Requiem (Berlioz) - Music

Music

The Requiem opens gravely with rising scales in the strings, horns, oboes, and cor anglais preceding the choral entry. Later, the music becomes extremely agitated with despair. 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. The four brass ensembles at the corners of the stage first appear in this movement, one by one; they are joined by sixteen timpani, two bass drums, and four tam-tams. The loud flourish is followed by the choral entry. There is a powerful unison statement by the basses, followed by the choir. Woodwinds and strings end the movement.

The third movement, Quid sum miser, is short, depicting after Judgement Day. It features an interesting orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses. The Rex tremendae contains contrasting opposites. The choir sings both beseechingly, as if for help, and majestically. Quaerens me is a quiet, soft movement which is completely a cappella.

The sixth movement, Lacrimosa, is in 9/8 time signature, and is considered the center of the entire Requiem. It is the only movement written in recognizable sonata form and the last movement depicting pain. The dramatic effect of this movement is heightened by the addition of the massed brass and percussion. This movement concludes the Sequence section of the Mass.

The seventh movement begins the Offertory. Domine Jesu Christe is based on a repeated three-note motif: A, B flat, and A. The choral statements of this motive interweave with the orchestral melodies. The "A, B flat, A" motif persists for about ten minutes almost to the end, which concludes peacefully. Robert Schumann was very interested in the innovativeness of this movement. The concluding part of the Offertory, the Hostias, is short and scored for the male voices, eight trombones, three flutes, and strings.

A solo male tenor voice is featured in the ninth movement, the Sanctus. There are long held notes played by the flute. Women's voices also sing, perhaps answering the tenor. Later, the low strings and cymbals join in. A full orchestral fugue ends the movement. In his original version, Berlioz requested ten tenors for the solo part. 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.