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761:"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 movements including the "Hostias" and the "Introit".
751:, 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.
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that, "The number 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 700 to 800 voices, the entire chorus should only be used for the "Dies irae", the "Tuba mirum",
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major, 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
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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 choirs, and contains contrasting dynamics from the choir.
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major chord, later 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,
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was growing in size and quality, and the use of woodwinds and brass was expanding due to the increasing ease of intonation afforded by modern instruments. Berlioz later wrote, "if I were threatened with the destruction of the whole of my works save one, I should crave mercy for the
697:. 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
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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).
273:) while he took a pinch of snuff, prompting the composer to rush to the podium to conduct the rest of the work himself, thereby saving the performance from disaster. The premiere was a complete success.
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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.
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Berlioz revised the work twice in his life, first in 1852, making the final revisions in 1867, only two years before his death.
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196:. It has a duration of approximately ninety minutes, although there are faster recordings of under seventy-five minutes.
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The
Requiem is scored for a very large orchestra, including four brass choirs at the corners of the stage, and chorus:
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time signature, concluding the
Sequence section of the Mass, is the only movement written in recognizable
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Steinberg, Michael: Choral masterworks: a listener’s guide. Oxford
University Press, Oxford 2005, p. 61.
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based on a quasi-modal motif in D minor. The fugue is overlaid with a repeated three-note motif: A, B
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Overview of the
Requiem including history, a description of the movements, and the complete text
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After the originally planned performance was cancelled, a ceremony commemorating the death of
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The seventh movement begins the
Offertory. "Domine Jesu Christe" opens as a quiet orchestral
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Wroclaw
Philharmonic Orchestra, Wroclaw Philharmonic Choir, Gabrieli Players and Consort
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of France, asked
Berlioz to compose a Requiem Mass to remember soldiers who died in the
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and the "Lacrimosa", the rest of the movements being restricted to 400 voices."
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In relation to the number of singers and strings, Berlioz indicates in the
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Chœurs de la RTF et Orchestre du Théâtre national de l'Opéra de Paris
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put down his baton during the dramatic "Tuba mirum" (part of the "
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brass ensembles. The work derives its text from the traditional
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The Sequence commences in the second movement, with the "
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is one of Berlioz's best-known works, with a tremendous
1346:"Hector Berlioz – The Requiem – Historical Background"
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The work premiered with over four hundred performers.
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1373:Hector Berlioz: New Edition of the Complete Works
1278:, Philharmonia Chorus, London Philharmonic Chorus
1319:"Hector Berlioz – Requiem – General Information"
216:, to be performed on the anniversary of Marshal
426:(4 parts + 2 extra in Mvt 2, in D, E, A, and C)
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1399:Oxford: Oxford University Press, 2005, 61–67.
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1419:The Musical Times and Singing Class Circular
1371:Complete score, ed. JĂĽrgen Kindermann, in:
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244:provided the occasion for the premiere at
67:memorial of soldiers who died in the 1830
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1459:Choral Public Domain Library (ChoralWiki)
1449:International Music Score Library Project
1464:"The Berlioz Requiem – Pre-Concert Talk"
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1397:Choral Masterworks: A Listener's Guide.
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754:The ninth movement, the "Sanctus", in D
719:The sixth movement, "Lacrimosa", is in
1595:Grande symphonie funèbre et triomphale
1067:and the Choeur de l'Orchestre de Paris
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1422:25, no. 493 (1 March 1884): 129–31.
288:, and the structure is as follows:
16:1837 musical work by Hector Berlioz
1228:St. Mary Magdalene Church, Wrocław
14:
1856:Religious music by Hector Berlioz
1439: (archived 12 September 2015)
1416:and Its Performance in Glasgow".
983:Bavarian Radio Symphony Orchestra
912:, New England Conservatory Chorus
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855:Cologne Radio Symphony Orchestra
1040:and the Choeurs de Radio France
240:and the soldiers killed at the
48:Title page of the first edition
1147:, Konzertvereinigung ORF-Chor
561:(usually substituted by tubas)
1:
1395:. "Hector Berlioz: Requiem."
