chapter 32 mourning a hero: mozart and the requiem

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THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis THIRD EDITION Lecture Slides

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Page 1: Chapter 32 Mourning a Hero: Mozart and the Requiem

THE ENJOYMENT OF MUSICESSENTIAL LISTENING

EDITION

by

Kristine ForneyAndrew Dell’Antonio

Joseph Machlis

THIRD EDITION

Lecture Slides

Page 2: Chapter 32 Mourning a Hero: Mozart and the Requiem

Chapter 32 Mourning a Hero:

Mozart and The Requiem

Page 3: Chapter 32 Mourning a Hero: Mozart and the Requiem

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.

Page 4: Chapter 32 Mourning a Hero: Mozart and the Requiem

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

Page 5: Chapter 32 Mourning a Hero: Mozart and the Requiem

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

Page 6: Chapter 32 Mourning a Hero: Mozart and the Requiem

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”)

Page 7: Chapter 32 Mourning a Hero: Mozart and the Requiem

• 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)

Page 8: Chapter 32 Mourning a Hero: Mozart and the Requiem

Requiem Mass, Dies Irae

• https://www.youtube.com/watch?v=0T7eMctuJLQ• https://

www.youtube.com/watch?v=JDWO9YHD0Gw

Page 9: Chapter 32 Mourning a Hero: Mozart and the Requiem
Page 10: Chapter 32 Mourning a Hero: Mozart and the Requiem
Page 11: Chapter 32 Mourning a Hero: Mozart and the Requiem
Page 12: Chapter 32 Mourning a Hero: Mozart and the Requiem

by

Kristine ForneyAndrew Dell’Antonio

Joseph Machlis

Lecture Slides

THIRD EDITION

THE ENJOYMENT OF MUSICESSENTIAL LISTENING EDITION

http://wwnorton.com/web/enjoyess2