Requiem for the dead, for those to whom music was their life (1992): oratorio for soloists (soprano and baritone), mixed choir, two jazz bands and organ. Duration: 52 minutes. Text: Latin, but fragmentary.
Movements:
01. Introitus 7:37
02. Dies irae 13:47
03. Tuba mirum 13:35
04. Agnus Dei 4:42
05. Sanctus 39:17
Requiem for the dead, for whom music was life for soprano, baritone, mixed choir, 2 jazz bands and organ. Well, this is different. It really is a Requiem and it commemorates musicians both famous and unknown, both in the public limelight and obscure. It sets the text of sections of theRequiem mass, in Latin. It is a big-band jazz work, using two jazz bands placed antiphonally, chorus, organ and soloists. The music derives from Ellington, Bernstein, Eisler, and those inflated rock-orchestral extravagances of the 70s (the composer seems to know his Pink Floyd pretty well). Does it work? Yes, actually, surprisingly well. If you are offended by Bernstein's Mass, don't bother, but if this vernacular approach to serious matters strikes you as refreshing, or entertaining, or you don't see why philosophy shouldn't swing, then give it a try. The worst you're likely to be is entertained and amused.
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Simon's musical phrases are fascinating today because of the interesting contemporary synthesis of classical music with stylized jazz elements. His most popular works include a Concerto for piano, the wind quintet Perokresby (Pen and Ink drawings), the ballet Jennifer, and Requiem za zemrele, pro ktere byla hudba zivotem (Requiem for the dead, for whom music was life), written in 1992.