Dvorák’s mighty Requiem was commissioned for Birmingham’s renowned music festival. Since its premiere there in 1891 under the composer’s direction, it has enjoyed huge popularity. Although based on the liturgical Latin text, it was conceived from the outset as a full-length work for concert performance.
In inimitable style, Dvorák’s Requiem presents a vast emotional spectrum from religious devotion to moments of drama and agonized lamentation, all with a truly impressive depth of expression. Bach’s motif of the Cross from the second Kyrie of the Mass in B minor may well have been the inspiration for the similarly chromatic motif which symbolizes death in almost all movements. The choir plays a central role in the work: with one exception, Dvorák features it in all 13 sections.
The version of the work published by Carus reflects the autograph score, which – unlike the original published score and a copy used at the premiere – precisely reproduces the composer’s careful dynamic markings. Autograph notes from the conducting score have been taken into account, while individual annotations give detailed information about the differences between the sources.
With this new critical edition of the Requiem, Carus is continuing its efforts to publish Dvorák’s sacred works. In addition to the full score, a standard vocal score and reader-friendly large print vocal score are available, as well as the choral score, orchestral material and practice aids for the choir (currently in preparation). The full and vocal scores are also available in digital form.
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- Introitus: 1. Requiem aeternam
- Graduale: 2. Requiem aeternam
- Sequentia: 3. Dies irae
- Sequentia: 4. Tuba mirum
- Sequentia: 5. Quid sum miser
- Sequentia: 7. Confutatis
- Sequentia: 8. Lacrimosa
- Offertorium: 9. Domine Jesu Christe
- Offertorium: 10. Hostias
- 11. Sanctus
- 12. Pie Jesu
- 13. Agnus Dei
Practise
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Practice aids
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Practice aids voice part soprano
- Introitus: 1. Requiem aeternam (Choir Coach)
- Introitus: 1. Requiem aeternam (Choir Coach, Slow mode)
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Practice aids voice part alto
- Introitus: 1. Requiem aeternam (Choir Coach)
- Introitus: 1. Requiem aeternam (Choir Coach, Slow mode)
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Practice aids voice part tenore
- Introitus: 1. Requiem aeternam (Choir Coach, Tenore 1)
- Introitus: 1. Requiem aeternam (Choir Coach, Slow mode, Tenore 1)
- Introitus: 1. Requiem aeternam (Choir Coach, Tenore 2)
- Introitus: 1. Requiem aeternam (Choir Coach, Slow mode, Tenore 2)
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Practice aids voice part basso
- Introitus: 1. Requiem aeternam (Choir Coach, Basso 1)
- Introitus: 1. Requiem aeternam (Choir Coach, Slow mode, Basso 1)
- Introitus: 1. Requiem aeternam (Choir Coach, Basso 2)
- Introitus: 1. Requiem aeternam (Choir Coach, Slow mode, Basso 2)
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Contents
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Composer
Antonín Dvorák
| 1841-1904Antonín Dvorák (1841-1904), next to Smetana and Janacek the most important exponent of specifically Czech music, now ranks (also in general) as one of the most popular composers of the nineteenth century. The son of a butcher-innkeeper in the Bohemian town of Nelahozeves (Mühlhausen) near Kralup, he first became known in his homeland for his patriotic hymn "The Heirs of the White Mountain" for chorus and orchestra, op.30, that he wrote in 1872. His road out into the world was opened by a commission consisting of Johannes Brahms, Eduard Hanslick and Johann von Herbeck, that selected him for an Austrian government stipend. Brahms, who was seven years the elder, took a friendly interest in his younger colleague whose eminent talent he had recognized and had come to admire. (Brahms: "That fellow has more ideas than all of us together. Every other composer could cull main themes from what he throws away.") Brahms recommended Dvo"rák to his Berlin publisher, Simrock, who later became Dvo"rák's chief publisher though he was obstinate and at first quite difficult. International fame came to Dvo"rák as a composer and – beginning in 1884 – as conductor of his own works mainly through his sensational successes in England (he went there for lengthy sojourns a total of nine times) and in the United States (two long visits spent in teaching and composing). His success was sparked chiefly by a sacred work, his Stabat Mater that was written in 1876 (Carus 27.293/03). Right until his late period, church music was never missing from the list of his important compositions: the symphonic poems, the operas (among them "Rusalka"), the symphonies, the string quartets and other chamber music works, the oratorio "St. Ludmila" - and the Slavonic Dances op.46 and op.72. To the Stabat Mater op.58 (1876/77) mentioned above, he added the "149th Psalm" op.79 (1879/87), the Requiem op.89 (1890) (Carus 27.323) and the Te Deum op.103 (1892) (Carus 27.189). Personal details
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Editor
Claudia Seidl
| 1990
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Frequent questions about this work
Can the two trumpets playing from a distance (tromba di lontano) in No. 4 also be played by another instrument?
Yes, the two trumpets can also be played by the Corni III and IV if necessary. The trumpet notes are therefore also included in the individual parts of Cor III and IV.
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