - em, re - qui - em ae - ter - nam em, re - qui - em do em, re - qui - em do em, re - qui - em ae - ter - nam, - em, re - qui - em ae - ter - nam em, re - qui - em do em, re - qui - em do arco, div do-na no - bis, Do - mi - ne do-na no - bis, Do - mi - na no - bis, Do-mi rall Temo rimo q = 60 j j m - m m - ne ne - na no - bis, Do - mi - ne m do-na no - bis, Do - mi - ne do-na no - bis, Do - mi arco, div B - na no - bis, Do-mi m - m m - ne ne - na no - bis, Do - mi - ne arco div bn arco arco æẇ j rall Temo rimo q = 60 b æ m bn div m b b m m b unis unis m

19 7 Fl 1 Ob 1 Più mosso q = 66 accel U b j b U Cl 1 U Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb U U U U Più mosso q = 66 m accel U U U U U U U U B izz j izz b j izz Re Re Re Re Re Re Re - qui - em, re - qui - em ae - ter - nam - qui - em, re -qui - em ae - ter - nam do - - qui - em, re - qui - em ae - ter - nam do - m - qui - em, re - qui - em ae - ter - nam m - qui - em, re - qui - em ae - ter - nam - qui - em, re -qui - em ae - ter - nam do - m - qui - em, re - qui - em ae - ter - nam do - Re - qui - em, re - qui - em ae - ter - nam Più mosso q = 66 accel izz U j U j m izz U arco j m m m m m m m arco m arco, div arco, div U j # # j arco, div U j j # j j # j n j # j j # j # # j n # # j

20 8 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B 5 Adagietto q = 7 a j 1 j a 1 m a oco iù mosso do-na no - bis, Do - mi - ne, et lux, et lux er - e - tu-a, lux er - na no - bis, Do - mi - ne, et lux et lux er - e - tu-a, lux er - na no - bis, Do - mi - ne, et lux, er - e - tu-a, er - e-tu - a, er do-na no - bis, Do - mi ne, j b b m Adagietto q = 7 oco iù mosso # j j j - et lux, et lux, et lux er - e-tu - a, er do-na no - bis, Do - mi - ne, et lux, et lux er - e - tu-a, lux er # - na no - bis, Do - mi - ne, et lux et lux er - e - tu-a, lux er - na no - bis, Do - mi - ne, et lux, er - e - tu-a, er - e-tu - a, er do-na no - bis, Do - mi - ne, et lux, et lux, et lux er - e-tu - a, er Vln I Vln II Vla Vc Cb B # m izz j Adagietto q = 7 j m arco # j m arco izz izz izz j j izz j j j oco iù mosso

21 9 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb 5 5 Andante q = 80 b b m b b m 5 Andante q = 80 e e - tu-a lu - ce-at no - bis Te de -cet hym - nus, De us, in Si tu-a lu - ce-at no - bis Te de -cet hym - nus, De - us, in Si - e - tu - a lu - ce - at no - bis Te de -cet hym - nus, De- us, in Si - e - tu - a lu - ce - at no - bis Te de -cet hym - nus, De - us, in Si - - e e - tu-a lu - ce-at no - bis Te de -cet hym - nus, De - us, in Si tu-a lu - ce-at no - bis Te de -cet hym - nus, De - us, in Si - e - tu - a lu - ce - at no - bis Te de -cet hym - nus, De- us, in Si - e - tu - a lu - ce - at no - bis Te de -cet hym - nus, De - us, in Si Andante q = 80 arco, div B bẇ b b b b m m arco, div b j b b b m m arco, div unis b m m arco m m arco m b b b b b b b b

22 10 Fl 1 5 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I b on, et ti - bi red - de tur - vo - tum in e - ru - sa lem on, et ti - bi red - de - tur vo - tum in e - ru - sa- lem Ex on, et ti - bi red - de - tur vo on, et ti - bi red - de - tur vo on, et ti - bi red - de tur - vo on, et ti - bi red - de tur - vo on, et ti - bi red - de - tur vo on, et ti - bi red - de - tur vo m m - Ex - au - di o - ra-ti - o - nem me - am, m - au - di o - ra-ti - o - nem me - am, m - tum in e - ru-sa - lem Ex - au - di o - ra-ti - o - nem me - am, m - tum in e - ru-sa - lem Ex - au - di o - ra-ti - o - nem me - am, m - tum in e - ru - sa lem - tum in e ru b b j n j b b j j n j - Ex - au - di o - ra-ti - o - nem me - am, m - - sa- lem Ex - au - di o - ra-ti - o - nem me - am, m - tum in e - ru-sa - lem Ex - au - di o - ra-ti - o - nem me - am, m - tum in e - ru-sa - lem Ex - au - di o - ra-ti - o - nem me - am, j j b n b j n Vln II Vla Vc Cb B unis b b b b

23 11 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb 60 rall 6 Adagietto q = 7 U U U U U U U æ rall Adagietto q = 7 U ad te om - nis car - o ve - ni - et U ad te om - nis car - o ve - ni-et U ad te om - nis car - o ve - ni-et U ad te om - nis car - o ve - ni - et ad te om - nis car - o ve - ni - et ad te om - nis car - o ve - ni-et ad te om - nis car - o ve - ni-et b U n ad te om - nis car - o ve - ni - et rall 6 Adagietto q = 7 U div b b b 6 b Re Re Re - qui - em ae - - qui - em, re - qui - em ae - - qui - em, re - qui - em ae - j j b b - - b - - n U b b b U b b b B b b b b b j j j j U Re-qui- em, re-qui- em, re - qui - em ae - Re Re Re - qui - em ae - - qui - em, re - qui - em ae - - qui - em, re - qui - em ae - Re-qui- em, re-qui- em, re - qui - em ae - U div b b U div b b b m U U div b b b b n n n n unis m

24 1 Fl Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb m 7 ter - nam do - - na no - bis, Do - mi - ne, Re- qui - em ae - m j ter ter - nam do - nam do ter - nam, re - - na no - bis, Do - mi - ne, Re- qui- em, re-qui - em ae - m - - na no - bis, Do - mi - ne, Re- qui- em, re-qui - em ae - m - qui - em do-na no bis, - Do - mi - ne, Re- qui- em, re-qui - em ae - m ter - nam do - - na no - bis, Do - mi - ne, Re- qui - em ae - m ter ter - nam do - nam do j j - - na no - bis, Do - mi - ne, Re- qui- em, re-qui - em ae - m - - na no - bis, Do - mi - ne, Re- qui- em, re-qui - em ae - m ter - nam, re - qui - em do-na no - bis, Do - mi - ne, Re- qui- em, re-qui - em ae - 7 j n B b j b j unis m m m m m n j j j

25 1 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb 77 ter ter ter ter ter ter ter - rall Adagio q = 69 rall Adagio q = 69 m nam m # j n b do - na, do - na no - - bis, Do - mi ne, - nam do - na, do - na, no - bis, Do - mi - ne, et m m j # - nam do - na, do - na, no - bis, Do - mi ne, m - nam do - na, do - na, no - bis, Do - mi - ne, et m m - nam m # j n b do - na, do - na no - - bis, Do - mi ne, - nam do - na, do - na, no - bis, Do - mi - ne, et m m # B - nam do - na, do - na, no - bis, Do - mi ne, m ter - nam do - na, do - na, no - bis, Do - mi - ne, et con sord rall Adagio q = 69 # n b b b m con sord n m con sord, div unis # # b # n b b j m con sord, div m con sord b m unis m b et m et m et m et m b

26 1 Fl Meno mosso q = 6 rall Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I Vln II Vla Vc Cb 8 Meno mosso q = 6 rall j 8 lux er - e - tu - a, et lux er - e - tu - a lu - ce - at no lux er - e - tu - a, et lux er - e - tu - a lu - ce - at no lux lux er-e - tu - a, lux er - e - tu - a lu - ce - at no er-e - tu - a, lux er - e - tu - a lu - ce - at no - lux er - e - tu - a, et lux er - e - tu - a lu - ce - at no lux er - e - tu - a, et lux er - e - tu - a lu - ce - at no - lux lux B div j Meno mosso q = 6 senza sord n j b j er-e - tu - a, lux er - e - tu - a lu - ce - at no er-e - tu - a, lux er - e - tu - a lu - ce - at no senza sord senza sord senza sord senza sord rall b j j j j bis bis bis bis b n j bis bis bis bis

27 15 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S Temo rimo q = 60 9 Temo rimo q = 60 S A1 A T1 T B1 B Vln I div Vln II Vla Vc Cb 9 Temo rimo q = 60 izz b æ æ æ b æ æ æ izz izz izz arco arco izz, unis arco, div izz, unis arco, div izz, unis div j j b j izz, unis arco izz arco izz B j j izz izz b j

28 16 Fl 1 II Dies Irae Adagio q = Con rubato q = ca 76 U U Ob 1 U U Cl 1 U U j b n # b j n# # b Bsn 1 Hn 1 U U U U Hn Tim S U U U U Adagio q = Con rubato q = ca 76 U U A U U T U U B Vln I U U Adagio q = Con rubato q = ca 76 U U Vln II U U Vla B U U Vc Cb arco U U j j arco U U j j

29 17 Fl b U b n n b # rall 11 Adagio q = 66 Ob 1 U b n b b n m o Cl 1 Bsn 1 Hn 1 U j U b b j n b b n m o U Hn Tim S U U rall 11 Adagio q = 66 U A U T U B U Vln I rall 11 Adagio q = 66 U Vln II U Vla B U Vc Cb U arco, div j U arco j b

30 18 Fl 1 17 a # j Ob 1 Cl 1 Bsn 1 Hn 1 # 1 Hn Tim S A T B Vln I Vln II arco j div Vla B arco j div Vc b j j j # Cb j # j

31 19 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S A T1 T B1 B Vln I Vln II Vla Vc Cb 1 j j # j rall 1 Largo q = 5 1 rall # 1 Largo q = 5 arco When the ci - - ty ell rall 1 Largo q = 5 div # When the ci m m When the ci - ty ell m The ci - ty The ci - ty m izz izz, unis unis div izz, unis arco m izz, unis arco m - ty ell it When the ci - - ty ell j B # # # # div # m j j b b it it it

32 0 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S A T B Vln I Vln II div Vla Vc Cb 10 j # m ell in dark - ness, it ell in dark-ness m ell in dark - ness, it ell in dark-ness be-neath a black bird's cry m be-neath a m ell in dark - ness, it ell in dark-ness be-neath a black bird's cry black bird's cry m ell in dark - ness, it ell in dark-ness be-neath a m arco m black bird's cry rall rall con-tra sem se - ro con-tra sem se - ro con-tra sem se - ro, con-tra sem izz rall unis m m izz, div arco unis 1 Ÿ~~~~~~~~~~~~~~~~~~~~ # # 1 # con-tra sem se - ro, con-tra sem m m m m izz, div arco unis div m m m m n j # # j n j j # # # j b n # B # # # # izz izz # b arco izz izz æ # # # # n # izz b # izz # izz n j n j unis # # # # # n # æ # æ æ # # æ # æ æ # # # # j # # j # # div # #

33 1 Fl 1 1 Andante q = 8 17 Ob 1 Cl 1 m n Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Bsn 1 Hn 1 Hn Tim n S 1 Andante q = 8 m soli n n n We hoed or bread, or small joys A soli m We hoed or bread, or small joys T m se soli n m - ro, We n hoed or bread, or small joys n j B m se soli m - ro, We hoed or bread, or small joys Vln I 1 Andante q = 8 arco, div m æ j æ Vln II Vla Vc arco, div æ j æ m B arco, div j æ æ m m æ j æ Cb m unis æj æ

34 Fl 1 15 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S j j A sace o qui - et, a yard o green A n A j sace o qui - et, a yard o green j T n j j n A sace o qui - et, a yard o green We kne B n A j j sace o qui - et, a yard o green We kne Vln I æ j æ m æ Vln II æ j æ m æ Vla B æ j æ m æ Vc æ j m æ æ Cb æ j æ æ m

