1BACKGROUNDThe Catholic Requiem has its early roots when, in pre-Apostolic times, some Jews were known to pray thatthe immortal souls of the just might have eternal rest (“requiem aeternam”). Some sources from the 2ndcentury Christian church mention a celebration of the Eucharist for the dead, as do the New Testamentperiod apocryphal Acts of John and the writings of Tertullian from the 3rd century.The developed form of the Requiem Mass and the Office of the Dead can be traced back to the 9th or 8thcentury, even though some prayers and a service for the dead existed long before that time (St. Ambrosespeaks of the celebration of funeral masses in Rome in the 4th century). It was not until the 13th century,when the doctrine of Purgatory was universally accepted by the Catholic church, that Masses for the deadbecame common. Its structure is like other Masses, except that the joyful portions of the Ordinary (Gloria,Credo) are omitted, the Alleluia is replaced by alternative text and music, and the sequence Dies irae isadded. The sequence Dies irae was the last portion to be added, done so by order of the Council of Trent in1570.MOZART’S REQUIEMSoon before his death, Wolfgang Amadeus Mozart (1756-1791) was commissioned by Count Fanz vonWalsegg to composer a Requiem for the anniversary of Walsegg’s wife. However, Mozart’s Requiem in Dminor was left unfinished at his death in 1791. To fulfill the commission, Mozart’s wife Constanze turned toMozart’s friend and copyist, Franz Xaver Süssmayr (1766-1803), a student of Antonio Salieri, to completethe work.It has never been precisely clear what portions of the Requiem were completed and/or composed bySüssmayr, but he did later claim to have written at least the “Agnus Dei” and “Sanctus.” For better or forworse, this competed version (a combination of both Mozart and Süssmayr), is the familiar version of the“Mozart Requiem” which has been performed frequently since 1791. In recent times, numerous composersand scholars have rewritten or replaced some or all of (what was believed to be) Süssmayr’s completions,with varying degrees of success.A highly romanticized and considerably fictional account of Mozart’s life and death, including an imaginedrivalry between Mozart and Antonio Salieri, was made popular in the 1984 movie Amadeus (based on a1979 play by Peter Shaffer), and frequently featured music of Mozart’s Requiem.Prepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
2The Phoenix Symphony ChorusDr. Thomas Bookhout, Chorus MasterIPA (International Phonetic Alphabet) SYMBOLS AND THEIR SOUNDS Sounds used in Latin Vowels: There are IPA symbols for all possible vowel sounds, each symbol having only onepronunciation. Diphthongs are spelled by writing out both of the vowel symbols in the diphthong.CLOSED VOWELSOPEN VOWELS[ɑ]The sound “ah” in “father”.The pronunciation of Latin “a”[i]The sound “ee” in “meet”[ɔ]The pronunciation of Latin “i” and “y”The sound “oo” in “boot”The pronunciation of Latin “u”The sound of “y” in “yes”, generally a glide to the next vowel(note: in many languages, the letter “j” is pronounced like an American “y”)[u][j][ɛ]The sound “eh” in “let”The pronunciation of Latin “e,” “oe,” and“ae” (except in “Michael,” which ispronounced [mikɑɛl])The vowel sound in “thought”The pronunciation of Latin “o”Consonants: The IPA symbols for most consonant sounds look just like the English letter (e.g. thesymbol for the “t” sound is [t]). Sometimes the symbol for a sound looks like a different consonant (e.gthe symbol for the “c” sound in “cat” is [k]). Here are some other special symbols and situations:[ʃ]The sound of “sh” in “shine.”Found in Latin when the combination “sc” isfollowed by “i” or “e.”