Dies Irae A Guide to Requiem Music Robert Chase The Scarecrow Press, Inc. Lanham, Maryland, and Plymouth, UK 2003 SCARECROW PRESS, INC. Published in the United States of America by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.scarecrowpress.com Eastover Road Plymouth PL6 7PY United Kingdom Copyright © 2003 by Robert Chase All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Chase, Robert, 1938- Dies irae : a guide to requiem music I Robert Chase. p. em. Includes bibliographical references (p. ) and index. ISBN Q-8108-4664-0 (hardcover: alk. paper) ISBN: 978-0-8108-4664-7 1. Requiems-History and criticism. I. Title. ML3088.C43 2003 782.32'38-dc21 2002152105 @ The paper used in this publication meets the TM minimum requirements of American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Manufactured in the United States of America. In memory of my parents, Edna Avis Chase Robert Henry Chase Contents Foreword by Dr. Jahja Ling, Associate Conductor, Cleveland Orchestra vii Acknowledgments ix Abbreviations xi Introduction xiii 1 The Gregorian Requiem Mass 1 2 The Polyphonic Corsican Requiem 11 3 The Renaissance and the Franco-Flemish School 13 4 The High Renaissance 37 5 The Baroque Requiem 89 6 The Symphonic Requiem 183 7 Romanticism 237 8 The Twentieth Centwy 307 9 Dies Irae 509 10 Ein Deutsches Requiem: The German Requiem 527 11 The Anglican Requiem 567 12 The Byzantine-Greek Requiem 581 13 The Russian Orthodox Panikhida 593 v vi Contents 14 The Serbian Orthodox Requiem: Opelo 627 15 The Armenian Orthodox Requiem 637 Appendix A: Dies Irae Melodies 645 Appendix B: More Liturgical Requiems 649 Bibliography 689 Composer Index 701 About the Author 705 Foreword For musicians, music lovers, choral directors, and anyone interested in music, Dies Ir ae: A Guide to Requiem Music provides a look into the numer ous settings of a musical-poetic form that has been composed from the Middle Ages to the present. Not only does this guide take the reader through the better-known requiems by Mozart, Brahms, Cherubini, and Verdi, but also lesser-known settings by James DeMars, Friedrich Kiel, Theodore Gouvy, and Sir George Henschel. Included are a number of contemporary requiems, such as Gerard Vic tory's Ultima Rerum and Britten's War Requiem. Dr. Chase has included a significant selection of works from the Eastern Orthodox Rites, works that are an important part of the Christian musical and spiritual heritage. Fur thermore, there are also selections from the German Requiem, the Angli can Requiem, the War Requiem, and the secular requiem. It is a well known fact that many composers have written a setting of t~eir requiem, but I do not recall any source that puts information about them under one cover. Of special interest to me are the pieces by Gouvy, Rivier, Tomasi, Bomtempo, and the Messa per Rossini. I have conducted many requiems with The Cleveland Orchestra and other orchestras, including Berlioz, Brahms, Faure, Mozart, and Verdi. Every time I conduct a requiem, it is an emotional experience for me and always serves to enlighten. Even though each composer has its own charac teristic setting of the requiem, I always feel the same message in the music: et lux perpetua. "May the eternal light shine upon you." It is a message of hope and comfort knowing that eternal life is waiting for those who depart. No other form of music can convey this meaning so vividly except for the requiem. This book will be a welcome addition to any musical library. Jahja Ling, Associate Conductor, Cleveland Orchestra vii Acknowledgments Few books are the product of a singular mind and a great many people have helped on this musical journey. I would like to express here my heartfelt thanks and appreciation for that assistance. To composers, James Bingham, Thomas Beveridge, Daniel Pinkham, Edgar Grana, Anthony Newman, and James DeMars-Michel Sarda for scores and tapes of their works. Baronet Lionel Sawkins, for his sharing of his transcription of the virtually impossible-to-find score of De la Lande's grand motet, Dies !rae. Nikolai I<achanov, for scores of the monophonic Russian chants, Sviridov and Copytsko scores. Vladimir Morosan of Musica Russica, for various Panikhida scores, and full scores of Taniev's , St. John of Damascus and Kastalsy's Commeration Fraternelle, as well as many other valuable insights. Long-time friend and classmate, Eugene Pelletier, titulaire du grande-argue de L'eglise Saint Joseph des Carmes (Paris), for reading the manuscript as well as alerting me to the Calmel, De Ranse, and Le Francois works and for sending full scores of the Rivier and Gag neux requiems. Long-time friend and classmate, Dr. Peter Bayerdorfer, for locating the Hasse, Kiel, and Gouvy scores. My friend, Shiela Hu, librarian, who located and obtained several dozen hard-to-get scores. To the conductor, Christopher Dawes for a taped performance of Wil lan's Requiem. Fathers Oshagan Minassian, Mammigon Kiledjian, and Daniel Findikyan for musical scores and assistance with the Armenian Rite. Milos Raikovich for a copy of his setting of the Parastasos and help with the Serbian Opelo. Brother Cyril Cavet for his Latin motet transla tions. Eugene Mohr for reading my translations of the German requiems and, most especially, his work with the poetry of Hermann Heiss. Arlene Stadler for her preparations of the musical examples found in the Guide. ix