A Requiem based on plane chant motives and which makes use of a traditional lullaby from Gran Canaria. Hence the added ‘Canario’ in its title. The Requiem ‘Canario’ was written after completion of ‘Paradisal Journeys’ and it forms a creative unity with that composition. In this Requiem, Western European achievements meet Russian cultural heritage. Because of the Roman Catholic background of my family, I was raised with Plain Chant as the most important churchmusic. Also during my education at the Music Academy, much attention was paid to this kind of churchmusic, and it felt only natural to use Plain Chant motives in my Requiem. Although it wasn’t primarily written for liturgical use, it can well be used in a liturgical context.
In Part 3 (Going) I used a poem by Philip Larkin (with permission of Marvell Press, England/Australia) in an orchestral song. This poem wonderfully expresses the ambivalent feeling of astonishment and dismay I have about death. Also inspired by this poem, Svetlana Voytkevich created a Russian pendant.
In Part 5 (Pie Jesu) I used a traditional lullaby from the Canary Islands. When I first heard this song through a friend of mine, Sofia Rodriguez, I was struck by its simplicity and emotional directness…
It fitted perfectly within my new ideas about what music should sound like. I made a note of the song and used it as basis for the passacaglia of the Pie Jesu. Hence the name, Requiem ‘Canario’.

Requiem Canario (2004) contains:
01. Exaudi nos
02. Introďtus & Kyrie
03. Going
04. Sanctus
05. Pie Jesu
06. Agnus Dei
07. Libera me