[qw][g]The hard sound of “g” in “gate.”Found in Latin when the letter “g” is followedby an “a,” “o,” or “u.”The sound of “c” in “cat”.Found in Latin when the letter “c” is followedby “a,” “o,” or “u.” Also, the letter “h” in Latinis silent, except in the words “mihi” and“nihil,” where it is pronounced [k]. Thosecrazy Latins The sound of “x” in “exit.”The usual pronunciation of “x” in Latin.“y” as in “yes”, generally a glide to the nextvowel (note: in many languages, “j” ispronounced like an American “y”)The pronunciation of Latin “th” and “t” inmost situations, except The pronunciation of Latin “ti” before avowel, accept when “ti” follows “s,” “t,” or “x”[ʤ][k][ks][j][t][tsi][ʧ][r][ɲ][s]The of “qu” in “quit.”Found in Latin in the combination “qu.”(contrast to Spanish “qu” is pronounced[k])The soft sound of “g” in “germ”.Found in Latin when the letter “g” isfollowed by an “i” or “e.”The sound of “ch” in “chew”.Found in Latin when the letter “c” isfollowed by “i” or “e.”Latin uses only the flipped or rolled “r,”never the American “r” sound [ɹ].The sound of “gn” in “lasagna.”Found in Latin in the combination “gn.”Latin “s” is never pronounced [z]Prepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
3Mozart’s Requiem, with standard Latin pronunciationNo. 1, REQUIEM (INTROIT) & KYRIEBackground: The source of the text is IV Esdras, “the Apocalypse of Esdras,” an uncanonical apocryphal book of Jewishorigin. Esdras, who was considered a “second Moses,” did not author this book. These verses show evident traces ofChristianity and are ascribed to the 3rd century.Chorus:Requiem aeternam dona eis, Dominerɛkwiɛm ɛternm dɔn ɛis dɔminɛEternal rest give unto them, O Lord:et lux perpetua luceat eis.ɛt luks pɛrpɛtu luʧɛt ɛisand let perpetual light shine upon themTe decet hymnus Deus in Sion,tɛ dɛʧɛt imnus dɛus in siɔnA hymn, O God, becometh thee in Sion;et tibi reddetur votum in Jerusalemɛt tibi rɛdɛtur vɔtum in jɛruslɛmand a vow to Thee in Jerusalemexaudi orationem meameksudi ɔrtsiɔnɛm mɛmO hear my prayerad te omnis caro venietd tɛ ɔmnis krɔ vɛniɛtall flesh shall come to TheeKyrie eleisonkiriɛ ɛlɛisɔnLord, have mercy upon usChriste eleisonkristɛ ɛlɛisɔnChrist have mercy upon usKyrie eleisonkiriɛ ɛlɛisɔnLord have mercy upon usPrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
4No. 2, DIES IRAE (SEQUENCE)Background: Found in manuscripts dated 1250-1255 and perhaps is of the 12th century. Source of the text is in the Prophecyof Sophonias. The text usually is set syllabically. The unusual degree of internal repetition sets this sequence apart fromothers, and contributes greatly to its power and popularity. Was accepted by the Council of Trent in the late 16th century.Chorus:Dies irae, dies illadiɛs irɛ diɛs ilDay of wrath, that daySolvet saeclum in favillasɔlvɛt sɛkulum in favilshall dissolve the world into embersTeste David cum Sibyllatɛstɛ dvid kum sibilas David prophesied with the SybilQuantus tremor est futurus,kwntus trɛmɔr ɛst futurusHow great the trembling will beQuando judex est venturus,kwndɔ judɛks ɛst vɛnturuswhen the Judge shall come,Cuncta stricte discussurus!kunkt stiktɛ diskusurusthe rigorous investigator of all things!No. 3, TUBA MIRUM (SEQUENCE, continued)Solo Quartet:Tuba mirum spargens sonumtub mirum sprʤɛns sɔnumThe trumpet, spreading its wondroussoundPer sepulcra regionum,pɛr sɛpulkr rɛʤiɔnumthrough the tombs of every land,Coget omnes ante thronum.koʤɛt ɔmnɛs ntɛ trɔnumwill summon all before the throne.Mors stupebit et natura,mɔrs stupɛbit ɛt nturaDeath will be stunned, likewise naturePrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
