Requiem Project: Part V

Part V of V

Saturday, September 10, 2011

The fifth segment of Q2's 10-hour Requiem Project mix features suggestions from listeners, a composition from Ingram Marshall, stories from a musician, a scientist, a policeman and a relative of a 9/11 victim, and many other pieces that reflect on the 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 V Playlist

Tsintsqaro (Lyric Love Song), Georgian Traditional music
Ensemble Basiani; Donadze George, leader; George Khunashvili, soloist
Bagrationi

 


Hualapai Bird Song, Hualapai Traditional music
Keith Mahone, vocals 
Ellipsis Arts 4200

From the album liner notes:
The Hualapai people live in northwest Arizona.  Bird songs are sung at funerals to the spirit of the deceased to help it find its way to the next life.

 


Shell Money Making, South Pacific Traditional music
Unidentified musicians
Nonesuch 79723

From the album liner notes:
Women sing as they make traditional shell money.  The song expresses grief at the death of a lady's brother who was a composer of songs.  The lady believes there is no one to take her brother's place in making songs.

 


For the City
Amit Chatterjee, musician
Recorded by Tony Field for WNYC News (2002)

 

 


Vespers: Bodoroditse Devo by Sergei Rachmaninoff
The Choir of St. Ignatius Loyola; Kent Tritle, conductor
Private recording

 


Cadman Requiem: Caedmon Paraphrase (Bede) by Gavin Bryars
Fretwork; John Potter, tenor
Point 462511

Gavin Bryars writes:
I last saw my friend and sound engineer Bill Cadman in Paris at the beginning of December 1988 when we had a drink together. On December 21, Bill and his new girlfriend Sophie were killed in the Lockerbie air crash. I was very badly affected by his death and for some time I found it hard to sleep and had constant nightmares...

  Listen to an excerpt from Gavin Bryars's Cadman Requiem, and read more of the composer's testimonial

 


Totus tuus by Henryk Gorecki
Robert Shaw Festival Singers; Robert Shaw, conductor
Telarc 80406

Cathy Fischer from Mohegan Lake, NY writes:
My suggestions in this vein are Stephen Sametz' "in time of" with lyrics from ee cummings' "in time of daffodils who know, Sing Me to Heaven" by Daniel E Gawthrop with lyrics by Jane Griner, or Gorecki's Totus Tuus. All hauntingly beautiful.

 


Hymns to the Fatherland: Sadness of Immense Spaces by Georgy Sviridov
The Ural Choir; Vladislav Novik, conductor
Saison Russe 288145

 


Gradual Requiem: Part 3 by Ingram Marshall
Foster Reed, mandolin; Ingram Marshall, electronics
New Albion 2

Ingram Marshall writes:
Gradual Requiem became a requiem, gradually, as its name implies. In the late '70s, I was developing several ideas for “live” electronic music repertory, ideas that might coalesce into concert length semi-improvisational performance pieces. I had already composed and performed The Fragility Cycles which employed a two tape recorder delay-loop system, and I was looking to create a sequel of sorts...

→ Listen to an excerpt from Ingram Marshall's Gradual Requiem, and read more of the composer's testimonial



Eyli Ato by Alter Lubavitcher Rebbe
Frank London, trumpeter
Tzadik 1998

 


Berliner Mass: Agnus Dei by Arvo Part
Estonian Philharmonic Chamber Choir; Tonu Kaljuste, conductor
ECM 1505

Recommended by Andreas from Lakewood, CO



Sheep May Safely Graze by J.S. Bach
Piers Lane, piano
Hyperion 67344

From the album liner notes:
This famous tune, here arranged by Ignaz Friedman, is typically assumed to refer to Jesus as the Good Shepherd, but it was written for the birthday of Duke Christian of Weissenfels.  The aria itself is from Cantata 208 and is indicates in literal terms that when a ruler governs well, one can feel the peace and tranquility which make for a happy country.  In the cantata, the aria is sung by Pales the god/goddess who looks after sheep and shepherds.

 


Blithe Bells (based on Sheep May Safely Graze) by J.S. Bach
Piers Lane, piano
Hyperion 67344

From the album liner notes:
This piece, quite freely here arranged by Percy Grainger, is typically assumed to refer to Jesus as the Good Shepherd, but it was written for the birthday of Duke Christian of Weissenfels.  The aria itself is from Cantata 208 and is indicates in literal terms that when a ruler governs well, one can feel the peace and tranquility which make for a happy country.  In the cantata, the aria is sung by Pales the god/goddess who looks after sheep and shepherds.

