Singer Part Learning Recordings
“Chord Perfect” Chorus Rehearsal Aids available free on YouTube
(Click on the link above)
Mozart Requiem
Singer scores
The version of the Requiem that we will perform is the completion by Süssmayr, the most common completion, of which many editions are available.
In the massed choir, as many singers already will have their own score, there will be different editions. The Schirmer edition is ubiquitous and very clear. I also like Barenreiter, Henle, and Peters editions because they are Urtext (original, minimally edited) and beautiful to read, but, if the aesthetic is not an issue for you, choose whichever you like. I use the Bärenreiter full score and the Schirmer singer score; the orchestra uses Kalmus parts.
Scores are available for purchase on Amazon:
Schirmer ($5.95)
Bärenreiter paperback ($20.31)
Peters Edition paperback ($11.95)
Kalmus ($11.72)
Sandstone Music Classical Collection paperback ($10.16) & Kindle ($6.77)
And there are "scores" more!
Printed or electronic copy are fine for Viva rehearsals and Bay Area performance.
The Kindle edition or any digitized score is fine.
MAP does not permit the use of iPads onstage at Carnegie.
It goes without saying that we each need to have a legal copy.
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We need to all be on the same page!
Keep tabs on your movements :)
It is handy to tab movements in your score so that, when we jump around between movements, you can easily find each movement; handy in rehearsals when we change the order of movements.
Railroad tracks!
As systems (lines of music) vary in width from page to page, railroad tracks (two short diagonal lines) at the end of each system guide your eye to the next system.
Rehearsal Measures and Measure Numbers
Rehearsal letters
If your score is Kalmus/Schirmer, it has rehearsal LETTERS. If your score does not have rehearsal letters please write these into you score, so we are on the same page, literally and so to speak, as the orchestra. Click on the adjacent pdf to find the rehearsal letters that singers need to copy into scores that do not already have rehearsal letters.
For all movements in which the choir sings, we need both rehearsal letters and measure numbers. For solo movements, choristers do not need numbered measures. Also, hopefully, you are not following the printed music when the soloists are singing.
Most scores have one or the other. We all need to mark in whichever one is not printed in our score, so we all have both ways of referencing a place in a movement.
Please see the Schirmer Edition pdf ––>
with measure numbers and translation written with the Latin text
Measure numbers
If your score does not have measure numbers, count the measures within each movement and mark the number of the measure either at the start of each system or every 5th measure. Each new movement starts over at m 1.
Some movements that are conjoined in Schirmer are separate movements in Barenreiter. Specifically: Kyrie in Schirmer is a continuation of Introitus but, in Barenreiter, Kyrie is a separate movement; when numbering measures for Kyrie, regardless of whether it is a continuation of Introitus in your score, restart numbering at m 1.
Similarly, in Schirmer Agnus Dei and Lux aeterna are shown as one movement, but, in Barenreiter, the Lux aeterna is a separate movement, so please re-start numbering the Lux aeterna as m 1.
In Schirmer and in Barenreiter, Cum sanctis is conjoined with Lux aeterna (unlike Kyrie), so Cum sanctis continues Lux aeterna numbering ( m 31 at start of Cum sanctis).
You can follow the measure numbering in the pdf in the next column, or you can check that your numbering has the following numbers of measures (mm):
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Introitus 48 mm
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Kyrie 52 mm
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Dies Irae 68 mm
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Tuba Mirum—a solo movement; choir does not need mm numbers.
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Rex Tremendae 22 mm
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Recordare—a solo movement; choir does not need mm numbers.
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Confutatis 40 mm
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Lacrimosa 30 mm
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Domine Jesu (including Quam Olim Abrahae) 78 mm
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Hostias (incl Quam Olim Abrahae) 89 mm
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Sanctus (incl Osanna m 11) 38 mm
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Benedictus Mostly solo. Choir enters at m 54, Allegro, Schirmer p 67, (incl a second Osanna, different from Osanna in Sanctus) 76 mm
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Agnus Dei 51 mm
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Lux aeterna and Cum sanctis 82 mm
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Text translation
To personalize the text, write the translation of the Latin into English above/below every word we sing (see pdf -->). I've written in a translation in the Schirmer pdf in the next column. I like to see the literal meaning of every word, even if this jumbles the order of words. And often, because the repetition of a word or phrase has dramatic impact, i write in the repetitions also. This is a personal process, so do whatever way works for you, to bring the text vividly and meaningfully to life for YOU! It is one path to an emotionally contagious performance!
There are several sources for translation—choose the one that is most meaningful to you.
