Chapter 32 Mourning a Hero: Mozart and the Requiem
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Mozart's Requiem
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Chapter 32 Mourning a Hero: Mozart and the Requiem
- 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides
- 2. Chapter 32 Mourning a Hero: Mozart and The Requiem
- 3. Sacred Music in the Classical Era • The Classical era choral music was an offshoot of the Baroque tradition. • Principle genres were the Mass, the Requiem Mass and the oratorio. • All of these genres were intended to be performed in church but were eventually moved to the concert hall.
- 4. Requiem Mass in D Minor(1791) • Commissioned by anonymous nobleman through letter brought by a stranger • Intended to pass off work as his own • Composed 9 movements, part of 10th • Tried to finish on deathbed • four vocal soloists, 4-part chorus, and orchestra • expanded use of low brass; organ • Baroque touches(double fugue in Kyrie) • Completed by student-Franz Suessmeyer, who filled out orchestration, completed fragment, added four movements
- 5. Mozart’s Requiem: Mass for the Dead • Dies irae (Day of Wrath) • thirteenth-century Latin poem • last portion completed by Mozart • vision of Judgment Day
- 6. Mozart, Dies irae, from Requiem (1791) (Listening Guide) • Rhymed Latin poem, six verses • Verse 1: full chorus and orchestra, homophonic • Verse 2: chorus and orchestra, polyphonic • Verse 3: trombone solo, bass solo – a. Tuba mirum (“A trumpet with an astonishing sound”)
- 7. • Verse 4: tenor solo, homophonic orchestra • Verse 5: tenor solo continues • Verse 6: alto solo with orchestra • Verse 7: soprano solo with orchestra, last line repeated, all soloists • Verse 8: full chorus setting, dramatic – Rex tremendale majestatis! (“King of tremendous majesty”): dotted rhythms, syncopated chords – Salva me, fons pietatis! (“Save me, fount of piety”): last line sung softly Mozart, Dies irae, from Requiem (1791) (Listening Guide, Count)
- 8. Requiem Mass, Dies Irae • https://www.youtube.com/watch?v=0T7eMctuJLQ • https:// www.youtube.com/watch?v=JDWO9YHD0Gw
- 12. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2
Editor's Notes
- ■Classical composers continued the tradition of writing worship music for their communities. ■Sacred music of the later 1700s was characterized by expanded orchestral and choral forces, in genres such as the oratorio and the Mass. ■Mozart’s Requiem Mass, left unfinished at the composer’s death, exemplifies the grand style of Catholic music in Vienna.
- The Classical era choral music was an offshoot of the Baroque tradition. Among the principle genres were the Mass, the Requiem Mass, and the oratorio. A Mass is a musical setting of the most solemn service of the Roman Catholic Church. A Requiem is a musical setting of the Mass for the Dead. And an oratorio, as studied previously, is usually focused on a biblical story. All of these genres were originally intended to be performed in church, but by the nineteenth century they were able to find a larger audience in the concert hall. Haydn, Mozart, and Beethoven all made significant contributions to the sacred repertory. Mozart’s last composition was a Requiem Mass. The oratorio was made popular by Handel in works such as Messiah. Haydn’s two oratorios: The Creation and The Season were wildly popular at the time and are often performed today.
- Mozart’s Requiem, a Mass for the dead, is Mozart’s last composition and was left incomplete. The work features four vocal soloists, a 4-part chorus, and orchestra. Further, Mozart introduced expanded use of low brass, also, organ. The Dies irae (Day of Wrath), a well known thirteenth-century Latin poem is quoted in the last portion completed by Mozart. The Dies irae melody portrays a vision of Judgment Day.
- Rhymed Latin poem, six verses Verse 1: full chorus and orchestra, homophonic Verse 2: chorus and orchestra, polyphonic Verse 3: trombone solo, bass solo Tuba mirum (“A trumpet with an astonishing sound”) Â
- Verse 4: tenor solo, homophonic orchestra Verse 5: tenor solo continues Verse 6: alto solo with orchestra Verse 7: soprano solo with orchestra, last line repeated, all soloists Verse 8: full chorus setting, dramatic Rex tremendale majestatis! (“King of tremendous majesty”): dotted rhythms, syncopated chords Salva me, fons pietatis! (“Save me, fount of piety”): last line sung softly Â
- Listening Guide 20—Mozart: Dies Irae from Requiem
- Listening Guide 20—Mozart: Dies Irae from Requiem
- A Comparison of Classical and Romantic Styles