5Cum resurget creatura,kum rɛsurʤɛt krɛturwhen all creation shall rise againJudicant responsura.judiknt rɛspɔnsurto answer the One judgingLiber scriptus proferetur,libɛr skriptus prɔfɛrɛturA written book will be brought forth,In quo totum continetur,in kwɔ tɔtum kɔntinɛturin which all shall be contained,Unde mundus judicetru.undɛ mundus judiʧɛtruand from which the world shall be judged.Judex ergo cum sedebit,judɛks ɛrgɔ kum sɛdɛbitWhen therefore the Judge is seatedQuidquid latet apparebit:kwidkwid ltɛt prɛbitwhatever lies hidden shall be revealedNil inultum remanebit.nil inultum rɛmnɛbitno wrong shall remain unpunishedQuid sum miser tunc dicturus?kwid sum misɛr tunk dikturusWhat then am I, a poor wretch, going tosay?Quem patronum rogaturus,kwɛm ptrɔnum rɔgturusWhich protector shall I ask for,cum vix justus sit securs?kum viks justus sit sɛkurswhen even the just are scarcely secure?Prepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
6No. 4, REX TREMENDAE (SEQUENCE, continued)Chorus:Rex tremendae majestatis,rɛks trɛmɛndɛ mjɛsttisKing of terrifying majesty,Qui salvandos salvas gratis,kwi slvndɔs slvs grtiswho freely saves the saved:Salva me, fons pietatis.slv mɛ fɔns piɛttisSave me, fount of pity.No. 5, RECORDARE (SEQUENCE, continued)Solo Quartet:Recordare, Jesu pie,rɛkɔrdrɛ jɛsu piɛRemember, merciful Jesus,Quod sum causa tuae viae:kwɔd sum kus tuɛ viɛthat I am the cause of your sojourn;Ne me perdas illa die.nɛ mɛ pɛrds il diɛdo not cast me out on that day.Quarens me, sedisti lassus:kwrɛns mɛ sɛdisti lsusSeeking me, you sat down weary;Redemisti crucem passus:rɛdɛmisti kruʧɛm psushaving suffered the Cross, you redeemedme.Tantus labor non sit cassus.tntus lbɔr nɔn sit ksusMay such great labor not be in vain.Juste judex ultionis,justɛ judɛks ultsiɔnisJust Judge of vengeance,Donum fac remissionis,dɔnum fk rɛmisiɔnisgrant the gift of remissionPrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
7Ante diem rationis.ntɛ diɛm rtsiɔnisbefore the day of reckoning.Ingemisco, tamquam reus:inʤɛmiskɔ tmkwam rɛusI groan, like one who is guiltyCulpa rubet vultus meus:kulp rubɛt vultus mɛusmy face blushes with guiltSupplicanti parce, Deus.supliknti prʧɛ dɛusSpare thy supplicant, O GodQui Mariam absolvisti,kwi mriam bsɔlvistiYou who absolved Mary [Magdalene]Et latronem exaudisti,ɛt ltrɔnɛm ɛgzudistiand heeded the thiefMihi quoque spem dedisti.miçi kwɔkwɛ spɛm dɛdistihave also given hope to mePreces meae non sunt dignae:prɛʧɛs mɛɛ nɔn sunt diɲɛMy prayers are not worthy,Sed tu bonus fac begigne,sɛd tu bɔnus fk bɛʤiɲɛbut Thou, good one, kindly grantNe perenni cremer igne.nɛ pɛrɛni krɛmɛr iɲɛthat I not burn in the everlasting firesInter oves locum praesta,intɛr ɔvɛs lɔkum prɛstGrant me a favored place among thysheep,Et ab hoedis me sequestra,ɛt b ɛdis mɛ sɛkwɛstrand separate me from the goats,Statuens pin parte dextra.sttuɛns pin prtɛ dɛkstrplacing me at thy right hand.Prepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
