Messe des Morts Gulick, P. Requiem Honegger, A. The Rio Grande Liszt, F. Requiem & Kyrie - Introitus - Berlioz* Mahler, G. Symphonie der Tausend 8e symfonie Mendelssohn-Bartholdy, F. Salve Regina Monnikendam, M. Boris Goudounov Mozart, W. Passio Perosi, L. Alexander Newsky Puccini, G. Messa di Gloria Rachmaninov, S. The Bells Ramirez, A. Maria's Wiegelied Rheinberger, J.
Stabat Mater Rossini, G. Stabat Mater Rutter, J. Requiem Ryba, J. Die Gurrelieder Schoonenbeek, K. Een seraphinsche tonghe Schubert, F. God so loved the world uit "The Crucifixion" Stolwijk, K. Stopping to take Notes Strategier, H. Stabat Mater Taneyev, S. Johannes van Damascus Telemann, G. A child of our time Toebosch, l. Kerstliederen Vaughan Williams, R. Five Mystical Songs Verdi, G. Messe Solennelle Vierne, L.
The premiere was a complete success. Berlioz revised the work twice in his life, first inmaking the final revisions inonly two years before his death. Berlioz's Requiem has ten movementsand the structure is as follows:.
The Requiem is scored for a very large orchestra, including four brass choirs at the corners of the stage,  and chorus:. In relation to the number of singers and strings, Berlioz indicates in Fauré* - Grande Messe Des Morts - Requiem (CD) score that, "The number [of performers] indicated is only relative. If space permits, the chorus may be doubled or tripled, and the orchestra be proportionally increased.
But in the event of an exceptionally large chorus, say to voices, the entire chorus should only be used for the "Dies irae", the "Tuba mirum", and the "Lacrimosa", the rest of the movements being restricted to voices. The Requiem opens with rising scales in the strings, horns, oboes, and cors anglais preceding the choral entry. The first movement contains the first two sections of the music for the Mass the Introit and the Kyrie. The Sequence commences in the second movement, with the "Dies irae" portraying Judgement Day.
There are three choral sections each followed by a modulation to the next section. Following the third modulation, the four brass ensembles, specified by Berlioz to be placed at the corners of the stage but more commonly deployed throughout the hall, first appear with a fortissimo E-flat major chord, Requiem & Kyrie - Introitus - Berlioz* joined by 16 timpani, two bass drums, and four tam-tams. The loud flourish is followed by the choral entry, "Tuba mirum", a powerful unison statement by the chorus basses at the top of their register, followed by the rest of the choir.
There is a recapitulation of the fanfare, heralding the coming of the Last Judgment "Judex ergo" by the full choir in canon at the octave. The choir whispers with woodwinds and strings to end the movement. The third movement, "Quid sum miser", is short, depicting after Judgement Day, featuring an orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses.
The "Rex tremendae" features the second entry of the brass Fauré* - Grande Messe Des Morts - Requiem (CD), and contains contrasting dynamics from the choir. The dramatic effect of this movement is heightened by the gradual addition of the massed brass and percussion.
The seventh movement begins the Offertory. The fugue is overlaid with a repeated three-note motif: A, B-flat, and A from the choir, pleading for mercy at the judgment. The choral statements of this motive interweave with the developing orchestral texture for about ten minutes almost to the end, which concludes peacefully.
The concluding part of the Offertory, the "Hostias", is short and scored for the male voices, eight trombones, three flutes, and strings. The ninth movement, the "Sanctus", in D-flat, employs a solo tenor voice accompanied by long held notes from the flute and muted strings. Hushed women's voices echo the solo lines. A brisk fugue for full choir and orchestra "Hosanna in excelsis" follows. The whole is repeated with the addition of pianissimo cymbal and bass drum to the "Sanctus" and a much expanded "Hosanna" fugue.
Berlioz suggested that the solo part could be sung by ten tenors. The final movement, containing the "Agnus Dei" and Communion sections of the Mass, features long held chords by the woodwinds and strings.
The movement recapitulates melodies and effects from previous Requiem & Kyrie - Introitus - Berlioz* including the "Hostias" and the "Introit".
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