 


Prepared
Jim Coughlin, NYPD
From "Six Months: Rebuilding Our City, Rebuilding Ourselves," produced by WNYC (March, 2002)

 

 


Itchalaba Titara, Persian Traditional music
Ahmed Baqbou, sintir
Celestial Harmonies 13146

From the album liner notes:
The phrase Itchalaba Titara is from one of the original Gnawa languages, several of which appear over the course of lila.  Althought the languages and the meanings of these phrases have dropped out of memory, the phrases still remain.  Beginning with Mulay Idriss outside of Fes, the song moves across the countryside to the tombs of dozens of these saints, many of them in Marrakesh.  The seeker may make pilgrimages to several tombs before finding the correct guidance and grace for his situation.

 


Persistent Memory: Elegy by David Rakowski
Boston Modern Orchestra Project; Gil Rose, conductor;Marilyn Nonken, piano, toy piano
BMOP/sound 1009

David Rakowski writes:
Persistent Memory seemed to be very sad music, and I went back several times and revised and revised until I was satisfied with it. On the day I finished the first movement, I received word that Lily Auchincloss, who had sponsored my fellowship, had passed away. I had just written her elegy.  A year passed before I had an idea for what could follow the elegy. I settled on a set of variations on the elegy materials interrupted by a scherzo with the idea that the music would get further and further away and something would happen to bring the elegy back. That “something” became a repeated note climax in the scherzo from which the string sections would explode, first in unison, and then into another 16-note chord; that chord brings back the meandering elegy music as a variation. A codetta exposes the three cellos and puts them back together as a section, themselves ending with a meandering half-step.

 


Funeral Music excerpt, New Guinea Traditional music
Nasioi People of Papua
Ellipsis Arts 4200

From the album liner notes:
Says Charles Duvelle, "When I recorded this, they were walking, nearly running, around a tree, but I don't think they were sacred, it's just that they were dancing in a circle.  The panpipe is really for death; it has spiritual powers.  In this particular case, this music is for just after death, maybe a week after."

 


Ritual
Paula Berry, wife of 9/11 victim
Interviewed by Cindy Rodriguez for WNYC News (September 11, 2010)

 

 


Lamentation by Tarik O'Regan
YL Male Voice Choir; Matti Hyokki, conductor
Ondine 11552

 


Inner Chant by Sussan Deyhim
Sussan Deyhim, music and sound design
Venus Rising

 


Requiem, Op. 66: Pie Jesu by John Rutter
City of London Sinfonia; John Rutter, conductor; Choir of Kings College, Cambridge
Collegium 103

Robert A.M. Ross from Philadelphia, PA writes:
My own favorites in the "Requiem" category are pieces that focus on consolation, whether in the text, the musical style, or (ideally), both. These include those by Brahms, Duruflé, Fauré, and Rutter.

 


Goodness
Stephen Jay Gould, evolutionary biologist
Interviewed by Marianne McCune for WNYC News (October 16, 2001)

Q2R writes:
In the weeks and months following the 9/11 attacks, volunteerism flourished. The evolutionary biologist Stephen Jay Gould saw the simple acts of goodness offered by everyday people as evidence of something important. "We have to understand that their existence in millions for each evil act is what keeps us going. ... "[A] complex, well-functioning system of kindness and decency needs thousands of tiny little steps — you can't put it together as quickly as you can take it apart." Gould's wife Rhonda Shearer led her own relief supply effort.

 


Lamentations for a City by Lisa Bielawa
Cerddorion Vocal Ensemble; Kristina Boerger, conductor;Jaccqueline Leclair, english horn
Tzadik 8039

Q2 writes:
Lamentations for a City is for chorus, solo English horn, and mixes texts by prophet Jeremiah with news reports.

 

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Comments [1]

Gary Moses

Where's the Verdi Requiem? The grandest, most majestic, powerful of them all.
Beethoven's Missa Solemnis-while not a requiem is a msterpiece.
The Berlioz Requiem, also a masterpiece.

Sep. 11 2011 03:19 PM

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