Requiem Aeternam

For Peter Delderfield

I composed the Requiem for my uncle’s funeral in May 2000. The original version consisted of a solo piano piece with the Latin words written underneath. This original version differed from the present in two ways, first it was in A minor, second the middle section before the returning theme was much shorter.

The recording was taken from Voices Anon's Christmas concert of the 8/12/05 accompanied by The Furze Platt Senior School Orchestra.

Composition of ‘Requiem’
The original version was composed on the 17th of May 2000 for solo piano. The solo was expanded and transposed in September 2005 with the orchestration finished on the 16th. The words are as follows:

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus Deus, in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam; ad te omnis caro veniet.

("Grant them eternal rest, O Lord, and may everlasting light shine upon them. A hymn becometh thee, O God, in Zion, and unto thee a vow shall be repaid in Jerusalem. Hear my prayer; unto thee all flesh shall come.")

Selected Performances:
-(8/12/05) Maidenhead, UK. Premiere performance. At the Voices Anon Christmas Concert.
-(12/12/05) Maidenhead, UK. Performed at Furze Platt Senior School's Christmas Concert.

Analysis:

Introduction (1-20):
The first 20 bars serve as an introduction that presents the main theme of the movement by solo oboe followed by a counter provided by strings. This introduction was composed for the orchestral version and was added after the choir part was produced for Voices Anon in August 2005.

Requiem aeternam (21-37):
The words Requiem aeternam dona eis, Domine are sung first by the soloist and then by the whole choir. The melody and harmony suggest a modal tonality rather than diatonicism. Modes are used throughout the piece. The choir reprise acts as a consequence to the soloist’s antecedent but with a varied ending consisting of a Neapolitan 6th (b33) and cadence.

Tet lux perpetua luceat eis (38-53):
The request for 'perpetual light' is emphasised by the change of mode from minor to major (relative major). The second section is constructed in the same way with the soloist first presenting the words and then the full choir. The full choir response is marked by variation in the harmony and the introduction of a counter melody by the female voices and upper woodwind.

Te decet hymnus... (54-71):
The change of words is marked by a change in texture with more hymn-like writing for the choir thus painting the words. As with the previous section, the key changes to the major mode, this time the tonic major. An abrupt modulation occurs (61-62) to G major (a remote key) before the harmony descends chromatically as the texture and dynamics increase. A secondary dominant (C#dim7) and suspension lead into the orchestral interlude.

Orchestral Interlude. (72-101):
The orchestral interlude firmly establishes the key of G major. The melody is a variation upon that set to the word "et lux perpetua" but more triumphantly presented. At 74 a solo flute continues varying the melody accompanied by light strings and harp. It is at this point that the main changes occur from the original piano version. The "et lux" idea returns (86) but with a varied ending (94-101).

Requiem aeternam (102-133):
The final section consists of a climatic reprise of the first theme to the words Requiem aeternam dona eis, Domine. The choir is scored in unison octaves for added drama with full orchestra accompanying and swaying horn theme. At 110-113 the trumpets and horn sound the Dies iræ plain chant formally employed by composers such as Berlioz and Rachmanioff. This is the third time I have quoted this plain chant in my pieces, the other quotes can be found in Caronte's Voyage and Elegie from Unser Jahr. The 'Requiem' theme is varied from 116 to prepare for the ending which over the beating timpani and lower strings dies away to the word 'Requiem.'