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Schirmer Edition Index
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Latin Text with English Translation in pdf below—unknown origin; easy to read
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Text & Music
There is either:
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A word/syllable for a note of music (Requiem mvt, Dies Irae, Rex Tremendae, Confutatis, Lacrymosa, Domine Jesu, Hostias, Agnus Dei to Adagio)
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Few text words repeated for several or many notes/lines of music—usually in contrapuntal or fugal textures (Kyrie, Quam olim Abrahae, Osanna, Agnus Dei from Letter P, "Requiem eternam" and "Dona eis Domine" and "Cum sanctis" at Allegro)
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There is no instance for choir of many words/syllables for few notes.
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Road Map of the Movements
Of all the movements (fourteen in some editions, twelve in others where some movements are conjoined), the choir sings: Requiem, Kyrie, Dies irae, Rex tremendae, Confutatis, Lacrimosa, Domine Jesu, Hostias, Sanctus, Agnus Dei, Lux aeterna (and Cum sanctis).
Tuba mirum and Recordare are entirely for soloists. Benedictus is also for soloists, with a second choral Osanna (m 54), textually similar but not musically identical to the Osanna (m 11) of the previous Sanctus. Singers be on the alert for the starts of both Osannas.
There are a few solo interpolations in choral movements. In the first movement, Requiem, the soprano soloist sings "Te dect hymnus...," mm 21-26, in between the two choral sections ("Requiem aeterna" and "exaudi"). In the Domine Jesu, all four soloists enter fugally at mm 32-43) between the choral "Domine Jesu" and "Quam olim Abrahae (letter O)" In the Lux Aeterna, the soprano (mm 3-8) introduces the eponymous text that the choir takes up one beat after (m 8 pick up to m 9).
"Quam Olim Abrahae" text sung by the choir occurs twice: in Domine Jesu after the soloists, m 44, Letter O), and in Hostias (m 55, one after Letter Z) continuing the choral singing of the first section of the music. Both "Quam Olim Abrahae"s have the same music and text.
Osanna also for choir also occurs twice in Sanctus (m 11) and in Benedictus (m 54); the music is slightly different.
The music of the first two movements, aside from the orchestral introduction, is identical to the music of the last two movements; but the texts are different:
Requiem and Kyrie in the first two movements becomes Lux Aeterna and Cum sanctis in the last two movements.
Of course, the mood changes from movement to movement are carried by texture, major-minor modality, tempo, meter, dynamics, articulation, voicing, as well as orchestration. It is this characterization of each movement, and parts of movements, that we will explore in rehearsal.
Also we will create drama by our segues from movement to movement!
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Dynamics
δύναμις (Greek) = power, strength = musical-emotional dynamite
As you are learning (or re-learning) your music, of course pitch and rhythm are foremost, at first. As soon as you can, include dynamics in your own practice, to gain both technical proficiency (what's required of the singing physique for p is not the same as what is required for f) and musical expressivity.
In my score, I emphasize the printed dynamics by using colors. I suggest singers do the same:
p, pp, diminuendo= blue
f, ff, sf, crescendo = red
Often Mozart wants the contrast between p and f to be clear, bold, and dramatic. But he also wants gradual transitions, of crescendi and diminuendi , even though he usually did not write these into his scores, as was the custom in the Classic Era and because he was busy composing 626 works by the age of 35! The music asks for these swells and eddies. These increases and decreases in volume are sometimes for phrasing and nuance, and sometimes they last longer and are structural. We will add these "hairpins"for crescendo and diminuendo to our scores and to our singing.
An interpretive word: dynamics are not just changes in volume. They carry so much emotive content. For every dynamic, create a descriptor of the mood you hear. Write these into your score. As music captures mood, pinning a mood helps develop emotional contagion.
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Homophonic, Polyphonic/Contrapuntal, and Fugal Textures
Mozart uses both homophony and polyphony for musical and theatrical effect (see Requiem notes). It's useful to know into which weeds we are wading in each movement, so we are chorally prepared, as each texture has its own requirements for the choir. Fugal writing requires each new entry to be incisive and ongoing entries to give way to the newcomer. Homophonic writing requires blend and balance, and an occasional highlighting of a an individual part for a dissonance or a moving line.
I. Requiem Introitus
A m8 polyphonic
B m15 homophonic
D m 34 Double fugue: "requiem" for first musical subject; "dona eis" for second subject
Pu (pickup) to m 44 "et lux" homophonic
II. Kyrie
A double fugue with"kyrie" one subject and "Christe" another subject.