1179:Jesus-Christus-Kirche, Berlin
1093:London Philharmonic Orchestra
1075:Maison de la Mutualité, Paris
1038:Orchestre National de France
936:Royal Philharmonic Orchestra
1751:Treatise on Instrumentation
1712:Le Chant des chemins de fer
1525:Music criticism and writing
938:, Royal Philharmonic Chorus
797:and the Émile Passani Choir
594:(exact ratio not specified)
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1197:Tanglewood Festival Chorus
1115:Atlanta Symphony Orchestra
299:1. Requiem aeternam &
284:Berlioz's Requiem has ten
166:was composed in 1837. The
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1251:London Philharmonic Choir
1243:London Symphony Orchestra
1193:Boston Symphony Orchestra
1089:London Philharmonic Choir
1049:Saint-Louis des Invalides
1010:London Symphony Orchestra
961:, Temple University Choir
910:Boston Symphony Orchestra
894:Saint-Louis des Invalides
712:"Quaerens me" is a quiet
96:5 November 1837
41:
30:
1778:La Symphonie fantastique
1141:Frankfurt Radio Symphony
210:Minister of the Interior
925:26 & 27 April 1959
214:Revolution of July 1830
1642:Grande messe des morts
1444:Grande Messe des Morts
1276:Philharmonia Orchestra
1247:London Symphony Chorus
1014:London Symphony Chorus
985:, Bavarian Radio Choir
959:Philadelphia Orchestra
881:Hermann Scherchen
859:Norddeutscher Rundfunk
339:7. Domine Jesu Christe
168:Grande Messe des Morts
151:Grande Messe des morts
25:Grande Messe des morts
1685:La Damnation de Faust
1587:Symphonie fantastique
1207:Symphony Hall, Boston
1125:Atlanta Symphony Hall
1022:Westminster Cathedral
921:Symphony Hall, Boston
806:Saint-Eustache, Paris
1785:Musée Hector-Berlioz
1558:Béatrice et Bénédict
1129:November 10–12, 1984
252:on 5 December 1837.
242:Siege of Constantine
139:four brass ensembles
1693:L'Enfance du Christ
1286:St Paul's Cathedral
1261:St Paul's Cathedral
1169:Berlin Philharmonic
850:Dimitri Mitropoulos
821:Vienna Philharmonic
816:Dimitri Mitropoulos
775:Orchestra and choir
460:(6 pairs, 4 single)
317:: Prosa, Tuba mirum
1704:Songs and cantatas
1661:Other choral works
1393:Steinberg, Michael
1375:, vol. 9, Kassel:
1352:on 27 October 2015
1325:on 27 October 2015
1171:, Ernst Senff Chor
1065:Orchestre de Paris
825:Vienna State Opera
765:Notable recordings
206:Adrien de Gasparin
1861:1837 compositions
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1611:Roméo et Juliette
1550:Benvenuto Cellini
1410:Niecks, Frederick
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1211:October 23, 1993
1175:Luciano Pavarotti
1033:Leonard Bernstein
840:Salzburg Festival
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551:4 trumpets (in C)
537:4 trumpets (in D)
320:3. Quid sum miser
263:François Habeneck
250:François Habeneck
238:General Damrémont
182:, including four
180:brass instruments
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1635:Messe solennelle
1627:Liturgical works
1603:Harold en Italie
1542:Les Francs-juges
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1348:. Archived from
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1321:. Archived from
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1474:on 12 July 2007
1472:Gresham College
1453:Free scores of
1437:Wayback Machine
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1414:Messe des Morts
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1404:Further reading
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875:26 August 1956
844:15 August 1956
810:September 1943
801:Georges Jouatte
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69:July Revolution
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1579:and overtures
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1520:List of works
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942:Richard Lewis
940:
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905:Charles Munch
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865:Nicolai Gedda
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695:Judgement Day
693:" portraying
692:
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654:double basses
651:
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560:
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548:to the South
547:
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536:
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533:
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517:
515:
512:
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496:to the North
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1719:Prix de Rome
1718:
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1692:
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1541:
1468:David Cairns
1443:
1417:
1413:
1396:
1372:
1367:
1354:. Retrieved
1350:the original
1340:
1327:. Retrieved
1323:the original
1313:
1304:
1164:James Levine
1150:Keith Lewis
1136:Eliahu Inbal
1084:André Previn
994:Herkulessaal
969:Philadelphia
857:and Chorus,
790:Jean Fournet
753:
740:
726:
718:
710:
698:
688:
684:
676:
668:
660:
648:violoncellos
637:25 violin II
566:
545:
534:to the West
531:
516:to the East
513:
493:
481:
469:10 pairs of
391:cors anglais
362:
329:6. Lacrimosa
283:
275:
256:
254:
235:
230:
220:'s death in
203:
194:Requiem Mass
167:
155:
150:
149:
147:
24:
18:
1781:(1942 film)
1566:Les Troyens
1377:Bärenreiter
1329:29 December
1271:John Nelson
1256:Barry Banks
1238:Colin Davis
1202:Vinson Cole
1188:Seiji Ozawa
1110:Robert Shaw
1104:April 1980
1098:Robert Tear
1018:Ronald Dowd
1005:Colin Davis
972:April 1964
899:April 1958
795:Radio Paris
781:Recorded at
736:sonata form
559:ophicleides
554:4 trombones
546:Orchestra 4
540:4 trombones
532:Orchestra 3
526:4 trombones
514:Orchestra 2
494:Orchestra 1
303:: Introitus
111:1838, Paris
1850:Categories
1577:Symphonies
1296:References
1265:June 2012
1182:June 1989
1117:and Chorus
1078:July 1979
999:July 1967
716:movement.