35 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S 1 S rall Largo q = 5 1 m 1 nor ho lean e slet nor ho lean e slet m m That ell tutti - # # j 1 That ell # j rall 1 Largo q = 5 m - tutti j morn, m morn, m that morn, e sa them m that morn, e sa them A1 A T B Vln I Vln II Vla Vc Cb not nor - # ho lean e slet nor ho lean e slet our time, nor ho lean e slet - not our time, nor ho lean e slet rall 1 Largo q = 5 j æ # æ m m m m j m - - # # tutti That ell m j # morn, tutti That ell m morn, tutti That ell m that morn, e sa them j # m that morn, e sa them tutti m - j æ # æ B j æ j unis m That morn, e sa them m # n m morn, e sa them m m div m m izz m izz, div æ # izz arco, unis æ æ unis æ æ div # # # # m

36 Fl 1 Ob 1 Cl rall 1 Ÿ~~~~~~~~~~~~~~~~~~~~~~~ # # m 1 # # Bsn 1 Hn 1 Hn Tim S1 S A1 A T B Vln I Vln II div Vla Vc Cb j j j j m arco m Still, still stat- ues, still stat-ues a Still, still stat- ues, still stat-ues a izz, div # # rall m a - gainst the dan, ing-carved a - gainst the sky - gainst the dan, ing-carved a - gainst the sky Still, still stat- ues, still stat-ues a - gainst the dan, ing-carved a - gainst the sky Still, still stat- ues, still stat-ues a - gainst the dan, ing-carved a - gainst the sky Still, still stat- ues, still stat-ues a - gainst the dan, ing-carved a - gainst the sky, a-gainst the Still, still stat- ues, still stat-ues a - gainst the dan, ing-carved a - gainst the sky, a-gainst the izz, unis rall izz izz m arco unis m # n # # n # n j # # # n j # # j b n # # arco B b izz izz izz, div # # æ n arco n n 1 b # # izz b # # n j j unis æ æ unis # # æ æ # # æ æ # a m # div div j j # # # # # # # j # # j # # #

37 5 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T B Vln I n Ÿ~~~~~~~~~~~~~~~~ Adagio q = 7 m m n m n # ẇ 15 Adagio q = 7 accel m m m m # j # # # # m n # # n # accel m m At mid-day they m sky sky m le, cut-ting the stones ith shad - o, cut At mid-day they le, cut-ting the stones ith shad - o m At mid-day they le, they le, At mid-day they le, At mid-day they le, cut 15 Adagio q = 7 accel m m ting the stones ith shad - o # j # 1 a # j # j # j # # # j ting the stones ith shad - o # # # n # Ÿ~~~~~~~~~~~ j # b m # j # # Ÿ~~~~~~~~~~ # n # # # j # # n n # # m n # # # # æ # # j # Cross-ing the ci-ty ith Cross-ing the ci-ty ith Vln II Vla Vc Cb B m izz arco unis m # izz arco, unis m m izz arco # # # # n # # # # # n # # # #

38 6 Fl 1 Ob Andante q = 8 # n # n b n # m m # j 1 n # j # Cl 1 Bsn 1 Hn 1 Hn Tim S 16 1 # j # n n j j # n m m m m Andante q = 8 m Di a # # # # # j # j # n j # - es i- rae, di - es il - la, Tes j # # # j # - te Da - A T m # j j # n n j j Di lines - es i- rae, di - es il - la, Tes # m Sol - vet sae-clum in a - vil - la Tes - te Da - n # j - te B Vln I lines m Sol # # n - vet sae-clum in a - vil - la Tes 16 Andante q = 8 - te Vln II Vla B # # æ j æ # # j j m m Vc Cb # # æ j æ # # j j m m arco, unis # # æ j æ # # j j m m

39 7 Fl j j b n j j b m 1 # Ob a # # m Cl 1 Bsn 1 Hn 1 Hn Tim S j # æ # # j j j 1 1 # 17 m 1 n j vid cum Si - byl - la! La # m b æ a m m n j b - cri - mo- sa, di - es, di - es il - la j 1 # # # # # # m j # # ## # n m j # A m 9 1 n 16 j j j n j n vid cum Si - byl - la! La - cri - mo- sa, di - es, di - es il - la T m 9 j 1 16 # j j Da-vid cum Si - byl - la! Qua re n - sur-get ex B Vln I # # n Da-vid cum Si - byl - la! Qua 9 16 arco div unis 17 j 1 ## j n j m m n re - sur-get ex Vln II Vla Vc Cb 9 16 arco 9 # æ 16 j # 1 j j # b m div unis B j # æ # n j # # j n b # # # æ m m m 9 # æ 16 j # div div unis unis 1 b b j j # # ## m m div unis 1 b b j j # m m # div div div div unis # unis div # # æ # æ

40 8 Fl # j n# # m b b # n # 9 16 Ob Cl 1 Bsn 1 Hn 1 Hn Tim S b j n j j j j m m 1 j n n j j m # j # Iu # m j b n - di - can-dus ho - mo re - us Hu m n j n b - ic er - go ar - # n # j # A T m a m j Iu n # j j # n - di - can-dus ho - mo re - us Hu j - vil - la Hu - ic er - go ar - # - ic er - go ar B m n a - vil - la Hu - ic er - go ar Vln I Vln II Vla Vc Cb B æ æ b izz, div unis b j n m m m izz unis izz arco izz, div m m m 6 m m m m m izz arco b # n # æ æ 9 æ æ ææ 16 arco div - # # arco div - # j j b b arco izz, div m m m izz arco div 6 izz div unis izz n j j n j n æ j n j j j n # arco # j b b

41 9 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S j 18 Agitato q = Agitato q = # - ce, De 1 # # # j b - us! It m n j A T 9 16 j j - ce, De - ce, De - us! It 9 16 # - us! It B Vln I Vln II div Vla Vc Cb ce, De - us! It Agitato q = 100 izz 18 arco b izz arco 9 16 j izz arco izz 9 16 j j j j j B izz, div arco izz j j div uer izz, loer arco j j j j j j j j

42 0 Fl 1 07 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S j could not last, or e - vil times all sud m j b j - den; the bat tle - as un - done We sa the A j j could not last, or e - vil times all sud m j j - den; the bat tle - as un - done We sa the T b could not last, or e - vil times all sud m - den; the bat tle m - as un - done B Vln I could not last, or e - vil times all sud m - den; the bat tle m b b - as un - done Vln II Vla B Vc j j j j j j j j j j j j Cb

43 1 Fl Più mosso q = 11 Ob 1 1 # # j # # Cl 1 Bsn 1 Hn 1 1 # # j Hn Tim S j j j j 19 m j # j eath-ers all, And lost our hoes There ere no Più mosso q = 11 more ords to A T j j eath-ers all, And m b lost our hoes There ere no more ords to We sa the eath-ers all, be - neath their loss: no more ords to # j j # j B Vln I Vln II Vla Vc Cb We sa the eath-ers all, be - neath their loss: no B j j j 19 izz, div more ords to izz, unis m izz, div j b m div Più mosso q = 11 arco b j j j j j j arco j b arco b j j j j

44 Fl 1 18 h=h rall Vivace q = 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S A T B Vln I Vln II Vla Vc Cb m b b ing to the ind, and no more songs to j m ing to the ind, and no more songs to m ing to the ind, and no more songs to m ing to the ind, and no more songs to B b b h=h rall Vivace q = 1 sing, sing, sing, sing, to ing, no more ords to ing, b b b ords to ing to the ind, no ords to ing to the ind, no h=h rall Vivace q = 1 j b æ æ b b arco arco b b æ æ æ æ b æ b m m b b b b b b æ b æ æ æ b j arco b æ b æ æ æ b b b æ æ b æ b æ æ æ æ æ b æ b b b b æ unis arco unis æ æ div æ j æ m æ b æ b b æ æ b

45 Fl 1 Ob n m m 5 8 Cl 1 Bsn 1 Hn 1 Hn Tim S 5 8 n n 1 5 # n 8 # # n j # # # # # nnn n n # nn n# # # # # m 5 8 # # # # n n æ æ æ æ songs to sing A songs to sing 5 8 T B Vln I Vln II Vla Vc Cb n 5 8 songs to songs to sing sing 5 8 B unis æ unis æ 0 5 æ 8 j # # æ 5 æ 8 j j # æ # # # # n # # # # j # j # j # j # j 5 8 # j

46 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S j m m 5 8 m m 5 8 n # # n # # # # n# # n# # æ æ 8 æ æ æ A 5 8 T 5 8 B Vln I Vln II Vla Vc Cb # æ 5 8 m m 5 # æ 8 nn nn B 5 # æ 8 nn nn

47 5 Fl 1 7 a # b 5 8 m j # j Ob 1 Cl 1 Bsn 1 Hn 1 5 b b j b 8 j j j # m 5 # # # # # # nn 8 m m # # n # # b 5 8 m m # j b 5 8 j Hn 5 8 Tim 5 8 S 5 8 A 5 8 T 5 8 B Vln I Vln II Vla Vc Cb 5 8 m m 5 8 div nn 5 8 n n n 5 8 m B 5 8 n 5 8 m n

48 6 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S # j j # # # # # nn # # # n # # n n n # # # # j j m m a # # 5 Ÿ~~~~~~~~~~~~~ # # U n 8 n # # # # 5 # # # # nn # # 8 # n # n n n # # # # # # n # n # # # m 5 U 8 j # n n n j n # # m 5 U j # nnn j n 8 # # m 5 # 8 U m m 5 8 U 5 U 8 æ æ o 5 8 U U A 5 8 U T 5 8 U B Vln I Vln II Vla Vc Cb 5 8 U n n# n n 5 U # # # # # # nn # # # n # n n n # # n # # # 8 n # # æ m o div unis div 5 n 8 b b b # # n n n n n n j n # æ B 5 # n n n j 8 n # b# æ div unis 5 # # 8 # # æ m m o div m m o m o izz, div b arco, unis 5 # # 8 j # m o æ U U U U

49 7 Fl 1 8 a GP Temo rimo q = 66 rall A temo q = 66 Ob 1 Cl 1 # Bsn 1 Hn 1 Hn Tim S n GP Temo rimo q = 66 rall A temo q = 66 Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em A # Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em (re - qui T b b n B Vln I Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em (re - qui b div Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em (re - qui GP Temo rimo q = 66 rall A temo q = 66 b ẇ n j Vln II div b n Vla Vc Cb B b b div n # b div n # unis #

50 8 Fl 1 57 Ob 1 Cl 1 Bsn 1 Hn 1 Hn # 1 j # j # j Tim S A em) T em) A - - B em) A - - Vln I Vln II Vla solo B solo, - esr # j # Vla Vc solo Vc B unis solo, esr # Cb unis

51 9 Fl 1 Ob 1 Cl 1 61 n Ÿ~~~~~~~~ ## n b # n # bn rall U b U U b n Bsn 1 Hn 1 Hn Tim S U # A b rall men (n) U bæ U A U A men (n) T U men (n) B U men (n) Vln I U rall Vln II U Vla Vc solo Vc Cb B U # j j div b div b

52 0 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S A T B Vln I Vln II Vla Vc Cb Moderato q = Moderato q = 96 Moderato q = 96 III Oertory Sanctus Agnus Dei B b j b b j b b j b b j b b b b j b b j b j j æ b b j j æ b b j j æ b b b b

53 1 Fl 1 75 Ob 1 Cl 1 b b b b b Bsn 1 Hn 1 Hn Tim S j b b j b j b j j b æ b j j j b j b b æ j j j b b æ A T B Vln I Vln II Vla B Vc Cb

54 Fl Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S b b j j b b j bb b b j b j j 5 b b j j b æ b j j b æ j j b j j b b æ A T B Vln I 5 Vln II Vla B Vc Cb

55 Fl m Ob 1 b b b m b bb b Cl 1 Bsn 1 b b b m 1 m bb b b Hn 1 Hn Tim j b b S m b b j b b m j b j j b æ b j j 6 j b b æ j j A T B Vln I 6 Vln II Vla B div b Vc Cb

56 Fl Ob 1 bb b Cl 1 Bsn 1 Hn 1 Hn b b b b m b b b b b j b b b j b m j j b Tim S b j j b æ j j b b æ b j j 7 A T B Vln I 7 div b b b - b m j b b b Vln II Vla B - m j j Vc Cb