8No. 6, CONFUTATIS (SEQUENCE, continued)Chorus:Confutatis maledictis,kɔnfuttis mlɛdiktisWhen the accursed are confounded,Flammis acribus addictis,flmis kribus diktisconsigned to the fierce flames:Voca me cum benedictis.vɔk mɛ kum bɛnɛdiktiscall me to be with the blessed.Oro supplex et acclinis,ɔrɔ suplɛks ɛt klinisI pray, suppliant and kneeling,Cor contritum quasi cinis:kɔr kɔntritum kwsi ʧinismy heart contrite as if it were ashesGere curam mei finis.ʤɛrɛ kurm mɛi finisprotect me in my final hourNo. 7, LACRYMOSA (SEQUENCE, continued)Chorus:Lacrymosa dies illaO how tearful that daylkrimɔsa diɛs ilQua resurget ex favillakw rɛsurʤɛt ɛks fvilaon which the guilty shall rise from theembersJudicandus homo reus:judikndus ɔmɔ rɛusto be judged. (man guilty)Huic ergo parce Deus.uik ɛrgɔ prʧɛ dɛusSpare them then, O GodPie Jesu Domine,piɛ jɛsu dɔminɛMerciful Lord Jesus,dona eis requiem. Amen.dɔn ɛis rɛkwiɛm mɛngrant them rest. Amen.Prepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
9No. 8, DOMINE JESU (OFFERTORIUM)Background: Text was formerly a prayer that was recited for the sick who were about to die.Chorus:O Domine Jesu Christe, Rex gloriae,ɔ dɔminɛ jɛsu kristɛ rɛks glɔriɛO Lord, Jesus Christ, King of Glorylibera animas omnium fidelium defunctorumlibɛr nimas ɔmnium fidɛlium dɛfunktɔrumkeep the souls of all the faithful departedde poenis infernidɛ pɛnis infɛrnifrom the pains of hellet de profundo lacuɛt dɛ prɔfundɔ lakuand from the deep pitlibera eas de ore leonislibɛr ɛas dɛ ɔrɛ lɛɔnisdeliver them from the lion's mouthne absorbeat eas tartarusnɛ bsɔrbɛt ɛas trtrusthat hell may not swallow them upne cadant in obscurumnɛ kdnt in ɔbskurumand may they not fall into darknessSolo Quartet:sed signifer sanctus Michaelsɛd siɲifɛr snktus mikɛlrepraesentet eas in lucem sanctamrɛprɛsɛntɛt ɛs in luʧɛm snktmChorus:Quam olim Abrahae promisistikwam ɔlim braɛ prɔmisistiet semini ejusɛt sɛmini ɛjusbut may Thy holy standard-bearer,Michaellead them into the holy lightwhich Thou didst promise to Abrahamand to his seedPrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
10No. 9, HOSTIAS (OFFERTORIUM, continued)Chorus:Hostias et preces tibi, DomineWe offer to Thee, O Lordɔstis ɛt prɛʧɛs tibi dɔminɛlaudis offeriusludis ɔfɛriussacrifices and prayerstu suscipe pro animabus illistu suʃipɛ prɔ nimbus ilisdo Thou receive them in behalf of thosequarum hodie memoriam facimuskwrum hɔdiɛ mɛmɔriam fʧimussouls whom we commemorate this dayfac eas, Dominefk ɛas dɔminɛGrant them, O Lordde morte transire ad vitamdɛ mɔrtɛ trnsirɛ d vitmto pass from death unto lifeQuam olim Abrahae promisistikwm ɔlim braɛ prɔmisistiwhich Thou didst promise to Abrahamet semini ejusɛt sɛmini ɛjusand to his seedNo. 10, SANCTUSBackground: Text is biblicalChorus:Sanctus, Sanctus, Sanctussnktus snktus snktusHoly, Holy, HolyDominus Deus Sabaothdɔminus dɛus sbɔtLord God of SabaothPleni sunt coeli et terra gloria tuaplɛni sunt ʧɛli ɛt tɛr glɔri tuHeaven and earth are filled with Thy gloryOsanna in excelsisɔsn in ɛksʧɛlsisHosanna in the highestPrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
11No. 11, BENEDICTUSBackground: Text is biblicalSolo Quartet:Benedictus qui venitbɛnɛdiktus kwi vɛnitBlessed is He who comethin nomine Domini.in nɔminɛ dɔminiin the name of the LordChorus:Osanna in excelsis.ɔsn in ɛksʧɛlsisHosanna in the highestNo. 12, AGNUS DEIBackground: Based on the biblical text John 1:29Chorus:Agnus Dei,ɲus dɛiLamb of Godqui tollis peccata mundi,kwi tɔlis pɛkt mundiwho takest away the sins of the worlddona eis requiemdɔna ɛis rɛkwiɛmgrant them rest dona eis requiem sempiternamdɔn ɛis rɛkwiɛm sɛmpitɛrnm grant them rest everlastingSop Solo & Chorus:Lux aeterna luceat eis, Domineluks ɛtɛrna luʧɛt ɛis dɔminɛMay light eternal shine on them, O Lordcum sanctis tuis in aeternum quia pius eskum snktis tuis in ɛtɛrnum kwi pius ɛsWith Thy saints forever for Thou artmercifulPrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
