Requiem Project: Part III
Part III of V
Friday, September 09, 2011
The third segment of Q2's 10-hour Requiem Project mix features suggestions from listeners, compositions explored by producers and WQXR host Annie Bergen, stories from volunteers and artists, and many other pieces that reflect on timeless and universal themes of loss and consolation.
Read composer testimonials, listener suggestions and album liner notes for the selections below.
You can listen on-demand and view comprehensive playlists for all five parts by clicking on the desired two-hour segment. The five segments will run in series on Q2 here throughout the weekend.
→ Part I (begins Friday, September 9 at 4 p.m.)
→ Part II (begins Friday, September 9 at 6 p.m.)
→ Part III (begins Friday, September 9 at 8 p.m.)
→ Part IV (begins Friday, September 9 at 10 p.m.)
→ Part V (begins Saturday, September 10 at 12 a.m.)
Part III Playlist
Requiem: Canticle by Peter Sculthorpe
Adelaide Symphony Orchestra Arvo Volmer, James Judd, conductor
ABC Classics 656920
Bhajan by Steve Coe and Sheila Chandra
Sheila Chandra, vocals
Real World 2322
Sheila Chandra writes:
The guitar drone gives these ancient pieces an anthemic feel. Bhajan means "hymn."
Valerie Ghent, singer-songwriter and 9/11 recovery volunteer
Interviewed by Marianne McCune for WNYC News (October 16, 2001)
Taireva, Zimbabwe Traditional music
Erick Muchena, mbira
From the album liner notes:
Mbira music is music for meditation. It makes a man think deeply about the history of his people and about the joys and sorrows of his own life. As an old man sang one evening, "The mbira, when it sounds, makes me feel compassion...Misfortune, when it comes to a man who doesn't want it, sticks like bees' wax... Thinking hard, without speaking, there followed the falling of tears..."
Lala Todayeqoun Al-Tarfi, Islamic Traditional music
Selim Seliman, musical director, lead vocalist, & ud
Celestial Harmonies 14155
From the album liner notes:
Bedouin songs often express resignation to fate. Men are expected to show no emotion over the death of a loved one, unlike women who may mourn openly, but poetry and song are socially acceptable ways that Bedouin men may express their grief.
Doc Con Xa, Vietnamese Traditional religious ritual music
Pham Van Ty, dan nguyet
Celestial Harmonies 13082
by Anca Nicolau, Myron Lutzke, Krista Bennion Feeney, and John Feeney, members of the St. Luke's Chamber Orchestra
Interviewed by Leonard Lopate for WNYC (September 11, 2002)
The ensemble appeared on The Leonard Lopate Show.
On the Transmigration of Souls by John Adams
New York Philharmonic; Lorin Maazel, conductor; New York Choral Artists;
WNYC (September 11, 2003)
The description of this tape in the WNYC Archives actually gives two sources for these bells: the Cathedral of St. John the Divine in Manhattan, and Saint Paul's Roman Catholic Church in Brooklyn. If you live near one of these churches and can identify the sound, post a comment below.
Joseph L. Howlett from Saranac Lake, NY writes:
For me, the Brahms German Requiem gives the greatest consolation of any of the classical requiems. It begins with "Blessed are they that mourn, for they shall be comforted." The text takes a humanistic approach. The ending is "Blessed are the dead which die in the Lord from henceforth: Yea saith the Spirit, that they may rest from their labours and their works do follow them." The music is heavenly, at times quiet and peaceful, at other times dramatic and robust. The Brahms requiem is so suitable at 9/11/2011.
When Lilacs Last in the Dooryard Bloom'd: A Requiem for Those We Love: Finale, Passing the Visions by Paul Hindemith
Atlanta Symphony Orchestra; Atlanta Symphony Chorus; Robert Shaw, conductor
John Maclay from Manhattan writes:
Paul Hindemith's "When Lilacs Last in the Dooryard Bloom'd", subtitled A Requiem for Those We Love. Composed for Hindemith's adopted country, set to words by one of New York City's - and America's - greatest poets, Walt Whitman. The story of New York is the story of America - let us never forget!
Joel Meyerowitz, photographer
Interviewed by Kurt Andersen for WNYC/PRI (September 7, 2006)
For nine months following the 9/11 attacks, Meyerowitz documented the Ground Zero cleanup and recovery efforts in a series of powerful and moving photographs. They are collected in Aftermath: World Trade Center Archive. Meyerowitz appeared on Studio 360 to talk about the book.
Nho'em (I Miss You), Vietnamese Traditional music
Le Tu Cuong, lam kep
Celestial Harmonies 13082-2
Mossi Funeral Celebration, Burkina Faso Traditional music
Gobiniyala Nombre, lead female singer; David Bambera, gourd-clarinet; Alizeta Zeba, chorus; Lamoussa Lengagni, chorus
From the album liner notes:
These musicians spent three hours in the back of a pick-up truck traveling forty miles to play at the funeral for the late Mossi chief of Koupela, "Naba Zare," who died six months earlier. Gobiniyala Nombre, the lead female singer, chants praises for the late chief while dancers perform "saare," a traditional Bissa dance. David Bambera, a farmer and a mason, plays gourd-clarinet for the group. Alizeta Zeba and Lamoussa Lengagni provide the chorus and vocal harmony.
Folk Songs: Loosin Yelev by Luciano Berio
Musicians Accord; Christine Schadeberg, soprano
Written for Berio's mysterious muse of the voice, Cathy Berberian, this Armenian folk tune describes the moon's rising to chase away night's shadows.
Requiem Missa Pro Defunctis: Introitus, Requiem aeternam by Roman Maciejewski
Warsaw Philharmonic Symphony Orchestra and Choir; Tadeusz Strugala, conductor; Jadwiga Rappe, contralto
Polskie Nagrania label
Suite No. 1 for Two Pianos, op. 5, "Fantaisie-tableaux": Tears by Sergei Rachmaninoff
Brigitte Engerer, piano
Harmonia Mundi 901301
Spiegel im Spiegel (Mirror in the Mirror) by Arvo Part
Dietmar Schwalke, cello
Patricia Schantz writes:
Arvo Part's Mirror in a Mirror is a piano/violin piece that I can listen to over and over. It makes me stop what I'm doing, pay complete attention and feel deeply. It's a perfect choice to accompany the 10th 9/11 anniversary and contemplate, remember, cry, reach out to one another and look at our own reflection and the reflection of those we love-and miss. Six powerfully haunting minutes of music. Thank you for asking the public to participate.