57 5 Fl 1 06 n 8 1 Ÿ~~~~~~~~~~~~~~~~~~ # # # # b m m Ob 1 Cl 1 Bsn 1 Hn 1 Hn a # # # m n 1 Ÿ~~~~~~~~~~~~~~~~~~ # # # j n m m b j b b j b b b b j b j j b j b b j j solo, esr b Tim S b æ b j j b æ b æ 8 A T B Vln I Vln II Vla Vc Cb b j B # n j # # # # # n # m m j # j ## ## j # # m m unis div j # j j # j m m div b j div 8 bb # n j n b j b j j b j bb j b j div b b

58 6 Fl 1 1 rall Ob 1 Cl 1 Bsn 1 j j b m j j j # # Hn 1 Hn Tim S b n b # n m b b æ rall A T B Vln I Vln II Vla Vc Cb izz, unis m m m m izz b b b b j j j j izz B j arco b - arco, unis div # b b æ æ # m arco b m arco arco j j j - æ b æ æ rall b æ b n div æ # æ æ æ æ

59 7 Fl Largo h = 5 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim j j # m j S 9 Largo h = 5 solo # n No dan is o-ened by song here slee - less A solo n # # # No dan is o-ened by song here slee less ac - es T B Vln I solo No No dan is dan is o-ened by song here slee less ac - es join The o-ened by song here slee - less ac - es join The atch-ers o 9 Largo h = 5 # solo n # n # # # # Vln II Vla Vc B n div b unis unis div Cb div

60 8 Fl q=q Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S ac q=q tutti - es join Theatch ers 0 m n n - o night no sun to bless Those a - bove A T # # n join tutti The atch-ers o night no light, no sun to bless Those a - bove shut tutti n n n# n b j b b atch-ers o night no rest, no light, no sun to bless Those a m m n - bove, a - bove hear not, m m shut eyes, B Vln I Vln II div Vla Vc Cb 0 q=q b m n b b tutti # night no rest, no rest, no light, no sun to bless Those B b m m m m a - bove hear m not, shut m m m m m m b b n b b n div b j n b b

61 9 Fl 1 Ob 1 oco rit Temo rimo q = j m 1 b Cl 1 Bsn 1 Hn 1 Hn Tim S b æ n shut eyes, shut ears m oco rit Temo rimo q = 96 1 m # j b b j b b b Cer-ta a - A T b eyes, shut ears shut ears div shut ears b (in m j (in-cur - va - tus in se) b # b b m - cur - va - tus in se) m m m Cer-ta a - B Vln I Vln II div Vla Vc Cb # # # b eyes, shut ears n b b (in-cur - va tus in se) div # æ æ b æ m m b b æ æ æ æ m m 1 oco rit Temo rimo q = 96 æ æ m m m m m m m m m b div # æ æ b æ b æ b æ B # æ # æ # b æ # # b æ div b b b

62 50 Fl 1 0 n # m Ob 1 Cl 1 Bsn 1 1 b j m Hn 1 Hn Tim b b b n # n m b æ # j # j # j j j S b b b j n n mit - ti - mus dum in - cer-ta et - i - mus, in cer-ta et- i - mus A b j b j # b mit - ti - mus dum in - cer-ta et - i - mus, in cer-ta et- i - mus j # T m b b j b b n# b Cer - ta a -mit - ti-mus dum in - cer-ta et-i - mus, dum in - cer - ta et - i - # j B m b b # # Cer - ta a -mit - ti-mus dum in - cer-ta et-i - mus, dum in - cer - ta et - i - Vln I Vln II div b b æ m m b æ # æ n æ m m æ æ m æ æ # æ æ n æ æ j Vla Vc B b b # æ æ m bb m # # Cb m # #

63 51 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S 7 # # # # j Allegretto q = 10 # n Sanc tus, # n # m m m m Allegretto q = 10 m m n # b Sanc-tus, Sanc-tus, Do-mi-nus n Ÿ~~~~~~~~~ Ÿ~~~~~~~~ Ÿ~~~~~~~~ # # # # # # m j # æ æ æ æ æ m A Sanc tus, m j n j j b Sanc-tus, Sanc-tus, Do-mi-nus m T mus # # n # # # ## m Sanc-tus, Sanc-tus, Sanc - tus, Do-mi - nus m B Vln I Vln II div Vla Vc Cb mus æ Sanc-tus, Sanc-tus, Sanc - tus, Do-mi - nus Allegretto q = 10 # izz arco æ æ m m izz arco j æ æ æ æ æ # j j m B # æ # æ æ # # # # # m m m m æ # æ æ # # æ n æ æ æ æ æ æ æ m ## j j æ æ

64 5 Fl 1 5 Ob 1 Cl 1 Bsn 1 b b b Hn 1 Hn Tim m m S m j De - us Sa-ba - oth, m A m De - us Sa-ba - oth, m j j j j T m b De-us Sa ba-oth m B m De-us Sa ba-oth m Vln I m unis Ȯ ~ Ȯ Vln II <b j j m unis Ȯ ~ Ȯ Vla B unis Ȯ ~ Ȯ Vc Cb

65 5 Fl 1 h = 5 59 a Ob 1 Cl 1 a Bsn 1 a Hn 1 Hn Tim S h = 5 m j Sir its de-scend, like bro-ken eath - ers, a - A m Sir-its de-scend like bro-ken eath - ers, a - T m n n Sir-its de-scend like bro-ken eath - ers, and death a - B Vln I # # Sir-its de-scend like bro-ken eath - ers, and death a - scends u, Like h = 5 m n b b bro-ken eath - ers, and death a - Vln II Vla B izz, div n m Vc Cb b # m m m b # m m izz, unis izz, unis

66 5 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 6 m 1 b n b b m m 1 1 m m 1 n n # # # j # n Hn Tim S1 bæ m scends, u, slo - ly u Cob-ebs sit un-set in sil-ent rooms n n S A T1 T scends, u, slo - ly u Cob-ebs sit un-set in sil-ent rooms (in - cur-va - tus, b b scends, u, slo - ly u Cob-ebs sit un-set in sil-ent rooms (in - cur-va - tus, scends, u, slo - ly u (in scends, u, slo - ly u n n n n j j j # n b j j j j j j j j - cur-va - tus, in - cur - # # j # n The mir - rored glass, irst B Vln I n scends, u, slo - ly u (in j - cur-va - tus, in - cur - Vln II Vla Vc Cb B unis div arco div div # arco # arco izz izz izz arco arco arco

67 55 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 69 Moderato q = # # 1 1 # # # # # m m a j # # m # # # # m m # # # # # m m # # Moderato q = 100 # # # m 1 # # # # # m 1 # By night, the S A T1 j j j # # va in in - tus) shat - cur-va - tus) By j j j # - cur-va - tus) By m - ters, m j j j # # - # j # # crash - ing in - ards By night, night, night, the the the T B Vln I Vln II Vla Vc Cb m m cloud - ed, shat - va m - tus) shat ters, m j # - # j # # - ters, crash crash - ing in - ards By m j # # - # # j B j j izz arco - ing in - ards By Moderato q = 100 izz, div arco izz, div arco night, night, arco div # #- # j uer izz, izz arco loer arco # # m izz arco div # # m # # # # # # # # ## # # # # # ## # # # # # # j j # j j # j j # # the the

68 56 Fl 1 7 # # # # # # # m Ob 1 Cl 1 # # j # # j # # # m Bsn 1 Hn 1 # # m j j # # j j Hn Tim S # # j ols erch; by day, the rav - ens call: m j # # # # j # # j # # "Crack, crack the stones, crack all A # j # ols erch; by day, the rav - ens call: m j # j "Crack, crack the stones, # j # crack all T # # # ols erch; by day, the rav - ens call: m "Crack, crack the stones, B Vln I # # # # # # ols erch; by day, the rav - ens call: m "Crack, crack the stones, Vln II Vla B Vc # j j # j j # j j # j j # j j Cb

69 57 Fl 1 Ob 1 Cl 1 Bsn 1 Hn Più mosso q = 11 1 # # # # # # # j 1 # # # # # # 1 # # # # j # # # Hn Tim S # j # j # j # # # # m 5 # j ## # j j ## # # # # j al - len, al # j # - len" A dy - ing mur - mur re Più mosso q = 11 # - eats, re - eats: A j # al m - len, al j # - len" A dy - ing mur mur re # j # j # # - eats, re - eats: T m ## j crack all al m ## # j ## # - len" A dy # - ing mur - mur re # - eats, re - eats: B Vln I Vln II Vla Vc Cb m # j j # crack all al - len" A B m # # dy - ing mur - mur re - eats, re - eats: 5 Più mosso q = 11 m m # æ # æ izz, div # # # izz, unis izz, div # j # # arco # arco arco # # # unis # # j j # # j j # # j j # j j # j # # arco div # j j unis

70 58 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 8 rall A temo q = 11 a 6 # # a # j j # a j # # j j j # # a j # # Hn Tim S rall A temo q = 11 m 6 # # # # # # No and at the hour o our death j æ j æ # # We are un - done qui tol A T m No and at the hour o our death, m # # # # # # # # # # # o our death We are un - done qui m # # tol B Vln I Vln II Vla Vc Cb No and at the hour o our death m # # No and at the # B # # # hour o our death We are un - done Ag - nus De - i, m We are un - done Ag - nus De - i, 6 unis æ # æ # # æ æ # æ æ # æ æ rall A temo q = 11 # æ m æ # æ unis æ æ # # æ æ m div æ unis m m div æ æ æ unis m m æ æ æ æ m m æ # # æ # æ div æ æ # # #

71 59 Fl 1 91 ## # # # # # a Ob 1 a # # n # Cl 1 Bsn 1 Hn 1 Hn Tim S - lis ec # - ca - ta mun ec ca - ta mun di, - di, do # # m # # # # n # # a m # # # # - na no - A - lis ec # # # # # - ca - ta mun - di, m do - na T # # # n m # # ec - ca - ta mun - di, do - na B # # # # ec - ca - ta mun - di, do m # - na, Vln I Vln II Vla Vc Cb æ æ # # div # # # # B div # # m m m unis æ n # m m m m m m m # æ # unis æ æ # # div unis # # # # # # # æ æ # # # # div # æ æ # # æ # æ # # æ unis # æ æ # # #

72 60 Fl 1 96 ## ## e = e Ÿ~~~~~~~~~ Ÿ~~~~~~~~~ # 6 j ## # j 8 Ob 1 ## ## 6 8 # Cl 1 Bsn 1 Hn 1 Hn Tim S # # # a # 6 # 8 # bis # # re # # 6 # 8 e = e qui # 6 # # 8 # 6 8 # 6 8 ## ## 6 ## 8 A T no - bis re do 6 # # # 8 # - na no - bis qui - re # # # # ## # # # re qui 6 # 8 qui - - B 6 # # # # # 8 do - na no - bis re - qui - Vln I div ## ## ## æ e = e 6 8 æ Vln II Vla Vc Cb # # # B # # div # # # # # # # 6 - æ 8 # # # # 6-8 # div unis - - # æ # æ 6 8 æ attacca

73 61 Fl 1 Ob 1 Allegro q = 16 IV Libera Me 00 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n lz # n# # # æ # # # # m m æ Cl 1 Bsn 1 # # # ## m m Hn 1 Hn Tim S # # j # m m Allegro q = 16 n - j em æ æ # j # m A T # # em em # j em B # em Vln I Allegro q = 16 n # m # # # Vln II Vla Vc Cb B # # # j # div # # æ æ æ m # # æ æ æ # j j j # j # j j j # j m m # j # j æ # æ # æ æ # æ æ æ æ æ æ # # æ æ # æ m unis æ # æ # æ æ æ # æ æ æ æ æ æ # # æ æ # æ

74 6 Fl 1 06 Ob 1 Cl 1 Bsn 1 Hn 1 # # m m m m b b m # # # # # # # # Hn Tim S A T B Vln I # # j # n# # # # # j # # # # Vln II # j j j # # j # j j j # # j # j j j # # j Vla B # # j # j # # j Vc # # # m # # # # # # # # # Cb # # # # # # m