12Chorus:Requiem aeternam dona eis, Dominerɛkwiɛm ɛtɛrnm dɔn ɛis dɔminɛEternal rest give to them, O Lordet lux perpetua luceat eisɛt luks pɛrpɛtu luʧɛt ɛisand let perpetual light shine upon themCum sanctis tuis in aeternumkum snktis tuis in ɛtɛrnumWith Thy saints foreverquia pius eskwi pius ɛsfor Thou art mercifulPrepared by Thomas Bookhout, DMAChorus Master, The Phoenix Symphony, January 2017
Walsegg to composer a Requiem for the anniversary of Walsegg’s wife. However, Mozart’s Requiem in D-minor was left unfinished at his death in 1791. To fulfill the commission, Mozart’s wife Constanze turned to Mozart’s friend and copyist, Franz Xaver Süssmayr (1766-1803), a student of Antonio Salieri, to complete the work.
1. The Manuscript of Mozart's Requiem in the Court Library of Vienna 28 2. Freystadtler's, Eybler's, Stadler's, and Sussmayr's Contributions to the Requiem 30 3. Modern Editions of Mozart's Requiem based on his Autograph Score and/or Sussmayr's version 33 4. Errors in the First Edition of Mozart's Requiem as compared to
messenger approached Mozart with the commission for the Requiem. Mozart accepted, receiving 25 ducats in advance, with the other 25 due upon completion. Titus, a much larger project, was his main focus, so the Requiem would have to wait. By the end of August, M
1783 Mozart Rondo alla Turca 1 Wolfgang Amadeus Mozart: Rondo alla Turca - YouTube 1785 Mozart Ah! Vour dirais-je, Maman 1 Mozart - Twinkle Twinkle Little Star (12 variations on Ah vous dirai-je, Maman) - YouTube 1786 Mozart 3rd movement from Horn Concerto No.4 6 BBC Ten Pieces ABRSM Classical 100 1788 Mozart 1st Movement from Symphony
TEXT AND TRANSLATION I. Requiem and Kyrie Requiem aeternam dona eis,Domine, et luxperpetua luceat eis. Tedecet hymnus, Deus, in Sion, ettibi redetur votum inJerusalem. Exaudi orationem rneam, ad teomnis caro venier, Requiem aeternam dona eis,Domine, et lux perpetua lucear eis. Eternal rest g
Confutatis from Mozart’s Requiem One of the most renowned and talented composers in history is Wolfgang Amadeus . Mozart was only able to complete the vocal parts, the figured organ bass line, and the very prominent violin segments. . This is marked in the
WAR REQUIEM, OP. 66 Benjamin Britten (1913-1976) Words from the Missa pro Defuntis and the poems of Wilfred Owen I Requiem aeternam CHORUS Requiem aeternam dona eis Domine, Rest eternal grant them, Lord; et lux perpetua luceat ei
Classical Music Magazine Herbert Howells (1892-1983) Requiem (1936) 1. Salvator mundi 2. Psalm 23 3. Requiem aeternam I 4. Psalm 121 5. Requiem aeternam II 6. I heard a voice from heaven Ralph Vaughan Williams (1872-1958) 7. Valiant-for-truth Maurice Duruflé (1902-1986) Requiem, Op. 9 8
An Offer from a Gentleman novel tells Sophie’s life in her family and society. Sophie is an illegitimate child of a nobleman having difficulty in living her life. She is forced to work as a servant because her stepmother does not like her. One day, Sophie meets a guy, a son of a nobleman, named Benedict. They fall in love and Sophie asks him to marry her legally. Nevertheless Benedict cannot .