III. Dies irae
Homophonic with saucy offbeat interjections
V. Rex tremendae
Homphonic until contrapuntal at Pu to 7, actually a canon, actually several! A+S; T+B; and again A+S. Then chordal sections e.g. V m11 followed immediately by contrapuntal at Pu to m 13
m 16 "statis" to end homophonic.
VII. Confutatis
Contrapuntal until C m 17 homophonic and contrapuntal
D m 26 homophonic
VIII. Lacrimosa
Homophonic
IX. Domine Jesu
homophonic and polyphonic
Letter O m 44 "Quam olim Abrahae" polyphonic
X. Hostias
Homophonic
One after Z m 55 "Quam olim Abrahae" polyphonic
XI. Sanctus
Homophonic until m 11 "Osanna" polyphonic
XII. Benedictus
m 54 "Osanna" polyphonic
XIII. Agnus Dei
Homophonic
XIV. Lux Aeterna
O m 8 polyphonic
P m 16 Double fugue, like the Introitus; "requiem" for first musical subject; "dona eis" for second subject
Cum Sanctis (starts at m 31)
Another double fugue, like movement 2, now with"Cum sanctis" the text for both subjects.
Pu to m 81 Adagio: Homophonic
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Notes to Choir
See the docx below
In rehearsal, we will mark: breath marks, articulations, dynamics, tempi — "tune in."
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The score is in your head or your head's in the score
Have either printed or digital music with you at all rehearsals; perform from memory if that is your preference (no need to hold a binder). Watch the video of the Viva performance in Dresden and see all the Vivans off-book. Watch performances in which the choirs are off-book: Von Karajan, John Eliot Gardiner.
Guide to Italianate Pronunciation
Used with permission of the author, Dr Thomas Bookhout
(Use the scroll bar to view other pages)
Schirmer edition with Text Translation,
Rehearsal Letters and Measure Numbers
(Click on the pdf below)
Recordings
in no particular order
(Click on the links below )
Daniel Barenboim, English Chamber Orchestra 1972
Janet Baker, Sheila Armstrong, Nicolei Gedda, Fischer-Diskau
Audio only digitized from original LP
. Magnificent! The orchestra speaks, choir powerful, soloists gorgeous.
So far, my favorite recording.
Monteverdi Choir - English Baroque Soloists
Barbara Bonney - Anne Sofie von Otter
Choir and soloists all performing from memory.
Transitions from movement to movement heighten the drama.
Orchestre des Champs-Elysees La Chapelle & Collegium Vocale Royale
Sibylla Rubens, soprano · Annette Markert, alto ·
Ian Bostridge, tenor · Hanno Müller-Brachmann, bass
Sonorum Concentus Mozart & Classicism
Expressive text accents and eloquent phrasing
Bavarian Radio Symphony Orchestra and Choir
Marie mcLaughlin, soprano · Maria Ewig, mezzo soprano ·
Jerry Hadley, tenor · Cornelius Hauptmann, bass
The completion is by Beyer, not Süßmayr
The slowest performance ever, a perhaps the most musical—the tempi allow the inner beauty to emerge.
Vienna State Opera Chorus and Orchestra (1953, re-mastered 2023)
Hermann Scherchen conductor
Magda László, soprano · Hilde Rössl-Majdan, alto · Petre Munteanu, tenor · Richard Standen, bass
Also slow tempi; audio only
Orquestra Sinfônica do Estado de São Paulo · Coro Acadêmico e Coro da Osesp · Lisa Larsson, soprano · Wilke te Brummelstroete, mezzo soprano · John Mark Ainsley, tenor · Burak Bilgili, baritone
Live
Musical --grainy video that elongates heads
The BBC National Orchestra and Chorus of Wales,
with Fatma Said, Kathryn Rudge, Sunnyboy Dladla and David Shipley
Live
Huge and fabulous choir, all memorized
Expressive dynamics, true to the score
ËVOE MUSIC · Stefan Plewniak 2020
Small choir, fabulous conviction
Philharmonie Salzburg · Elisabeth Fuchs 2023
Chor der Philharmonie Salzburg · Philharmonie Salzburg
Maria Bernius · Katrin Auzinger · Paul Schweinester · Johannes Wimmer
Live at Großer Saal Mozarteum, Salzburg
Orchestre National de France /Chœur de Radio France,
Marita Solberg · Karine Deshayes · Joseph Kaiser· Alexander Vinogradov
Live at Basilica of St Denis (France)
Polish Sinfonia Iuventus Orchestra · Warsaw Philharmonic Choir
Bartosz Michałowski – conductor
Sylwia Olszyńska · Agata Schmidt · Karol Kozłowski · Adam Kutnye recorded November 01, 2019, Warsaw Philharmonic Concert Hall
large choir, passionate commitment, live performance in gorgeous venue
Symphonieorchester des Bayerischen Rundfunks
Bavarian Radio Chorus
Genia Kühmeier · Elisabeth Kulman · Mark Padmore · Adam Plachetka
live performance starting at 30'
Bach Choir & Orchestra of the Netherlands 2015
Pieter Jan Leusink
Olga Zinovieva · Sytse Buwalda · Martinus Leusink · Thilo Dahlmann
Live at the Concertgebouw
Small choir, fastest tempi, countertenors in choir and countertenor soloist, Baroque tuning
Music of the Baroque chorus and orchestra
Live performance at the Harris Theater, Chicago
Arsis Bourgogne · Mihály Zeke, 2017
Live performance
Vienna Philharmonic & State Opera Chorus, Sir Georg Solti, 1991
Arleen Augér, Cecilia Bartoli, Vinson Cole, René Pape
Live, on the 200th anniversary of Mozart's death,
St Stephen's Cathedral, Vienna, where Mozart's wedding and funeral services took place.