75 6 Fl 1 Ob 1 1 b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b b b j m m a b m m m Cl 1 b Bsn 1 Hn 1 Hn Tim # # a b b b m S A T m We B m We Vln I m b b n b j b b j n b b b b j Vln II Vla Vc Cb B b n b j j n j j b j j n j j b j j m m m j b n b j b n j b b b # b b # m b unis m

76 6 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S 7 # # 18 m m # m # # # # m # # m 7 m b j (ex- cur - va - tus) (ex- cur - va - tus) rom the ja o the snare At dan, b b e reached the A T m j (ex- cur - va - tus) (ex- cur - va - tus) rom the ja o the snare At j oke and led rom the ja o the snare At b b dan, dan, e reached the b b e reached the B Vln I div Vln II div Vla Vc Cb 7 B oke and led rom the ja o the snare At m m m m b b b b O Ȯ Ȯ bbo Ȯ Ȯ O Ȯ Ȯ bbo Ȯ Ȯ O Ȯ dan, e reached the Ȯ Ȯ O Ȯ Ȯ O bbȯ Ȯ O bbȯ Ȯ O Ȯ æ æ æ æ # # æ æ # æ æ # # # # # æ # æ æ # # # # # # # # #

77 65 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn # m m m 1 # # # m m m 1 # # # # m m m 1 b b b b b b b n n b b # n # # # m m m # Tim S m j # lim - its, sa be - ore us the o - en air; And car j # # j - ried there our 8 æ bur- den: # # bur - den, æ A lim n - its, sa be - ore us the o - en air; m j # And car - ried there our bur- den: bur - den, T B Vln I div b b # j # # # lim - its, sa be - ore us the o - en air; m # # lim Ȯ - its, sa be - ore us the o - en air; O Ȯ Ȯ b O Ȯ Ȯ m And car And car ##Ȯ Ȯ - ried there our bur - den, our - ried there our bur- den: 8 bur - den, our # # O Ȯ Ȯ Ȯ # # Vln II div Vla Vc Cb Ȯ B O bbȯ Ȯ O bbȯ # # Ȯ con sord Ȯ Ȯ O # æ æ # # # # m con sord # # # # æ # æ æ # æ m m m m # æ # æ div æ æ æ æ æ æ æ # #

78 66 Fl Ob 1 - j # Cl 1 Bsn 1 # a - # b b m a - m Hn 1 Hn Tim b m m b b b b S m j # that e kne death, A m j that e kne death, T bur-den: that e kne death, m # # and yet must bear a git - B bur - den: that e kne death, m b b b b b and yet must bear a git - Vln I Vln II con sord, div con sord, div Vla B Vc # # æ æ æ æ # æ æ æ æ æ æ æ b æ æ æ æ æ m b æ æ Cb # # æ æ æ æ # æ æ izz m

79 67 Fl 1 rall Adagietto q = a b b m Ob 1 1 Cl 1 Bsn 1 Hn 1 Hn Tim S # # # m 1 # # m m # # b b # b b rall 9 Adagietto q = 76 m Some ho, # # n Some - ho, some- here bẇ A T - m Some ho, Some - ho, some- here m Some ho, b # # # # n ed lie Some - ho, some- here B Vln I Vln II Vla Vc Cb - # ed lie m Some ho, Some - ho, some- here 9 b rall Adagietto q = 76 B æ æ æ ẇ m b b con sord, m m unis m m # n # # # # # # # # # b izz, div arco unis # # # m m div arco unis # # # # b m m b

80 68 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S 0 Meno mosso q = b b b b b b b b b a b b m m m m m b bẇ bn m m m m 0 Meno mosso q = 80 bbẇ b b Li b b - - b m m 1 1 b - ber-a me, Do-mi - ne, Do-mi- ne, de b b b m - - b A b b b Li - ber a me, Do-mi - ne, Do-mi- ne, de b T b b b b b b Li - ber a me, Do-mi - ne, Do-mi- ne, de B Vln I b b Li - be-ra me, Do-mi - ne, Do-mi- ne, de 0 Meno mosso q = 80 b b b b b b b ẇ b b b m senza sord b b æ b æ Vln II senza sord bẇ Vla B senza sord b Vc b b senza sord b b Cb b b senza sord b b

81 69 Fl 1 Ob b 1 - m Cl 1 b b Bsn 1 Hn 1 b b b b Hn m bẇ Tim S b b b b mor - te ae - ter - na in die il b b bb b - la tre - men- da Li - m 1 A b b mor - te ae - ter - na in die il - la tre - men- da b b T B Vln I Vln II Vla Vc Cb b b b b b b b bb b b b 1 b b æ b b ẇ ẇ bẇ mor - te ae - ter - na in die il mor-te ae - ter - na in die il - la tre - men- da - la tre - men- da Li m - ber - a me, Do-mi - ne m m m b b b b ẇ b b B b b b b b b b unis b unis b b b

82 70 Fl 1 Ob 1 Cl 1 Bsn m 1 m rall Grave h = 0 U U b b ẇ u U U Hn 1 Hn Tim 6 U n U 6 b U 6 S m U 6 rall Grave h = 0 - ber - a me, Do-mi - ne But strange the sight, that e should A T U 6 Li - ber - a me But strange the sight, that e should 6 U But strange the sight, that e should B Vln I Vln II Vla Vc U 6 b B Li - ber - a me But strange the sight, that e should rall Grave h = 0 U ẇ b u b U u U U Cb U 6

83 71 Fl 1 8 accel Con moto h = 6 Più mosso h = 56 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S accel Con moto h = 6 Più mosso h = 56 m m ind Small breath-ings in the hills: O nod - ding lie, We stood and atched them A T b b ind Small breath-ings in the hills: O m m nod - ding lie, We ind Small breath-ings in the hills: ar rom ru - ined streets We m m stood and atched them j stood and atched them B Vln I m m b ind Small breath-ings in the hills: ar rom ru - ined streets We stood and atched them accel Con moto h = 6 Più mosso h = 56 Vln II Vla B Vc Cb

84 7 88 rall Maestoso h = 8 m m rall Maestoso h = 8 m m m rall Maestoso h = 8

85 7 Fl Andante q = 80 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S A T B Vln I m sun-burst joy o morn- ing, and sang m 5 b b ẇ n a hal -re - mem - bered song sun-burst joy o morn- ing, and sang a hal -re - mem-bered song, m sun-burst joy o morn- ing, and m sun-burst joy o morn- ing, and sang sang song # b b n # a hal -re - mem - bered song, a hal -re - mem- bered, Andante q = 80 m 5 Andante q = 80 Di m re-mem-bered song Di m re-mem-bered song Di m re-mem-bered song Di - ri - ge e-des - ri - ge e-des - ri - ge e-des - ri - ge e-des Vln II Vla Vc Cb B izz, div j m izz, div m arco, unis arco, unis j izz, div j m

86 7 Fl Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S 6 j nos - tros in vi - am a - cis Nos, qui in ten - e-bris et in um-bra mor - tis æ A T j nos nos - tros in vi - am a - cis Nos, qui in ten - e-bris et in um-bra mor - tis b - tros in vi - am a - cis Nos, qui in ten - e-bris et in um-bra mor - tis B Vln I div Vln II div Vla Vc Cb nos - tros in vi - am a - cis Nos, qui in ten - e-bris et in um-bra mor - tis B arco 6 solo solo solo solo solo solo

87 75 Fl 1 51 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S æ æ æ æ æ A T B Vln I div Vln II div Vla Vc B b b (tutti) Cb

88 76 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S R æ b æ R æ a R R æ j j æ r æ j a R R 7 S A solo m We are no long - er rey; T1 T B Vln I div Vln II div Vla Vc div Cb 7 tutti, con sord B tutti, con sord tutti, con sord izz, con sord tutti, con sord tutti, con sord solo m We are no long - er rey; b b

89 77 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 55 æ R æ æ R æ æ R j R j æ r æ j j æ r æ b R j r æ S The snare is bro - ken and e have es - A T1 T The snare is bro - ken and e have es - B Vln I div Vln II div Vla B b Vc div j j Cb

90 78 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A T1 T B Vln I div Vln II div Vla Vc Cb æ m j m caed caed j b j æ m j b m 8 tutti m B unis, arco j æ tutti At m At eve the rains tutti Di Di - ri - ge e - des - ri - ge e - des eve the rains tutti 8 tutti tutti Di senza sord senza sord senza sord senza sord senza sord - - Di Di - - ri - ge e - des ri ri - - ge ge 1 e - des

91 79 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A T1 T B Vln I div Vln II div Vla Vc Cb 5 j æ m m m m m m come nos nos nos - tros in vi m b rall b 1 m m - tros in vi - tros in vi m - am a - am a At eve the gen-tle sing - ing rall - cis Nos, qui in ten - e - bris et in um -bra - cis Nos, qui in ten - e - bris et in um -bra come At eve the gen-tle sing - ing m nos - tros in vi m m m m m m - am a - am- a Ÿ n 1 n Ÿ~~~~~~~~~~~~~~~~~ b j j b j - cis Nos, qui in ten - e - bris et in um -bra - cis Nos, qui in ten - e - bris et in um -bra B b rall 1 j b o b b

92 80 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S Adagietto q = 66 æ R æ æ j R b j æ m 9 Adagietto q = 66 a ter j æ r æ b j r S A T1 mor mor - - tis b - - tis o a - ter T B Vln I div Vln II div Vla Vc Cb mor - - tis mor - - tis B 9 Adagietto q = 66 b

93 81 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S U æ R a U U molto rit U - - b - b b r n n U j - j æ b - r - a - U - b - R molto rit U U j j æ A U T U B U Vln I div Vln II div Vla Vc Cb B molto rit j j b b n æ æ n æ æ æ æ æ U U U U U U U

94 8 Fl 1 Ob 1 Cl 1 Bsn 1 Hn 1 Hn Tim S1 S A1 A T1 T B1 B Vln I div Vln II Vla Vc Cb Adagio q = 60 V In Paradisum Più mosso q = , Adagio q = 60 Più mosso q = 66 b æ æ j izz arco izz j j God, God, God, God, God, God, God, Adagio q = 60 Più mosso q = 66 izz izz izz arco, div j arco izz b j B j j izz arco izz j izz izz God, 50 be,,, be be be, be, be, be, be

95 8 S1 S A1 A T1 T B1 B 557 mer - ci - ul un - to us, and bless us; to shine u - on us; mer - ci - ul un - to us, and bless us; to shine u - on us; m U mer - ci - ul un - to us, and cause his ace to shine u - on us; m U j j j mer - ci - ul un - to us, and cause his ace to shine u - on us; m mer - ci - ul un - to us, and bless us; to shine u - on us; j mer - ci - ul un - to us, and bless us; to shine u - on us; m U b mer - ci - ul un - to us, and cause his ace to shine u - on us; m U j mer - ci - ul un - to us, and cause his ace to shine u - on us; rall m m m j j U U U U = S1 S A1 A T1 T B1 51 Adagietto q = 7 m m q = 76, 569 That m That m That m That That m That m thy ay may be knon u - on the earth, j thy ay may be knon u - on the earth, thy ay may be knon u m j j # j m - on the earth, thy ay may be knon u - on the earth, m thy ay may be knon u - on the earth, thy ay may be knon u - on the earth, m m m a - mong the na - tions Let the, # thy sav - ing health a - mong the na - tions Let the thy sav - ing health a - mong the na - tions Let the a, - mong the na - tions Let the m, j a - mong the na - tions Let the, # thy sav - ing health a - mong the na - tions Let the, # # # j n j, # j # j B That m That thy ay may be knon u j - on the earth, n thy ay may be knon u - on the earth, m thy sav - ing health a - mong the na - tions Let the a, - mong the na - tions Let the

