Mozart's Requiem Mass

1854 ◽  
Vol 5 (117) ◽  
pp. 341
Author(s):  
Edward Holmes
Keyword(s):  
Requiem Mass

Verdi: Requiem Mass

1991 ◽  
pp. 186-205
Author(s):  
Alan Blyth
Keyword(s):  
Requiem Mass

scholarly journals The Requiem Mass and Sacred Jazz: A Study of catholic Liturgical Forms in the Genre of Sacred Jazz

2021 ◽  
Author(s):  
◽  
John White
Keyword(s):  
Large Scale ◽  
Jazz Orchestra ◽  
Jazz Composition ◽  
Duke Ellington ◽  
Cultural Climate ◽  
Musical Works ◽  
Concert Works ◽  
Requiem Mass ◽  
Musical Forms

<p>This exegesis examines the role of religious and spiritual influence on works by jazz composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries as concert works and memorials not bound by liturgical function. These forms and their lineages frame the development of both religious and religion-inspired musical works in the cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou Williams and Duke Ellington, both of whom composed large-scale sacred works related to the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the context of jazz composition, and discusses music composed in this vein, including my own work influenced by the Catholic liturgical tradition.</p>

Requiem Mass, for 4-Part Chorus of Mixed Voices and Alto, Tenor and Bass Solos with Piano Accompaniment

Notes ◽  
1980 ◽  
Vol 36 (3) ◽  
pp. 754
Author(s):  
Robert Gronquist ◽  
Jose Mauricio Nunes-Garcia ◽  
Dominique-Rene de Lerma
Keyword(s):  
Mixed Voices ◽  
Requiem Mass

scholarly journals Verdi's Requiem Mass (Concluded)

1875 ◽  
Vol 17 (387) ◽  
pp. 71
Author(s):  
Joseph Bennett
Keyword(s):  
Requiem Mass

scholarly journals “Judging Shepherd of Thy Sheep”: Christ and the Role of Mercy in the Dies Irae

Lumen et Vita ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
John A. Monaco
Keyword(s):  
Roman Catholic ◽  
Medieval Theology ◽  
13Th Century ◽  
Musical Settings ◽  
Sheep And Goats ◽  
Concert Halls ◽  
Litmus Test ◽  
The Right ◽  
Requiem Mass

The 13th century Latin hymn, Dies Irae, is one of the better-known Roman Catholic liturgical sequences, famous for its seemingly-dark portrayal of the Day of Judgment (“Day of Wrath”). Once a staple element of the Requiem Mass, this text has now been relegated to relative obscurity, finding life only in concert halls, where grandiose musical settings of Mozart’s & Verdi’s “Requiem Mass” are performed. In its absence, the Dies Irae is now synonymous with a bleak, medieval theology fixated on death and judgement. However, upon deeper examination, it seems that the “Day of Wrath” can also be read as a “Day of Mercy.” Sorrow for past transgressions and preoccupation with eternal hell constitute only one element of the hymn. Far from being focused on sin and death, the Dies Irae also establishes the vital connection between Christ’s mercy for sinners and the mercy each Christian is called to share with one another. This is seen through the numerous Scriptural allusions which fill the hymn, including those referencing that ‘final day’, when Christ is said to “judge the living and the dead.” In pleading to be on the right side during the separation between the metaphorical “sheep and goats,” the author acknowledges the significance of Christ and His command to love the “least of these” on the Day of Judgement (Matthew 25:40). The Dies Irae contains both a call for mercy and a call to mercy, the latter of which distinguishes itself as the litmus test of salvation. 

scholarly journals Emmanuel Fauré-Fremiet, 1883-1971

1972 ◽  
Vol 18 ◽  
pp. 187-221 ◽  
Keyword(s):  
Violin Sonata ◽  
Gabriel Faure ◽  
Amateur Astronomer ◽  
Jeanne D'arc ◽  
Song Writing ◽  
Requiem Mass ◽  
Wax Models

The great musical composer, Saint-Saëns, was not only a musician but also an amateur astronomer of some note. Had his interest in astronomy which, incidentally, he shared with Marie, the wife of one of his favourite pupils Gabriel Fauré, been combined with an interest in astrology he could perhaps have witnessed on 29 December 1883, with the help of his beloved telescope and inventive mind, the birth of a ‘nova’ and recognized that it was destined to shine brightly in the biological firmament for a period of almost 88 years. It was on that day that Marie presented her husband Gabriel with a son, Emmanuel. At that time (1883) Gabriel Fauré was 38 years old and already a highly successful musician, organist and composer who has since been described as the greatest of French song-writers, even as the French Schumann. In addition to his song-writing he is also well-known for his Requiem Mass, his violin sonata written in 1876 and for various quartets, nocturnes and other works. His music, in the words of a musical critic, ‘is remarkable for its exquisite workmanship, vitality, refinement and a reticent delicacy*; and these are all qualities that he passed on to his first-born son who displayed them to the highest degree, though in other fields. Although Gabriel Fauré married late, the marriage proved to be a very happy one. His wife, Marie, was the daughter of a leading sculptor, Emmanuel Fremiet (1824-1910) who, having started his career as a maker of wax models in a school of anatomy, afterwards became famous throughout France for his sculptures, particularly of animals. Perhaps his best known pieces are the lively equestrian statue of Jeanne d’Arc in the Place de Pyramides near the Louvre and the horses in the fountain at the Observatoire near the Luxembourg Gardens. He himself had been inspired and directed towards sculpture by his aunt Sophie (1797-1867) who herself had married a famous sculptor (Rude, 1784- 1855).

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