Реквием (Берлиоз)
| Большая масса мертвых | |
|---|---|
| Реквием Гектора Берлиоза | |
 Титульный лист первого издания | |
| Опус | 5 |
| Случай | Мемориал солдат, погибших в июльской революции 1830 года. |
| Text | Requiem |
| Language | Latin |
| Performed | 5 November 1837 |
| Published | 1838, Paris |
| Movements | ten |
| Scoring |
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Grande Messe des Morts (или Requiem ), op . 5, Гектор Берлиоз был составлен в 1837 году. -Месс Морттс -одна из самых известных произведений Берлиоза, с огромной оркестровкой деревянных Гранд и медных инструментов , включая четыре антифональных латунных ансамбля. Работа получает свой текст из традиционной латинской массы реквиема . Он имеет продолжительность примерно девяносто минут, хотя более быстрые записи менее семидесяти пяти минут.
История
[ редактировать ]В 1837 году, Адриен де Гаспарин Франции , министр внутренних дел попросил Берлиоза создать мессу реквием, чтобы помнить солдат, погибших в революции в июле 1830 года , исполнились в годовщину смерти Маршала Эдуарда Мортиера в Фийши ' Попытка убийства на Луи Филиппе в 1835 году. [ 1 ] Берлиоз принял запрос, уже хотел составить большую оркестровую работу. Между тем, оркестр рос по размеру и качеству, а использование деревянных молот и латуни расширялось из -за растущей простоты интонации, предоставляемой современными инструментами. Берлиоз позже написал: «Если мне угрожали разрушение всего моих работ, за исключением одного, я должен жаждать милосердия за Месте -Морт ». [2]
After the originally planned performance was cancelled, a ceremony commemorating the death of General Damrémont and the soldiers killed at the Siege of Constantine provided the occasion for the premiere at Les Invalides, conducted by François Habeneck on 5 December 1837.
In his Mémoires, Berlioz claimed that at the premiere of the work, conductor François Habeneck put down his baton during the dramatic "Tuba mirum" (part of the "Dies irae" movement) while he took a pinch of snuff, prompting the composer to rush to the podium to conduct the rest of the work himself, thereby saving the performance from disaster. The premiere was a complete success.[3]
Berlioz revised the work twice in his life, first in 1852, making the final revisions in 1867, only two years before his death.[citation needed]
Structure
[edit]Berlioz's Requiem has ten movements, and the structure is as follows:
- Introit
- 1. Requiem aeternam & Kyrie: Introitus
- Sequence
- 2. Dies irae: Prosa, Tuba mirum
- 3. Quid sum miser
- 4. Rex tremendae
- 5. Quaerens me
- 6. Lacrimosa
- Offertory
- 7. Domine Jesu Christe
- 8. Hostias
- 9. Sanctus
- 10. Agnus Dei
Instrumentation
[edit]The Requiem is scored for a very large orchestra, including four brass choirs at the corners of the stage,[4] and chorus:
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In relation to the number of singers and strings, Berlioz indicates in the score that, "The number [of performers] indicated is only relative. If space permits, the chorus may be doubled or tripled, and the orchestra be proportionally increased. But in the event of an exceptionally large chorus, say 700 to 800 voices, the entire chorus should only be used for the "Dies irae", the "Tuba mirum", and the "Lacrimosa", the rest of the movements being restricted to 400 voices."
The work premiered with over four hundred performers.
Music
[edit]The Requiem opens with rising scales in the strings, horns, oboes, and cors anglais preceding the choral entry. The first movement contains the first two sections of the music for the Mass (the Introit and the Kyrie).
The Sequence commences in the second movement, with the "Dies irae" portraying Judgement Day. There are three choral sections each followed by a modulation to the next section. Following the third modulation, the four brass ensembles, specified by Berlioz to be placed at the corners of the stage but more commonly deployed throughout the hall, first appear with a fortissimo E♭ major chord, later joined by 16 timpani, two bass drums, and four tam-tams. The loud flourish is followed by the choral entry, "Tuba mirum", a powerful unison statement by the chorus basses at the top of their register, followed by the rest of the choir. There is a recapitulation of the fanfare, heralding the coming of the Last Judgment ("Judex ergo") by the full choir in canon at the octave. The choir whispers with woodwinds and strings to end the movement.
The third movement, "Quid sum miser", is short, depicting after Judgement Day, featuring an orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses. The "Rex tremendae" features the second entry of the brass choirs, and contains contrasting dynamics from the choir. "Quaerens me" is a quiet a cappella movement.
The sixth movement, "Lacrimosa", is in 9
8 time signature, concluding the Sequence section of the Mass, is the only movement written in recognizable sonata form. The dramatic effect of this movement is heightened by the gradual addition of the massed brass and percussion.
The seventh movement begins the Offertory. "Domine Jesu Christe" opens as a quiet orchestral fugue based on a quasi-modal motif in D minor. The fugue is overlaid with a repeated three-note motif: A, B♭, and A from the choir, pleading for mercy at the judgment. The choral statements of this motive interweave with the developing orchestral texture for about ten minutes almost to the end, which concludes peacefully. The concluding part of the Offertory, the "Hostias", is short and scored for the male voices, eight trombones, three flutes, and strings.
The ninth movement, the "Sanctus", in D♭ major, employs a solo tenor voice accompanied by long held notes from the flute and muted strings. Hushed women's voices echo the solo lines. A brisk fugue for full choir and orchestra ("Hosanna in excelsis") follows. The whole is repeated with the addition of pianissimo cymbal and bass drum to the "Sanctus" and a much expanded "Hosanna" fugue. Berlioz suggested that the solo part could be sung by ten tenors. The final movement, containing the "Agnus Dei" and Communion sections of the Mass, features long held chords by the woodwinds and strings. The movement recapitulates melodies and effects from previous movements including the "Hostias" and the "Introit".
Notable recordings
[edit]References
[edit]- ^ Steinberg, Michael: Choral masterworks: a listener’s guide. Oxford University Press, Oxford 2005, p. 61.
- ^ "Hector Berlioz – Requiem – General Information". Archived from the original on 27 October 2015. Retrieved 29 December 2005.]
- ^ "Hector Berlioz – The Requiem – Historical Background". Archived from the original on 27 October 2015. Retrieved 14 June 2006.]
- ^ Complete score, ed. Jürgen Kindermann, in: Hector Berlioz: New Edition of the Complete Works, vol. 9, Kassel: Bärenreiter, 1978
Sources
[edit]- Steinberg, Michael. "Hector Berlioz: Requiem." Choral Masterworks: A Listener's Guide. Oxford: Oxford University Press, 2005, 61–67.
Further reading
[edit]- Никс, Фредерик . «Берлиоз Messe des Morts и его производительность в Глазго». Музыкальные времена и пение класса Circular 25, нет. 493 (1 марта 1884 г.): 129–31.
Внешние ссылки
[ редактировать ]- Обзор Реквиемы, включая историю, описание движений и полный текст на машине Wayback (архив 12 сентября 2015 г.)
- Grande Messe des Morts : результаты в Международном проекте библиотеки музыкальных результатов
- Бесплатные результаты этой работы в библиотеке хоровой общественной достояния (Choralwiki)
- «Реквием Берлиоз-предварительный разговор» , лекция Дэвида Кэрнса в колледже Грешам 12 июля 2007 г.