96 8 = S1 S A1 A T1 T B1 B S1 S A1 A T1 T B eo eo eo - le raise thee, O God; let all the eo - le raise thee - le raise thee, O God; let all, the eo - le raise thee b - le raise thee, O God; let all the eo - le raise thee eo - le raise thee, O God, let all, let all the eo - le raise thee eo eo eo eo na na na na na na - le raise thee, O God; let all the eo - le raise thee - le raise thee, O God; let all, the eo - le raise thee b - le raise thee, O God; let all the eo - le raise thee - le raise thee, O God, let all, let all the eo - le raise thee - tions be glad and sing or joy; or thou shalt judge the eo - tions be glad and sing or joy: or thou shalt judge the eo - tions be glad and sing or joy: or thou shalt judge the eo - tions be glad and sing or joy: or thou shalt judge the eo - tions be glad and sing or joy; or thou shalt judge the eo - tions be glad and sing or joy: or thou shalt judge the eo O O O O O O O O Più mosso let the let the let the let the let the let the b b j b j let the let the j n j b le le le le b b n le le B na na - tions be glad and sing or joy: or thou shalt judge the eo - tions be glad and sing or joy: or thou shalt judge the eo - - le le

97 85 S1 S A1 A T1 T B1 B 596 right right right right right m rall - eous - ly, and gov - ern the na - tions u - on earth m - - eous- ly, and m - eous - ly, and m - eous - ly, and - - eous- ly, and gov gov gov m U - ern the na - tions u - on earth U - ern the na - tions u - on earth - ern the na - tions u - on earth right - eous - ly, and gov - ern the na - tions u - on earth m U b b b b b b b right right j b b b j m - eous - ly, and m - eous - ly, and gov gov gov - ern the na - tions u - on earth U - ern the na - tions u - on earth - ern the na - tions u - on earth j n j j b n b b b j b b U b U U b U U U U U U U U U = S1 S A1 A T1 T B1 B 5 Adagietto q = 76 m 60 Let m Let m Let m Let m Let m the eo n m - le raise thee, m the eo - le raise thee, m the eo - le raise thee, n m the eo - le raise thee, m the eo - le raise thee, m Let the eo - le raise thee, m m Let m Let the eo - le raise thee, m the eo - le raise thee, O God; Let all O God; Let all O God; Let all O God; O God; Let all O God; Let all O God; Let all O God; the eo - le raise thee the eo - le raise thee b the eo - le raise thee Let all the eo - le raise thee the eo - le raise thee the eo - le raise thee b the eo - le raise thee Let all the eo - le raise thee

98 86 S1 S A1 A T1 T B1 55 m m Adagio q = 7 61 Then shall the earth yield her in - crease, and m m Then shall the earth yield her in - crease, and m m Then shall the earth yield her in - crease, and m m Then shall the earth yield her in - crease, and m m Then shall the earth yield her in - crease, and m m Then shall the earth yield her in - crease, and m m God, God, God, God, God, God, j # j b j j j j j # ev -en our on God shall bless ev -en our on God shall bless j ev -en our on God shall bless j ev -en our on God shall bless j # j b j # ev -en our on God shall bless ev -en our on God shall bless = B Then m Then shall the earth yield her in - crease, and m j shall the earth yield her in - crease, and God, j God, ev -en our on God shall bless ev -en our on God shall bless S1 S A1 A T1 T B1 65 us 56 Meno mosso m rall al ine us us us us us God m God m God m God m God m God m shall shall shall bless shall bless j bless bless shall bless shall n j bless j U us; and all the ends o the earth shall ear j us; and all the ends o the earth shall ear us; all the ends o the earth shall ear us; all the ends o the earth shall ear us; and all the ends o the earth shall ear us; and all the ends o the earth shall ear him U him U j j j j him U him U him U U him B us us God m God shall shall bless us; all the ends o the earth shall ear him n j U bless us; all the ends o the earth shall ear him

99 87 Part II: Discussion Document Introduction This discussion document describes the background, exlores the rocess and surveys the outcome o my Requiem or choir and chamber orchestra Beginning ith the Amish tradition o my childhood, the irst chater recounts my cultural background as a ointo-dearture in the creation o the ork It also outlines some ersectives on the ormation and oundation o my exerience ith vocal music and revies some cultural and musical inluences The second chater is a discussion o the ork s incetion and comositional rocess, including the selection o texts and the incororation o standalone choral orks comosed alongside o Requiem The inal chater exlores the ork rom a theoretical standoint, examining the texts, harmonic reerences, instrumentation, textures, large-scale orm and thematic connections ound in Requiem and, by so doing, locates it in the context o current musical culture

100 88 1 Background On the ace o things, the comosition o Requiem has been a journey nearly three years in the making Under the surace, the rocess runs much deeer, and cannot easily be searated rom the course o my entire lie The discussion o the orces that shaed me is eighted toard my environment, 1 esecially the religious subculture o my childhood 11 Foundations In some asects, my journey toard this comosition had a tenuous beginning My ather as the last in a substantive line o orebears born and raised in the Old Order Amish tradition o Lancaster County, Pennsylvania I as born into the Beachy Amish tradition, hich, hile more rogressive in terms o its relationshi and interaction ith technology and innovation, still escheed some signiicant accommodations that may seem necessary or one hose ath ould lead into music comosition Seciically, the tradition o my birth resented limited suort o ost-secondary education in general and a categorical rejection o oning and laying musical instruments in articular A tenuous beginning notithstanding, other asects o my childhood ere signiicantly ormative in my musical develoment From the irst oening o my ears in utero, music or me has rimarily consisted o live, unaccomanied singing not only in the eekly church service, but also at home and in school: an unstated liturgy o unaccomanied hymns Sunday ater Sunday, day ater day, year ater year I am a singer a musician 1 Regarding the inluences o heredity and environment on an individual, some ascribe to heredity (nature, or nativism; roonents include Immanuel Kant, Charles Darin, Noam Chomsky and Steven Pinker) Others ascribe to environment (nurture, or tabula rasa; roonents include Aristotle, Thomas Aquinas, David Hume, Sir Francis Bacon and Sigmund Freud) Suort as oten given to ost-secondary studies in healthcare, but other ursuits ere unusual I am the irst in my immediate amily to earn a university degree, and, to my knoledge, the irst o my 57 irst cousins to earn a university degree outside o healthcare On the matter o musical instruments, my irst ormal training on any instrument began hen I commenced undergraduate studies in music comosition telve years ago; I studied iano to ass a keyboard roiciency examination

101 89 ho inds the most ulilling musical exression using my voice On a broader scale, I continue to be surrounded by a community o singers Combining the inescaable holesale subcultural and ethnic nurture o my childhood ith signiicant eole ho have guided my musical senses in ays symathetic to said subculture yields an outcome as delightul as it is redictable: I love unaccomanied congregational and choral music Looking back more than tenty years on my involvement in music comosition, I recognize that musical asects related to singing (including textures, range limitations, gestures, etc) have inormed my overall comositional outut (including non-vocal comositions) This is observable in my reerence or common-ractice tonality (including ost-common-ractice trends returning to tonality and modality; eg minimalism and Ne Simlicity ) and my attraction to homohonic textures ith text settings that are rimarily syllabic (as oosed to melismatic) 1 Inluences In addition to the musical sensibilities instilled via the orshi music o my community, my early years also beneited rom limited exosure to accomanied music Though the general Beachy Amish tradition o that time orent musical instruments in the church, school and home, as ell as any use o radio and television technology, our articular community o aith made alloance or instrumental and accomanied vocal recordings in the home Through LP albums, cassette taes and eventually comact disks, I as exosed to ider musical diversity than that rovided by our church and school exeriences I articularly remember a cassette tae ith Beethoven s Symhony No 5 on one side and excerts rom Tchaikovsky s Nutcracker Suite on the other I remember the irst time I heard a recording o Handel s Messiah and can remember the icture on the jigsa uzzle I as assembling hile listening to it These recordings ere The term Ne Simlicity (Ger Neue Einachheit ) can also reer to a grou o young German comosers ho rebelled against the Euroean (esecially Darmstadt) avant garde in the 1970 s and 80 s, but I use the term as a synonym or music in the later styles o Pärt, Tavener and Górecki (so-called holy minimalism ) While the music o the Old Order Amish tradition is monohonic, my aesthetic teeth ere cut on late 19th/early 0th-century hymns and gosel songs, ith only glimses into the orld o olyhony most oularly, traditional canons sung at school

102 90 essentially the extent o the classical music in our home, but their imressions ran dee My journey into art music as sel-directed beyond that I irst heard a recording o Antonín Dvor ák s Symhony No 9, O 95 From the Ne World hen I as about eighteen years old and seeking both change and groth in my musical interests It as a landmark moment I soon ell in love ith the music, sloly absorbing its intricacies through reeated listening 5 This oening o the loodgates led to regular urchases o classical albums and the start o a signiicant audio collection consisting rimarily o music rom the Western common ractice eriod 6 Most o the encounters I had ith signiicant orks rom eriods and cultures outside this common ractice occurred ater I commenced undergraduate ork encounters enlightening and erlexing; exhilarating and discouraging During my undergraduate years I rote various ieces or voice and chorus, sloly broadening my comositional alette Uon entering graduate school, I entered a time o sel-imosed exile rom vocal riting to ocus on the areas o greatest need in my instrumental comosition techniques With the excetion o several extra-curricular commissions or hymns and unaccomanied choral orks, I sent the next ive years olloing this sometimes diicult but necessary rocess, culminating ith my second iano trio (ith lute and clarinet) Exloratory ork or my dissertation olloed, and I determined at least one thing: my dissertation ould involve a chorus, and ould combine my older, more innate skills at choral riting ith the lessons learned and insights gained in the instrumental crat over the ast ive years A single and signiicant common thread throughout my academic comosing years has been the dissonance generated by the juxtaosition o my on aesthetics and identity among the academic culture around me Though these tensions ere no small matter in comosing Requiem, the canon o Western music rovided a ealth o insiration or success in understanding 5 I kne the song Goin Home rom a olk recording that my arents layed hen I as young I remember being leased that Dvor ák quoted it in his symhony Little did I kno 6 In this document, common ractice eriod reers to the Euroean art music sanning the baroque, classical and romantic eras (ca ) and the tonal exectations ound therein (including unctional harmony and contrauntal norms)

103 91 and overcoming these tensions A range o comosers and comositions continue to inorm my riting, and various styles and techniques o many dierent comosers have ound lodging in my ork I irst encountered the music o Sir ames MacMillan as a member o the Laurier Singers hen I sang under his direction at the Canadian remiere o his Sun-Dogs in the all o 006 at a Soundstreams event in Toronto A veritable ountain o choral slendor, Sun- Dogs oened or me a deeer level o vocal comositional exression ramed in a ree tonal context Further extended study o his ercussion concerto Veni, Veni Emmanuel and Seven Last Words rom the Cross (or chorus and strings) inluenced my vocal and orchestral riting in areas o motivic variation and develoment, dyadic harmonization, ocket motive ostinati, extended drone techniques, modal inlections, large-scale orm (arch/alindromic orm in articular) and liturgical shae The choral music o Henryk Górecki has rovided an unbounded suly o insiration or my ork, rom his more austere and minimal Euntes Ibant et Flebant and Amen to his more recent colourul settings including Totus Tuus, Five Kurian Songs, Salve, sidus Polonorum, and more I have admired and imitated his utilization o olk-like diatonic harmonies, ostinato atterns, edal-tone dissonances, extensive octave doubling beteen treble and bass sections (oten three treble arts doubling three bass arts) and liberal use o inverted major and minor triads (articularly second-inversion major) at oints o cadential arrival As ell, the canonic melody in the loer strings that oens the second movement as ritten in the sirit o the much longer oening o Górecki s Symhony No The inluence o Knut Nystedt on my riting comes rincially rom his a caella setting In Princiio, here he exlores airly liberal yet tonally consonant tertian harmonies, combining extensive common-tone modulations, text-sensitive ree rhythms (based on concets o chant) and modal mixture using redominantly homohonic textures Nystedt s textural and chord-osition choices have also ound dee root in my ork, including (as in Górecki) octave doubling beteen treble and bass sections and common use o second-inversion major and minor triads as oints o resolution

