Maurizio Dones wrote this Requiem in Memoriam together with Marco Taralli.

This Requiem in Memoriam contains:
01. Introitus - Kyrie (12:56)
02. Tuba mirum - Dies irae (6:27)
03. Confutatis (5:19)
04. Lacrimosa (5:04)
05. Domine Jesu Christe (6:18)
06. Hostias et preces (4:50)
07. Pie Jesu (3:34)
08. Amen (3:40)
09. Sanctus - VII. Benedictus (7:14)
10. Agnus Dei (5:22)
11. Lux aeterna - Requiem aeternam (6:01)

♫ 01. Introitus - Kyrie
© Tactus TC 950006


♫ 02. Tuba mirum - Dies irae
© Tactus TC 950006


♫ 03. Confutatis
© Tactus TC 950006


♫ 04. Lacrimosa
© Tactus TC 950006


♫ 05. Domine Jesu Christe
© Tactus TC 950006


♫ 06. Hostias et preces
© Tactus TC 950006


♫ 07. Pie Jesu
© Tactus TC 950006


♫ 08. Amen
© Tactus TC 950006


♫ 09. Sanctus - Benedictus
© Tactus TC 950006


♫ 10. Agnus Dei
© Tactus TC 950006


♫ 11. Lux aeterna - Requiem aeternam
© Tactus TC 950006

Requiem in memoriam is unusual in being an equal collaboration between two composers, although over a period of four years they worked so closely together that it is impossible to speculate where one ends and the other begins. Commissioned for the Monte Berico sanctuary near Vicenza, the work commemorates the dead of World War I on the centenary of its end. Although not a site-specific work, in acknowledgement of the commissioning body it contains an important introductory flourish for organ intended for what sounds to be an impressive 20th century instrument in the sanctuary, and more specifically a rôle for the sanctuary bells (which could presumably be pre-recorded or adapted for performances in other locations). The text is the full Latin Missa pro defunctis, with no interpolated texts. The requiem is a powerful neo-romantic score, sumptuously orchestrated and readily accessible to a wide audience, without introducing any anachronistic "popular" styles; in various episodes it draws on baroque and classical models, the contrapuntal textures of the cathedral choral traditions of Western Europe, and early music and plainchant, while mainly concentrating on a dramatic opera-oratorio approach of which Verdi is the most obvious precursor - much of the Dies irae sequence, for instance, is presented as splendid arias and duets for solo voices with muscular, dynamic orchestral accompaniment. An explicit connection to the war is established at the opening of the Dies irae, where the thunderous percussion emulate a battlefield barrage of artillery, but there is nothing programmatic to be found elsewhere, aside from a general trajectory toward an unusually radiant expression of hope that runs through the concluding Agnus Dei and Lux aeterna. A worthy addition to the distinguished canon of large-scale concert requiems.