Gorgeous piano and pianissimo, and fabulous soloists, to say nothing of orchestra and choir!
Gundula Janowitz, Christa Ludwig, Peter Schreier, Walter Berry!!
Live, Pierist Church, Vienna
slow, majestic
Berlin Philharmonic, Swedish Radio Chorus & Stockholm Chamber Choir
Patrizia Pace, Waltraud Meier, Frank Lopardo, James Morris
Audio recording, magnificent voice definition in chorus, esp gorgeous bass and tenor
Von Karajan 1975
Vienna Philharmonic, Vienna Singverein
Anna Tomowa-Sintow, Helga Muller Molinari,
Vinson Cole, Paata Burchalazde
Grainy video recording, iconic performance—the only drama is rightfully in the music
Sergiu Celibidache & Munich Philharmonic
Audio recording, the slowest Requiem ever? But grand!
Ceilibidache wanted a transcendent experience for the listener, which, he felt,
could happen only in live performance. Some of his concerts did provide audiences with exceptional and sometimes life-altering experiences, including a 1984 concert in Carnegie Hall by the Orchestra of the Curtis Institute that New York Times critic John Rockwell described as the best of his 25 years of concert-going.
https://en.wikipedia.org/wiki/Sergiu_Celibidache
Scottish Youth Choir
Levin completion
Commitment and poise of the choir!
Picturesque Music
There are many completions of the Requiem, including several recent completions.
We are set on the Süssmayr completion, so the particular completion is not the point, for us. But one completer of the Requiem, Howard Arman, in speaking about the compelling nature of the music, describes the Requiem as "picturesque". To make the point that the the music illustrates the imagery of the text, Arman refers to the "Tuba Mirum" movement.
Howard Arman talks about his completion. Tune in around 3'8".
Mozart uses tone painting, a musical device whereby the sound captures the meaning. The obvious example in Requiem is the teardrop motif that infuses "Lacrymosa."
Despite the prescription of musical movements to follow theRequiem Mass liturgy, and despite the Latin language that could put it at a distance for those of us who don't speak Latin, the music-to-text relationship is rich. There are many instances of the music illustrating the text, and, for performers and for listeners, this is key.
As performers, we want to bring to life every picturesque musical moment for our audiences. There is a wealth to discover in the treasure trove that is Mozart's Requiem!
Behind the Notes—Requiem Resources
On the web
David A. McConnell - (2020). A Guide to Mozart Requiem
The meaning of the texts and portrayal in the music
Debi Simons. Mozart Requiem: Text, Composition and Literary/Historical Background
Biblical and etymological information.
Why the Communion wafer in the Roman Catholic Church is called the “host”.
How the idea of light figures into images of heaven.
What part Abraham plays in Christian doctrine.
Classical Notes: Peter Gutmann—Mozart Requiem
Books
Jan Swafford (2020). Mozart, The Reign of Love. Harper Collins.
A fabulous biography, all eight hundred pages!
Simon P. Keefe (2012). Mozart's Requiem. Reception, Work, Completion. Cambridge University Press.
Michael Steinberg (2005). Choral Masterworks: A Listener's Guide. Oxford University Press.
An insightful essay, although i do not agree with Mr Steinberg on the various completions.
H.C. Robbins Landon (1988). 1791: Mozart's Last Year. Schirmer.