104 9 Many similar aesthetic qualities as mentioned above are germane to the music o Arvo Pärt and ohn Tavener, ho, along ith Górecki, have been groued together under the label o holy minimalism or Ne Simlicity, marked by the inluences o minimalism and a lack o comlexity and, at times, lacking a clear ormal structure Socalled minimalist comositions have comelled me or years, esecially the orks o Steve Reich and, to a lesser extent, ohn Adams and Phili Glass Similar language is revealed in Requiem in the use o rhythmic and harmonic ostinato grouings that rovide a sense o stasis to the oening minutes o the third movement, and the lack o modulation in the strohic section o the inal minutes o the ourth movement Among other orks, Krzyszto Penderecki s St Luke Passion (ith the a caella Stabat Mater in its entirety included toards the end o the Passion) rovided me ith a recedent to include musical thoughts rom my other comositions in Requiem Furthermore, I admired the high drama resent in Penderecki s St Luke Passion (and other orks like ohannes Brahms Requiem and MacMillan s Seven Last Words), although I tried to kee my dramatic take more subdued, as exlained belo in the chater on the treatment o the text My orchestration decisions ere inluenced by orks such as Gabriel Fauré s Requiem, here an intimacy o orchestration is evident In this ork, Fauré avoided sustained sections ith high dynamic levels (rarely exceeding mezzo-orte), ith the horn as the loudest essential instrument The aeal o this eature entrenched itsel in my ork, coinciding ith the ractical decision to trim don the orchestra don, articularly the brass section In a moment o contrast or dramatic uroses, the renetic, chromatic gestures o the oening o the second movement o Witold Lutosłaski s Concerto or Piano and Orchestra served as a model or the orchestration used in the battle scene o Requiem (beginning at rehearsal number 0, described belo) The use o the chorus a caella (versus chorus ithin the orchestral textures) and the use o solo voices or doublings in octaves rovided me ith the oortunity to vary the textures and create contrasts, as done by many comosers ast and resent

105 9 In addition to comosers already mentioned, I ould be remiss to ignore the less obvious but still resent inluences uon my general musical sensibilities, including Sergei Rachmanino (All-Night Vigil), Maurice Ravel (Bolero), Igor Stravinsky (Symhony o Psalms), Arthur Honegger (Symhonie liturgique), Paul Hindemith (Ludus tonalis), Veljo Tormis (aanilaulud) and Randall Thomson (The Peaceable Kingdom)

106 9 Process This chater outlines various elements o the incetion and organizational rocess o Requiem, ith subsequent chaters dedicated to a closer look at various asects o the inished comosition 1 English Poetry An early intention or my dissertation comosition as to rite a chamber oratorio on a relevant theme based on common human exerience The search or an aroriate text ranged through various orks o Canadian, American and other oets I had diiculty inding anything at the same time contemorary, imaginative, rereshing and aroriate or use in a choral musical ork (esecially hen one considers limitations o coyright restrictions, excerting needs, etc) In the end, my search ound its goal ithin my Anabatist aith community 7 ater my ie encouraged me to oen dialogue ith Tamar Zehr, a mutual riend 8 Initial dialogue ith her as oen-ended on content, but I requested that the theme be airly general a theme common to both the deinition and exerience o being human, but avoiding overt religious reerences Her irst thoughts turned toard bird imagery, combining insiration rom the Hebre scritures and the music o Ralh Vaughan Williams: I am thinking birds Not sure hy, but it is the direction my research is taking at resent Think in the rameork o Vaughan Williams, The Lark Ascending, but turn it on its head Instead o the liting, usee o the bird, think about a descent I recall reading about Vaughan Williams, standing on the south coast o England, atching the larks resumably his insiration or the iece But there ere battleshis in the channel, beyond the birds (I think WWI) I realize that this version o the story is disuted, and he may not have been atching the battleshis leaving or France at all, but I use this simly to give you an idea 7 Since moving to Canada in 00 and joining my ie s community o aith, I am not ormally ailiated ith an Amish tradition, but associate ith a Mennonite sub-culture hose shared values are similar to the tradition o my birth, toard hich I still maintain strong symathies, as ell as social and roessional connections 8 Tamar is a oet and classical linguist ho received her MA in English Literary Studies rom the University o Waterloo in 01 and currently lives on a shee arm in Bruce County, Ontario, ith her husband and several young children

107 95 about my thoughts The battleshis do not enter his iece, at least I do not think o them hen I listen I think my text ill have more o the battleshis and less o the ascending bird So i one ere to grah the movement o the text, it ould be a descent into desolation ith a slight rise resolution/lit at the end 9 The resulting drat oetry, rimarily in English, described the struggle, the marginalization, the oression, the collase o a system as Zehr noted above, likely a human one (using an abstract avian deiction) The oetry contained several short Latin interjections (ords, hrases and quotations) borroed rom disarate sources including Plautus, St Luke, St Augustine and the Roman Missal The use o non-english interludes as searators or asides in the overall dramatic arch o the oetry as, to my sensibilities, one o many attractive elements o Zehr s ork The overall sense o the oetry as dark and angular crunchy, even due in art to the generally consonantheavy nature o English (as oosed to, eg, Italian and French) but also to her style and the intent o her ork to communicate systemic collase While orking on the irst drat o the text, she observed: The text has some rhyme, hich is unusual or me, and some o my uncertainty likely comes rom orking ith tighter lines I reer more abstraction And I am unsure hat sounds merge ell ith music, ie I am trying to go beneath the ord level to the sounds, hat suggests discord, harshness or my slide into destruction, hat sounds suggest a relie, a ste into the "not yet" but coming basis or hoe 10 There ere sections o the text that could have been diminished unaccetably by setting them to music, and I entertained ays to avoid this initially by considering a narrator or the arts o the ork, but in the end by extracting excerts rom the ork that aligned themselves ell on to ronts: singability (that the text as not diminished by a musical setting) and large-scale indisensability (considering the narrative o the hole oem) Because o my initial overestimation o the scoe o my roject, the early drats o Zehr s oetry contained more material than could be used Ater she signiicantly revised the text in early 01, she graciously gave me liberty to urther distill it to a orm that as more aroriate or my uroses 9 Tamar Zehr; corresondence received August 7, Tamar Zehr; corresondence received Setember 1, 01

108 96 Program and Symbolism Instrumental musical orks o the Western canon can be located, albeit subjectively at times, on a continuum beteen absolute music and rogrammatic music Generally, the intention o the comoser lays into this lacement, though I believe that the ercetion o the listener also matters in this discussion Adding text to a musical ork tends to shit the overall ositioning o the ork toard the rogrammatic side o the continuum, oten by introducing more exlicit unctions to a ork (olitical, liturgical, social and more) There as an at-times ambiguous but nonetheless unmistakable rogram ound ithin the original English texts The overall eel o the roject began to move toard rogram music a orm o musical exression ith inherent tras, including but not limited to cliché, kitsch, and atronization o the listener While I as aare o these otential italls, I anted to reserve sace or my aesthetic reerences, and evocative and symbolic elements began to lay a signiicant role in shaing the music o Requiem It as natural and exected that Zehr s oetry ould contribute to the shit toard rogrammatic exression More unexected, but no less otent, as the ay her text became a signiicant indo into a greater rogram the requiem mass It as late in the text editing rocess that the oetry began to act as a mirror o my on exeriences o aith and doubt, and I began to read the text in the context o ersonal and current death and rebirth my on Tod und Verklärung, erhas, but exressed as a uneral mass or a art o me that as dying A signiicant Christian metanarrative is one o death and resurrection on a cosmic scale; my exerience as death and resurrection on a small scale one that its ithin mysel Requiem Texts I comared the scoe and sequence o the drat oetry to the lo o a tyical requiem mass and noted various similarities I examined requiem texts rom the Roman Missal, inserting them as urther asides and oints o delineation into Zehr s oetry as I deemed aroriate To better align Requiem ith historical and contemorary ractice, I selected the requiem mass settings o Wolgang Amadeus Mozart, Giusee Verdi, Antonín Dvořák, Gabriel Fauré, Maurice Durulé, Benjamin Britten, Frank Martin,

109 97 Alred Schnittke and Christoher Rouse; together they served as a collective model to give historical and contemorary context and direction or the inclusion or exclusion o articular Roman texts as outlined in Table 1 Mozart Verdi Dvořák Fauré Durulé Britten Martin Schnittke Rouse Glick Introit Kyrie Gradual Dies Irae Oertory Sanctus Pie esu Agnus Dei Lux Aeterna Libera Me In Paradisum Table 1 Comarison o Missal texts used in reresentative requiem mass settings along ith the texts chosen or Requiem Note that the Pie esu as listed here reers to its use as a stand-alone movement All nine requiem mass settings contain the Introit, Oertory, Sanctus and Agnus Dei texts Most contain some orm o the Greek Kyrie text and various arts o the Dies Irae sequence Other requiem models o note are the settings by ohannes Brahms, Igor Stravinsky, György Ligeti and Larry Nickel, though they utilize signiicantly eer (or none) o the Missal texts O articular interest or this roject are the requiem settings by Britten, Karl enkins, Rouse and Nickel, hich (like Requiem) incororate contemorary texts along ith traditional Missal texts Throughout the text selection rocess I tried to avoid stretching deinitions too ar hen assigning articular Latin titles and texts to individual movements o Requiem Some o the associations are undisguised hile others are more obscure With the excetion o In Paradisum, hich uses only text rom Psalm 67, each movement contains some Latin text, extracted rom the Roman Missal and/or rom Zehr s oetry, set in conjunction ith or in contrast to the English oetry Some third-erson ronouns in the Latin texts have been modiied to more aroriately it the general irst-erson ersective o the rotagonists (ie eis to nobis )

110 98 The decision to include the Introit as ragmatic and tone-setting I I as to comose a requiem, even i it as a requiem or dead ideas rather than a deceased erson, I anted to lay it straight and have it begin like many requiems to unambiguously osition itsel as a requiem rom the outset I originally included only the ords Requiem aeternam dona eis Domine in the Introit; later develoments in orm and musical material led to the inclusion o ive more lines o Introit text The Kyrie and Lux Aeterna texts ere briely considered but let unused The Gradual text as not considered The Pie esu text, based on the last verse o the Dies Irae sequence and sometimes set as a stand-alone movement, as used to close the sequence Both versions o Zehr s oetry included a dramatic scene near the beginning here a battle takes lace and the oerul tramle the eak I inserted arts o the Dies Irae sequence into this section or reasons both obvious and hidden Most obvious is the translation day o rath as alied to a battle scene; not much imagination is required or that connection More concealed, hoever, is the rojection o the act o God s judgement and rath onto a section o English oetry that, though abstract, still ositions the bearer o rath and destruction beyond the ale o exected moral behaviour o one ho holds substantive oer in other ords, joining the Latin text ith the arallel English text connects a articular historical vie o God ith unjust behaviour In addition to the most oular irst verse o the Dies Irae oem, I included the inal to stanzas ( Lacrimosa dies illa and Pie esu, Domine ) or reasons oetic and emotive as ell as ersonal In the contexts o the narrative o the English oetry and my on aith journey (both grounded in the resent and not the uture), the simultaneous cries to be sared and to be granted eternal rest take on articular oignancy and oer The choice o Oertory as a section title as mostly symbolic, no doubt boosted by the act that all nine reresentative comosers charted above included it Yet its inclusion, i only by name, is aroriate and justiiable While the original Oertory text includes the line Hostias et reces tibi, Domine, laudis oerimus, 11 in Requiem the ord titles a 11 Sacriices and rayers o raise, Lord, e oer you

