Format : Vocal Score
The writing of a Requiem is a special challenge for any composer. The great Requiems of the past by composers such as Mozart, Verdi and Berlioz interpret the sacred Requiem text literally, offering prayers of salvation for the departed, whose souls are assumed to be in purgatory facing a terrible judgement. Eternal Light: A Requiem, by the award-winning British composer and internationally acclaimed broadcaster Howard Goodall is a stunning new requiem for the modern day. In contrast it is intended to provide solace to the grieving, reflecting on the words of the Latin Mass by juxtaposing them with poems in English. Speaking about the work, Howard Goodall said For me, a modern Requiem is one that acknowledges the unbearable loss and emptiness that accompanies the death of loved ones, a loss that is not easily ameliorated with platitudes about the joy awaiting us in the afterlife. This, like Brahms', is a Requiem for the living, addressing their suffering and endurance, a Requiem focussing on the consequences of interrupted lives.'' Goodall's fresh and unorthodox interpretation of the Requiem Mass is released on disc (EMI Classics) in September. (Performed by Christ Church Cathedral Choir, Oxford and London Musici conducted by Stephen Darlington with soloists Natasha Marsh, Alfie Boe and Christopher Maltman).
SKU: MN.56-0052
UPC: 688670220555. English, Latin.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement is a nicely accompanied, homophonic choral setting of the English text by John Henry Newman (1833). Anthem-like and entirely self-sufficient, it is ideal to perform separately apart from the entire work. Duration 2:14.
SKU: MN.56-0054
UPC: 688670220579. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement has no soprano part, it is soloist above and ATB below, giving a rich, dark quality to the music. The tenors and basses (divisi) begin this movement, declaiming “Dies irae, dies illa.” Two soloists begin in the “Flanders fields” text above. There is an option for three soloists as the piece evolves. (Soprano, tenor and baritone, the composer gives some options for this.) Soon the choir takes up the poem, yet the Latin text occasionally appears and continues, moving toward a climax on the text “We are the Dead, Short days ago We lived.” As the music descends from the high point, the English poem continues, with the choir very softly commenting “Dies irae” as the movement ends. Duration 5:36.
SKU: MN.56-0055
UPC: 688670220586. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. For soprano solo and SATB choir, this movement begins with the choir on the English text by Phineas Fletcher (1633). A 32-measure soprano solo follows, which covers the majority of the English text. The soloist then begins the “Recordare,” a calm, descending melodic line with the choir singing the opening “Drop, drop” motif as accompaniment. The choir then concludes with the slow, descending lines “Jesu pie, Jesu pie.” Duration 4:04.
SKU: MN.56-0049
UPC: 688670220524. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. The “Kyrie” uses Francis Quarles’ “Close now thine eyes and rest secure” as the opposing English text. After the choir begins the requiem text in Latin (“Requiem aeternam” through the “Kyrie eleison,”) the soprano soloist has a 27-measure solo in which the English text appears. Then the solo is repeated over choir accompaniment and the opening Latin text reappears to close the movement. Duration 9:13.
SKU: MN.56-0056
UPC: 688670220593. Latin.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. Like movement 2, also called “Revelation,” this movement is a rapid, homophonic declamation of the Latin text set for SATB and accompaniment. The music is a dynamic crescendo from pianissimo to fortissimo, painting the text. Duration 1:18.
SKU: MN.56-0051
UPC: 688670220548. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. Set entirely for a soloist (soprano, tenor, or baritone) above choir accompaniment, this movement has no Latin text; the English text is a poem by Ann Thorp (“I have to believe That you still exist Somewhere”). This movement stands entirely on its own as a beautiful anthem of comfort and assurance. Duration 3:07.
SKU: MN.56-0050
UPC: 688670220531. English.
Arranged for SATB choir, two keyboards, strings, and optional harp, with soprano, tenor (optional) and baritone soloists, this fresh and unorthodox interpretation reflects on the words of the Latin Mass by juxtaposing them with poems in English. This movement does not use an English text, however. The Latin text is from a motet for the feast of Michael the Archangel and describes his victory over a dragon. Despite its chant-like setting, there is great energy and urgency, with the organ punctuating and adding to the rhythmic drive in many spots. Duration 2:30.
