This requiem contains:
01. Kyrie
02. Dies irae
03. Sanctus
04. Pie Jesu H.269
05. Benedictus
06. Agnus Dei
Source: | booklet of cd MBF 1108
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♫ 01. Kyrie
© MBF 1108
♫ 02. Dies irae
© MBF 1108
♫ 03. Sanctus
© MBF 1108
♫ 04. Pie Jesu H.269
© MBF 1108
♫ 05. Benedictus
© MBF 1108
♫ 06. Agnus Dei
© MBF 1108
In Messe des morts à 4 voix et symphonie (H.10), the third mass for the dead, the orchestra occupies an all-important position, whether introducing or accompanying the vocal parts. There are interesting reminiscences of earlier works, such as the expressive ascending minor sixth in the prelude of the Kyrie, a characteristic of the De profundis (H.189) of 1683, or, at the start of the Christe, the first measures of the Magnificat à 3 voix (H.73), even though the imitation is on the fourth, ot on the octave, and on a different beaat. The Pie Jesu for two dessus, a marvel of religious fervor and vocal grace, recalls the opening of the mass by repeating the ascending minor sixth.
In the "Dies irae", the principal section of the mass, the full orchestra (strings, flutes, and oboes) aquires a truly dramatic role when introducing the powerful chorus Tuba mirum" with a sumtuous fanfare. If this "Dies irae" lacks the opulence and expressive force of Prose des morts (H.12), it nevertheless deserves our attention for the diversity of its textures, for its imaginative word-painting ("cum resurget", "quidquid latet", "voca me", and "lacrymosa"), as well as for certain harmonic strokes, like the bold anticipation of B-flat on "tantus labor" or the highly expressive cjromatic line in the first flute during the orchestral introduction to"Oro supplex".
Author: | Catherine Cessac / Traduction: E. Thomas Glasow, (c) 1995 Amadeus Press, Portland, Oregon |
Contributor: | Frans van Wijck |