111 99 section that does not contain any Missal text, but rather uses a Latin quotation attributed in Zehr s oetry to the Roman layright Plautus (c 5-18 BC): Certa amittimus dum incerta etimus 1 This dearture rom the essence o the Missal text changes the emotion signiicantly: grie and loss no enter the icture In this context, hat is oered is not an intentional git to God, but an unintentional loss an anti-oering; erhas even a thet o things o hich e ere certain hile e chased those things o hich e ere uncertain In Requiem, the Oertory section is the irst o three arts that together make u the third movement (Oertory-Sanctus-Agnus Dei); in this context, the Oertory reares the ay or the loest and most crushing art o the iece aesthetically and hilosohically The oem includes the ords incurvatus and excurvatus in several laces Particularly devastating are the ords The mirrored glass (incurvatus, incurvatus), irst clouded, shatters, crashing inards This is the nadir o the ork Rock-bottom has been duly reached; glass is curved in to the shatter oint o comlete dissolution and non-utility But the choice o the ord sanctus (holy) to describe this moment is not ironic or sarcastic; I m still laying it straight This is a crucible moment, and holy is an at descrition or it As Zehr s oetry originally included the Latin interjection Dona nobis acem, it as only a small ste to adding more text rom the Agnus Dei, roviding the ork ith its large-scale oint o emotional (and eventually, textural and dynamic) climax: the shout o Dona nobis requiem ound at the end o the third movement Mention has been made o incurvatus and excurvatus, aired Latin antonyms meaning curved in and curved out, resectively The turning oint rom curved in to curved out, olloing the ork s climax, reveals itsel clearly in the ourth movement: Libera Me another transarent airing o Missal text to oetry that needs little exlanation We oke and led rom the ja o the snare deicts the start o a lie ater a death: not an instant, all-is-orever-ell-and-nothing-hurts-anymore rature o any sort, but a more cathartic and rogressive rebirth, leading to a resent-tense, matter-o-act declaration: 1 We lose certain things hen e ursue uncertain things

112 100 We are no longer rey The snare is broken, and e have escaed At eve, the rains come At eve, the gentle singing o ater The title In Paradisum" as a choice or the inal movement o the ork as initially only an aesthetic and artistic reerence, and as intended to accomany the Latin text (and subsequent English text) ound in Zehr s oetry adated rom Luke 1:79: Dirige edes nostros in viam acis; nos, qui in tenebris et in umbra mortis 1 The shit rom using only Zehr s texts or the inal movement to using text rom Psalm 67 is art o the evolution o the ork that is detailed belo, as it occurred relatively late in the organizational rocess o comosing Requiem On the question o genre, I consider this ork to be a requiem in that it unctions as a rayer o rest not uon the death o a erson, but the death o ideas and atterns o thinking and living: or asects o the soul that are alive, dying, dead and alive again I have been exloring the Gosel narratives o the hysical death and resurrection o esus Christ as an archetye that reveals itsel in human exerience in ractal orm (rom scales as large as a single linear death and resurrection o the universe to as small as daily death and resurrection ithin an individual) This metahor reveals itsel in my requiem in both the text and the music (articularly large-scale orm in the latter) Early Concets Ater dividing Zehr s ork into unoicial chaters that could be used in searate movements, and sorting out hich Missal texts ould be suitable or articular sections o the oetry, the original oetry as then distilled into the ortions that I could not bear to lose or that i removed ould violate the integrity o the text Thus the oetry ortion o the text began to contract rom its original 800+ ords toard its inal resting lace o less than hal that amount Establishing a ormal design scheme or the entire comosition began rationally and analytically I considered several mathematical concets (including the golden ratio and 1 Steer our eet in the ay o eace; We ho are in darkness and the shado o death

113 101 ractals) that ere comelling to me in some o my reertoire encounters over the ast years I remembered certain comositions controlled to various extents by the Fibonacci series (or its variants) 1 and sent some time exloring ho this could be used in my ork Unlike its immediate accessibility hen incororated in the visual arts, my osition has been that the golden ratio (hi, or aroximately 1618, also called the golden section or golden mean and oten labelled ith the symbol φ) is less easily areciated in the aural arts, and the level o imrovement and/or elegance that it contributes there seems more subjective For the golden ratio to be erceived aurally, it should be linked to the assage o real time, not the number o measures, leaving even the most obsessive-comulsive comosers reliant on uture conductors and erormers o the ork to realize their intended results (sans a click-track recording or other timecontrolling comonent) My original intent as to ma numerous emotional and visceral sensibilities o the ork (including dynamics, texture and harmonic dissonance) to signiicant moments deined by Fibonacci seciications This intention unctioned relatively ell as a large-scale rame o reerence, though it could not ully accommodate the lexibility and emotive nuance that Requiem eventually demanded In some o my early musical drats o Requiem, I ound mysel oerating outside o my centre, rioritizing the inal outcome over the eicacy o rocess Among other things, I exlored various ays o organizing itch and rhythm that I had not used beore, including a brie but airly detailed exloration o time in North Indian music to exand my alette o rhythmic concets, including rhythmic develoment over time in hat Martin Clayton describes as the linearity, narrativity, and cyclicity o musical time 15 While this study as insightul in many ays, I did not consistently realize the concets as they should have been realized (in the sirit o the original tradition), and the drats I rote under this inluence ere at times roblematic In site o the large-scale 1 This concet has been used consciously and unconsciously (ith this distinction sometimes debated by theorists) in orks by Bach, Mozart, Debussy, Barber, Bartok, Gubaidulina, and others 15 Martin Clayton, Time in Indian Music: Rhythm, Metre, and Form in North Indian Rāg Perormance Oxord: Oxord University Press (000),

114 10 disaointment o this sideline oray into ne territory, successul rhythmic remnants remain in ghost orm throughout Requiem, articularly in the Libera Me movement (see Examles 1 and ) Vln I Allegro q = 16 n # # # # m Vln II Vla Vc Cb B # # # j m # # # # # æ æ æ æ æ æ æ # j j j # j # j j j # j m # j # j m æ # æ # æ æ # æ æ æ æ æ æ # # æ æ # æ m æ # æ # æ æ # æ æ æ æ æ æ # # æ æ # æ Examle 1 Requiem, mm 88-95, strings The underlying rhythmic outlay began as a 5+++ subdivision, hich eventually morhed into 7/8 (++), then doubled into 7/ and divided into alternating / and / measures The 5+++ interlay at an eighthnote level is ound in the interaction beteen the second violins and violas in mm 9-9 in the box above Fl 1 Ob 1 Cl 1 Bsn b æ R æ æ R R æ r æ j j æ r b R Examle Requiem, mm 5-55, oodinds The rhythmic interaction beteen the lutes/clarinets and the double reeds is generated by a ++++ subdivision at the sixteenth note level, hich, in / time, sills over into the next measure by to sixteenth notes To ull atterns are contained in the box above

115 10 5 Sel-Reerential Inclusions Comosers in the Western tradition have requently incororated smaller orks into larger ones, both sel-reerential (rom their on ork) and aroriated (rom another s ork) These orks can be stand-alone comositions, like Penderecki s Stabat Mater (as used in St Luke Passion) and Nickel s Long Black Arm and Reconciliation (as ound in Requiem or Peace) They can be artial comositions, like Mahler s quotation o his song Gieng heut Morgens über s Feld in his First Symhony 16 or Tavener s musical material rom the rerain o The Lamb quoted near the end o The Tyger Inclusions aroriated rom liturgical and olk traditions abound, including Bach s requent lacement o Lutheran chorales into his cantatas and Tchaikovsky s settings o the Russian and French national anthems in his 181 Overture Inclusions aroriated rom seciic comosers are legion Aroriation can be nested in multile layers, as ound in Nystedt s Immortal Bach (hich uses a Lutheran chorale tune harmonized by Bach) and in the recent chamber oera A Modest Proosal by Kevin Morse, hich quotes Debussy s Golliogg s Cakealk, itsel including a quotation o the oening to Wagner s Prelude to Tristan und Isolde 17 Though sel-reerential inclusions ere not a art o the original design o Requiem, they came to lay a signiicant role in thematically and aesthetically shaing the comositional rocess In the sring o 015 I moved ith my ie and our three young children into a small house outside the ton o Luerón, Dominican Reublic, or a our-month break rom lie as e kne it We had been lanning this move beore I commenced ork on my dissertation, and I had intended to inish my dissertation and rogram beore the move Through a series o delays, this as not to be, and I decided to let the dissertation rest or our months, alloing me to ocus on other sabbatical rojects One o those rojects as a commission that I received rom Wendell Nisly and the Oasis Chorale to 16 Robert Samuels, "Mahler ithin Mahler Allusion as Quotation, Sel-Reerence, and Metareerence," Word and Music Studies11 (010), ProQuest; Web, 16 une Kevin Morse, "A Modest Proosal: A Chamber Oera in One Act" (01), Electronic Thesis and Dissertation Reository, Paer 91; htt://irlibuoca/etd/91, 19

116 10 rite a short a caella ork or a 5-voice choir, to be remiered in May 016 at a conerence in Maine The assigned text as rom the Hebre scritures (Psalm 67) 18 The rocess o riting another unaccomanied choral iece as delightul and reeing I as able to stretch my comositional comort zone rom ithin my core, resulting in music that exlored ne areas or me in ays that ere intellectually, emotionally, siritually and artistically satisying Shortly ater our arrival in the Dominican Reublic, I received a query rom another riend ho anted to commission an unaccomanied choral ork called Blessed is the one ho inds isdom, based on selected texts rom Proverbs and I acceted this request, and inished both commissions during our stay in Luerón Later that summer I considered ho the to unaccomanied choral orks along ith the comositional rocesses emloyed in crating them could breathe lie into my onhold dissertation In contrast to the ay I had been aroaching much o the riting in my dissertation, these commissions marked a shit in rocess: hereas the ormer aroach as essentially an outside-in imosition to satisy some o my recomositional rojections uon the outcome o my dissertation ork, my ork on the to commissions as a more natural, inside-out exression o my comositional inluences and crat Not surrisingly, this musical outut as more closely aligned to the Western common ractice, and I asn t certain hat role it could lay in my academic ork 19 Mention has been made o the rather detailed nested Fibonacci mold I had reared or the music o my dissertation Establishing that the music and text o Psalm 67 ould double as the inal movement o Requiem as the inal event o several that ushed my roosed ormal model beyond the realm o the orkable, at least at the rescribed level o detail Subsequently, the music began to break oen in ositive ays, and an alliance 18 Psalm 67 as remiered at the Cross Insurance Center in Bangor, Maine, on May 7, 016, ith more than 5,000 eole in attendance 19 For years I had been searating my ork in my larger aith community comosing choral orks, riting ne hymn tunes and arranging old ones, setting olk music or school and cam choirs, and more rom my ork in the academy I orked in to dierent musical ields ith little obvious overla

117 105 began to orm: a merger o my ork in the academy ith my ork in my larger aith community In addition to serving verbatim as the inal movement o Requiem, the music o Psalm 67 doubled u as the rimary music o Introit (a choice that aligned Requiem ith the requiem mass settings o Mozart, Fauré and Schnittke in their recaitulations o Introit material), ith the addition o ive more lines o text as noted earlier and orchestral interludes inserted to urther broaden the music The rerain o Blessed is the one ho inds isdom became a signiicant melodic and harmonic theme used to serve as a connecting medium throughout Requiem, as discussed in greater detail belo

118 106 Survey This chater contains observations uon text, harmony, instrumentation, choral texture, orm and thematic connections as ound in Requiem 1 Text The ive movements o Requiem are thematically groued into to larger sections o + The irst section is described as Incurvatus (curved in), in textual contrast to the second section labelled Excurvatus (curved out), deined temorally by the golden ratio and thematically distinct in direction rom the ersective o the rotagonist(s) Blurring this distinction musically is the attacca indication beteen Agnus Dei and Libera Me at the golden mean o the ork the climax o the ork occurs at the end o a movement, but not at or near a break in the music rom the ersective o the listener The inclusion o the text o Psalm 67 as the inal movement o the ork stemmed in art rom a ersonal ersective adjustment regarding the kingdom o God In the Anabatist tradition, eacemaking is a signiicant theme: e can be eole ho are eacemakers reconcilers, i you ish Hoever, hile this kingdom theology 0 is a historic stale o Anabatist thought and ractice, the teachings I received oten rojected the kingdom o God into a uture heaven, not a current (or even uture) earth But Psalm 67 does not make this rojection In an dialogue ith Oasis Chorale s conductor Wendell Nisly here he irst mentioned setting this text, he rote: What s on my mind is that the evangelical osition o esus saves has collided ith the relevant osition o esus loves and created a shoer o hilosohical and theological sarks There are insights and oversights in both ositions I ould like to sing something that highlights and enjoys that there has been something o both already in the OT [Christianity] has a broad and glorious vie o the earth no, and its uture hen all is inally set to rights, hen God 0 I use the term kingdom theology to reresent a system o thought that, among other things, maintains a clear searation beteen the church and the state, and teaches that the kingdom o God is a current reality on earth, sread by grous o individuals ho accet that the teachings o esus Christ, including the hard teachings ound in the Sermon on the Mount (St Matthe chaters 5-7), are not or a uture disensation, but can be exerienced today

