Between the ages of 10 and 16 he was a student at the choir school of Rouen Cathedral. He also studied with Louis Vierne — , who held the most prestigious organ post in Paris, that of Notre Dame cathedral. An automobile accident in drastically curtailed his activity thereafter. The four motets of Op. But unquestionably he is most famous for his masterpiece, the Requiem Op.

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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. This CD brings together previously issued recordings from separate discs of two of the best-loved settings of the Requiem.

The Requiem Mass is the solemn liturgy of the Roman Catholic Church sung to honour the departed and to ask for rest for their immortal souls the Latin word 'requiem' is best translated as 'rest'. There have been many settings over the centuries. Some of its melodies have even been used in TV commercials for Volkswagen. It is the composer's final revision of the work that is recorded here.

The two discs from which these recordings are taken remain available separately. There have been many settings of the Requiem text since the Gregorian plainsong version found in the Liber Usualis. Over forty are known to have been written up to the end of the sixteenth century, the most well-known ones being those by Ockeghem the earliest surviving polyphonic setting, an earlier one by Dufay having been lost , Lassus who wrote two , Palestrina and Victoria, whose Officium defunctorum is generally considered to be the last, and supreme, setting in the polyphonic style.

In the Classical and Romantic periods many hundreds of composers set the text. There was even a Requiem written for Mozart by Antonio Rosetti. Also of interest is the fact that the personality of composers is often reflected in the passages of text to which they have given particular attention, or even which they have omitted altogether. Yet another reason, of course, for the high quality of many settings of the Requiem is the fact that they were called into being by the death of someone close to the composer by either blood or temperament.

He graduated in and became in turn organist of St Sulpice and choirmaster eventually organist as well of the church of the Madeleine. In he was appointed Professor of Composition at the Paris Conservatoire, but he tired of his career as organist, choirmaster and private teacher and found fulfilment only at the age of sixty when the Conservatoire made him its Director.

He died in Paris on 4 November at the age of seventy-nine. He began to plan it in when he jotted down some random ideas in a series of pocket-books. These books reveal that the Requiem was conceived, and the first part of it written down, in C minor—a tone lower than the three separate versions which were eventually completed.

It does not adhere to the time-honoured liturgical text and, as the composer saw death as a gentle release from earthly life, the horrors of the Day of Judgement are almost disregarded. The forces required were modest: a mixed choir with divided tenors and basses , a treble or soprano soloist, and an orchestra comprising lower strings violas, cellos and double basses , harp, timpani and organ.

A baritone soloist was now needed for both the added sections, and this seven-movement version was presented, again at the Madeleine, on 21 January It is hard to believe that a composer of such fastidious judgement would have given it his approval. The version recorded here would seem the most convincing compromise.

His primary concern was the beauty of his music. The sketches already on his desk proved themselves an ideal starting point, the plainsong becoming the basis of the whole work, unifying it and breathing into it the timelessness and meditative spirituality that are its essence.

When seated within such colourful tonalities and underpinned with modal harmonies, the emotional impact is heightened, yet somehow the all-pervading tranquillity and spiritual optimism is maintained. The sensuous chords of the full choir add to the spiritual tranquillity, and the last chord, an unresolved dominant ninth, evaporates into eternity.

Auf der Liste finden wir jedoch auch J. Dezember Er graduierte und wurde sodann Organist an der Kirche St. Er starb am 4. November im Alter von neunundsiebzig Jahren in Paris. Die dritte und letzte Version des Requiem wurde erst am Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Don't show me this message again. The alternative, the reduction for solo organ and choir , may prove inadequate in certain parts of the Requiem where the expressive timbre of the strings is needed. This intermediate version gives scope for the organ part to be incorporated in the texture or juxtaposed with other instruments.


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The Requiem , Op. The thematic material is mostly taken from the Mass for the Dead in Gregorian chant. The Requiem was first published in by Durand in an organ version. He completed it in September At the time of the commission, he was working on an organ suite using themes from Gregorian chants. He incorporated his sketches for that work into the Requiem, which uses numerous themes from the Gregorian "Mass for the Dead".


Requiem, Op. 9 (1961 version)


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