714:a cappella
699:fortissimo
465:bass drums
450:Percussion
342:8. Hostias
184:antiphonal
100:1837-11-05
1671:, Op. 14b
1618:Overtures
1455:this work
1154:Alte Oper
1121:John Aler
772:Conductor
691:Dies irae
504:trombones
499:4 cornets
397:clarinets
373:Woodwinds
353:Agnus Dei
333:Offertory
315:Dies irae
286:movements
280:Structure
267:Dies irae
226:orchestra
204:In 1837,
136:orchestra
116:Movements
108:Published
93:Performed
1803:Category
1759:MĂ©moires
1721:cantatas
1695:, Op. 25
1687:, Op. 24
1679:, Op. 18
1652:, Op. 22
1613:, Op. 17
1605:, Op. 16
1597:, Op. 15
1589:, Op. 14
1568:, Op. 29
1560:, Op. 27
1552:, Op. 23
1145:NDR Chor
1024:, London
996:, Munich
872:Funkhaus
757:♭
748:♭
704:♭
588:sopranos
521:trumpets
477:tam-tams
436:♭
409:bassoons
402:♭
307:Sequence
271:movement
258:MĂ©moires
187:offstage
176:woodwind
162:. 5, by
85:Language
64:Occasion
1770:Related
1729:, Op. 7
1677:Tristia
1650:Te Deum
1644:, Op. 5
1544:, Op. 3
1457:in the
1435:at the
1387:Sources
1356:14 June
1051:, Paris
896:, Paris
870:Cologne
624:Strings
508:2 tubas
471:cymbals
458:timpani
431:cornets
347:Sanctus
293:Introit
255:In his
222:Fieschi
200:History
156:Requiem
124:Scoring
98: (
79:Requiem
32:Requiem
1826:Portal
1762:(1865)
1754:(1844)
1534:Operas
1379:, 1978
861:Chorus
827:Chorus
661:
642:violas
632:violin
605:basses
599:tenors
581:Chorus
574:Voices
523:(in E)
379:flutes
208:, the
133:chorus
1813:Audio
1743:Books
1669:LĂ©lio
1289:2019
1158:1988
784:Date
778:Tenor
743:fugue
681:Music
671:score
614:Tenor
592:altos
443:tubas
424:horns
416:Brass
385:oboes
301:Kyrie
191:Latin
130:tenor
88:Latin
1358:2006
1331:2005
823:and
617:solo
590:and
433:in B
399:in B
351:10.
233:."
178:and
154:(or
148:The
75:Text
55:Opus
1470:at
652:18
646:20
640:20
630:25
603:70
597:60
586:80
456:16
422:12
345:9.
313:2.
174:of
158:),
119:ten
34:by
1852::
1249:,
1245:,
1195:,
1143:,
1091:,
1012:,
838:,
583::
557:4
519:4
502:4
475:4
463:2
441:4
429:4
407:8
395:4
389:2
383:2
377:4
269:"
160:Op
1828::
1501:e
1494:t
1487:v
1362:]
1360:.
1335:]
1333:.
727:8
701:E
634:I
102:)
59:5
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