119 107 comes to dell ith his eole I am hoing to catch a glimse o the vision and the glory 1 Psalm 67 seaks o a God o mercy and justice ho blesses us and causes his ace to shine uon us so that his ays can be knon uon earth today So in giving it the title In Paradisum, I don t mean some uture utoia ater hysical death: I mean that in the nub o this lie, contemorarily ithin current time and on our hysical lanet, the kingdom o God takes root and exression in communities o loyal individuals With the inal addition o the text rom Psalm 67 and the adatation o the Introit to match the music o Psalm 67, and ith all other cuts and extractions made to the original oetry, the inal combined scrit o Requiem (including the Missal texts, set in bold belo) totaled 58 ords: I INTROIT II SEQUENCE Requiem aeternam dona nobis, Domine, et lux eretua luceat nobis Te decet hymnus, Deus, in Sion et tibi reddetur votum in erusalem Exaudi orationem meam, ad te omnis caro veniet When the city ell it ell in darkness Beneath a blackbird s cry contra sem sero We hoed or bread, or small joys A sace o quiet, a yard o green We kne not our time, Nor ho lean e slet That ell morn, e sa them Still statues against the dan, Wing-carved against the sky At midday they le, Cutting the stones ith shado Crossing the city ith lines Dies irae, dies illa, Solvet saeclum in avilla Teste David cum Sibylla! 1 Wendell Nisly, "Re: commission or Oasis," message to the author; 7 Ar 015,

120 108 Lacrimosa dies illa, Qua resurget ex avilla udicandus homo reus: Huic ergo arce, Deus It could not last, or evil times all sudden; The battle as undone We sa the eathers all, And lost our hoes beneath their loss: There ere no more ords To ing to the ind, and No more songs to sing Pie esu, Domine, dona nobis requiem Amen III OFFERTORY-SANCTUS-AGNUS DEI No dan is oened by song Where sleeless aces join The atchers o night no rest, no light, No sun to bless Those above hear not, Shut eyes, shut ears (incurvatus in se ) Certa amittimus dum Incerta etimus Sanctus, sanctus, sanctus Dominus Deus Sabaoth Sirits descend, like broken eathers, And death ascends, u, Sloly u Cobebs sit Unset in silent rooms The mirrored glass (incurvatus, incurvatus), First clouded, shatters, Crashing inards By night, the ols erch; by day, The ravens call: crack the stones, Crack all allen, allen A dying murmur reeats, reeats: No and at the hour o our death Dona nobis acem We are undone Agnus Dei, qui tollis eccata mundi, dona nobis requiem Curved in on itsel (used by Augustine and later by Martin Luther) We lose things certain in ursuit o the uncertain (Plautus [5-18 BC], Roman layright)

121 109 IV LIBERA ME We oke, and led rom the ja o the snare excurvatus At dan e reached the limits, Sa beore us the oen air, And carried there our burden: That e kne death, and yet, Must bear a gited lie Someho, somehere Libera me, Domine de morte aeterna in die illa tremenda But strange the sight that e should ind Small breathings in the hills: O nodding lie, ar rom ruined streets We stood and atched them lit Into a still dan sky: Flying out, in search o rest, Toard the sunburst joy o morning, And sang a hal-remembered song Dirige edes nostros in viam acis Nos, qui in tenebris et in umbra mortis We are no longer rey: the snare is broken And e have escaed At eve the rains come At eve the gentle singing o ater V IN PARADISUM God be merciul unto us, and bless us; and cause his ace to shine uon us; That thy ay may be knon uon earth, thy saving health among all nations Let the eole raise thee, O God; let all the eole raise thee O let the nations be glad and sing or joy: or thou shalt judge the eole righteously, and govern the nations uon earth Let the eole raise thee, O God; let all the eole raise thee Then shall the earth yield her increase; and God, even our on God, shall bless us God shall bless us; and all the ends o the earth shall ear him Steer our eet in the ay o eace; We, ho are in darkness and in the shado o death (adated rom Luke 1:79)

122 110 Readers and listeners ill interret the text in various ays Most transarently, I believe this text deicts a journey o unexected loss and equally unexected rebirth The nature and consequences o oression and marginalization under social, economic and olitical oer-imbalanced structures merit interretive inclusion The scoe can be narroed, ocusing on ersonal hysical, mental, emotional and/or siritual collase and restoration More subtly, it exlores a vie o sin, humankind and redemtion esoused by Augustine and urther develoed by Martin Luther: homo incurvatus in se, or man curved in uon itsel 5 Most ersonally, it is a requiem or the comoser: a uneral mass or ersonal ideas and asects o theology that ere dealt a mortal blo I learned much o the ay I see the orld rom the tradition o my birth, but have also learned that there are many things about one s orldvie as a bold, asiring youth that take on strikingly dierent hues hen one is orty years old In this last regard the ork is autobiograhical, and indeed rohetic, as the Libera Me text seaks more o a uture earthly exerience to hich I asire than a comletely accurate current descrition o my system o belies and loves Harmony One need not be articularly insightul to recognize that there is no harmonic common ractice in Western music today The sureit o harmonic languages emloyed in the ast century is historically unrecedented in its density What aeared in the second quarter o the tentieth century to be the ormation o a ne common ractice (in the establishment o modernist music ater the Second Viennese School) lost its hold on music o the academy in the next decades, giving ay to a slendid assortment o styles and languages, none o hich seem destined to take over and absorb the others anytime soon The contemorary comoser, then, may samle reely ithin and beyond the current harmonic trends and styles In general, my riting maintains strong tonal oundations, ith seciic itch centres, diatonic melodic contours and semi-unctional 5 In this theological ersective, homo incurvatus in se is revealed as a lie lived or onesel rather than or God and others, sometimes ith a ocus on the sin o ride

123 111 tertian harmonies I also use basic tonal aggregates that exand into an-diatonicity and sometimes chromatic sonorities to reveal the ebb and lo o consonance and dissonance over time The music o Requiem ollos the traditional common ractice as a guide or certain harmonic and voice-leading asects When the music is in our arts (or can be distilled into our arts by considering intentional doubling), arallel erect iths and octaves are avoided Regardless o ho many arts are intended, sevenths generally resolve don and leading tones oten resolve u There are also systemic deartures rom the common ractice The mid-tentieth-century return toard tonality (eg, as exressed in the orks o Penderecki, Pärt and Górecki, as ell as comosers in the minimalist style) abandoned, at least in art, one driving eature o the common-ractice: authentic harmonic unctional rogress 6 Among other laces, this occurs by necessity in arts o Requiem that use retrograde harmonic derivations, as ill be discussed in later sections In Requiem, the harmonically rominent sonorities are generally o a traditional nature, including ully-authentic and hal-authentic cadential rogressions that ollo exected root relationshis, hundreds o years old: 19 b b b m b b b n n -on the earth, j n n # j # n, n n a - mong the na - tions Let the eo - le, n n n n - on the earth, thy sav - ing health a -mong the na - tions Let the eo - le, b b b # # n n n n on the earth, thy sav - ing health a -mong the na - tions Let the eo - le b b, b n n n on the earth, a - mong the na - tions Let the eo - le Examle Glick, Psalm 67 as ound in In Paradisum, mm 19-6, ith a hal-authentic cadence in the key o C-major just beore rehearsal number 6 In other ords, music could be tonal in its reerence or and maintenance o a articular itch centre hile rejecting or at least obscuring the exectation or and resence o the tonicredominant-dominant-tonic unctional authentic rogression

124 11 The distinction beteen major and minor sonorities can be blurred by sudden shits beteen them, occurring either melodically (one ater the other as ound in the Hostias movement o Schnittke s Requiem; see Examle belo) or harmonically (occurring ithin the same chord, as ound in the third iteration o Father in the inal movement MacMillan s Seven Last Words 7 ) Examle Schnittke, Requiem, XI, mm 19-, chorus, ith a succession o alternating arallel major and minor triads This major/minor exchange occurs rimarily in the second movement o Requiem, as outlined in Examle 5: S A T B 1 n j # # rall Andante q = 8 m soli black bird's cry We hoed or bread, or small joys con-tra sem se - ro m soli b j j # black bird's cry con-tra sem se - ro We hoed or bread, or small joys m m black bird's cry con-tra sem se - ro, con-tra sem se - ro, We m m b soli # # black bird's cry con-tra sem se - ro, con-tra sem se - ro, We hoed or bread, or hoed or bread, or Examle 5 Requiem, mm 1-151, chorus, ith adjacent G-minor and G-major triads in m 1 and alternating and stacked E-minor 7 and E-hal diminished 7 chords ater rehearsal number 1 soli n # # # n n n n n 7 MacMillan s major/minor (M/m) chord is ound in m 11 o movement VII and is voiced rom bottom to to as E-B-E-G#-B-E-G Another notable examle is the recurring temoral signost o the stacked D M/m chord in Denis Gougeon s À L Aventure! or orchestra (see also m 6 o Requiem or a bare-bones version o the same chord in the loer voices)

125 11 As reviously noted, a common eature o the choral riting o Nystedt and Górecki involves liberal use irst and second inversion triads at, among other laces, signiicant oints o arrival The realm o extended tonal harmonies (eg ninths and elevenths) combined ith the destabilizing nature o triad inversions contributes ambiguities that undermine harmonic unction and momentum, as in Examle 6 belo This has become a stylistic eature in an array o contemorary choral music and has ound its ay into much o my current ork, including Requiem Fl 1 Ob 1 Cl 1 Bsn m 1 m rit U U b b ẇ u U Examle 6 Requiem, mm 7-79, oodinds, ith harmonic arrival on inverted C- major add 9 chord U As ell, I deart rom the common-ractice in my occasional use o bass voice tritonelea resolutions at cadences Examles o this dearture occur at the transition into the orchestral battle scene (rehearsal number 0) and ater the Pie esu text near the end o the second movement (Examle 7 belo) S A Temo rimo q = 7 rit 7 A temo q = 7 n Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em b # T B Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em (re - qui- em) Pi - e e - su, Do - mi-ne, Do b b b b - na no - bis re - qui em - (re - qui- em) Pi - e e - su, Do - mi-ne, Do - na no - bis re - qui - em (re - qui- em) b n b ẇ n j Examle 7 Requiem, mm 9-57 Bass voice tritone resolution at rehearsal number

126 11 Standard harmonies and rogressions aside, Requiem contains many contrauntal chords that all outside the realm o traditional tertian harmonies A common ay to derive these chords is by the use o canon, articularly as used in the secondary theme ound in the second movement and discussed near the end o this chater They can also be derived by using mirror riting techniques Comosers as diverse as Béla Bartók and Randall Thomson have used simultaneous inversions or their harmonic aroaches both real (chromatic) and tonal (diatonic), as shon in Examles 8 and 9 belo: Examle 8 Bartók, Sonata No 1 or violin and iano, I, ith chromatic mirror riting (including a bit o rule breaking ater rehearsal number 11) # # Adagio The a-er reeds by the brooks, by the moutho the brooks, and ev' ry-thing sonby the brooks Examle 9 Thomson, The Peaceable Kingdom, V, mm 1-6, chorus reduction (alto and tenor sitched), ith diatonic mirror riting beteen the outer and bass cle voices The theme in Requiem that most uses mirror techniques is discussed later under thematic connections and is reerred to as the transitional theme It is realized in six voices and is exressed in diatonic inversions In Examle 10 belo, voices mirror rom outside to inside (S1 ith B, S ith B1, A ith T) or the irst six measures, ith G- and G- serving as diatonic oints o dearture The mirror-style is icked u again to bars ater rehearsal number 19 ith B - and B - as the diatonic oints o reerence, then