Dresden Requiem
The Dresden Requiem ( RMWV 10) is a work by the German composer Rudolf Mauersberger . The three-part Requiem is largely a cappella . In addition to the choirs, a boy alto and a boy soprano perform. Solo instruments such as brass (trumpet 1–3, trombone 1–3, tuba), percussion (2 timpani, small / large drum, cymbals, xylophone, tam-tam, glockenspiel, stick bells), double bass , celesta and organ are used.
History of origin
The Dresden Kreuzkantor Mauersberger composed the work under the influence of his experiences of the bombing and destruction of Dresden on the night of February 13-14, 1945 . The Dresden Requiem was created in 1947/1948, it was changed and supplemented several times up to 1961. It was premiered in 1955. Mauersberger dedicated it to “the dead of the gruesome events of recent years”. The liturgical structure of the Requiem is “an evangelical mass for the dead of a kind that the Protestant church does not yet have”. Mauersberger called his work an "evangelical mass for the dead [...] according to the words of the Bible and the hymn book". The original title of the work was Liturgical Requiem .
The boy solos were originally composed for Peter Schreier .
Genre and text selection
The Dresden Requiem is one of Mauersberger's works with biblical texts with which he thematized the fate of Dresden .
With the exception of the Introitus Requiem aeternam , Mauersberger only uses German-language texts for the work. These come from the Old and New Testament in the Luther translation and from the Protestant hymn book. For the liturgical texts, Mauersberger used free translations from a Bohemian prayer book, which he expanded to include choral stanzas. According to Mauersberger, the Requiem “represents an attempt to bring the content of the well-known Latin Requiem into German, partly expanded or in a corresponding biblical description. The liturgical pieces such as the Introit , Psalm , Graduale , Epistle and the closing prayer 'De profundis' are also inserted . With the Requiem, Mauersberger consciously takes up an order of worship that does not exist in Protestantism.
With the exception of the traditional liturgical section Agnus Dei, Mauersberger did not choose any text that deals with the subject of sin.
Musical implementation and structure
Use of the choirs
The Requiem is designed for three choirs. The large main choir is located in the choir or organ gallery. The solo instruments are assigned to him. The altar arch in carolers symbolizes Jesus Christ, the words of the Gospel in the Dies irae are reserved for him. The distant choir (in the stairwell behind the partially open oval window above the altar of the Dresden Kreuzkirche ) represents the world of the deceased. The choirs are four to eight voices.
construction
The Dresden Requiem is divided into Introit, Kyrie , Evanescence / Death / Dies irae and Consolation through the Gospel, Sanctus , Agnus Dei and the resolution.
The focus of the Dresden Requiem is biblical reflection on death. For example, an epistle (6th sentence) is inserted in the Kyrie, a traditional reading in the face of death. Mauersberger replaces the sequence and the offertory with five parts (movements 8-10, 11-13, 14-16, 17-19 and 20-22) that depict transience and death, as well as the gospel verse and hymn verse. These are Old Testament texts from the prophetic books, the Book of Wisdom and the Apocrypha . These are carried in all parts by the main choir; they refer to the present and the destroyed Dresden . The words of Christ from the Gospel of John and from the Revelation of John (consolation through the gospel) are sung by the altar choir. The remote choir sings the stanzas of the 1st, 2nd and 5th sections, while the main choir sings the stanzas of the German Dies irae in sections 3 and 4. Through this structure, a life's fate is contrasted with a comforting word of Christ.
In Sanctus and Agnus Dei, choirs, brass players and organ as well as the community make music together. The trombone choir is borrowed from Mauersberger's Ore Mountains homeland, where it is an integral part of a funeral.
structure
Since the rededication of the Kreuzkirche on February 13, 1955, the requiem has been preceded by the funeral motet " How is the city so desolate ", the text of which was compiled from the lamentations of Jeremiah . The motet comes from the Dresden cycle created by Mauersberger in 1945 (RMWV 4). Both works are connected by the deep bell of the cross church peal.
| sentence | designation | Choir | information |
|---|---|---|---|
| 1 | Prelude and Requiem aeternam | Altar choir | liturgy |
| Introitus | |||
| 2 | Antiphon | Main choir, remote choir | liturgy |
| 3 | psalm | Main choir | Psalm 65: 2-3 LUT |
| 4th | Antiphon | Main choir, remote choir | liturgy |
| Kyrie | |||
| 5 | Kyrie | Main choir, altar choir | liturgy |
| 6th | epistle | Main choir, remote choir | Revelation Joh. 14,13 LUT |
| 7th | Prayer (graduals) | Main choir, remote choir | liturgy |
| Impermanence, death, dies irae and consolation through the gospel (words of Christ of the Altarchore) | |||
| 8th | transience | Main choir | Know. Solom. 2.1.4 EU ; Job 7: 9-11 LUT ; 9.21 LUT |
| 9 | Gospel | Altar choir | Joh. 16,33 LUT |
| 10 | Chorale | Remote choir | Christ, who is my life (EG 516, 3) Text and melody: in Melchior Vulpius (1609) |
| 11 | death | Main choir | Job 21: 22-23.25-26 LUT |
| 12 | Gospel | Altar choir | Joh. 11,25 LUT |
| 13 | Chorale | Remote choir | Do with me, God, according to your kindness (EG 525, 2) Text: Johann Hermann Schein (1628), melody: Gesus (1605), Schein (1628) |
| 14th | Dies irae I. | Main choir | Job 9,10.12.23 LUT ; Joel 2,6.18 LUT ; Job 9,6 LUT |
| 15th | Chorale | Main choir | Day of Anger, o day full of horror (5th and 17th stanza) Text: Christian Karl Josias von Bunsen after Thomas von Celano , melody: unknown |
| 16 | Gospel | Altar choir | Joh. 24,27 LUT |
| 17th | Dies irae II | Main choir | Hes. 37.1-3 LUT |
| 18th | Gospel | Altar choir | Revelation Joh. 1,17-18 LUT |
| 19th | Choral - German "Dies irae" | Main choir | Text based on the Latin "Dies irae" by Thomas von Celano and a German song, arranged by Bartholomäus Ringwaldt , melody: 15th century / Wittenberg 1529 |
| 20th | This irea III | Main choir | Lament. Jerem. 3.3 LUT ; Job 30.15 LUT ; Lament. Jerem. LUT ; Psalm 66.12 LUT ; 18.8-9 LUT ; Revelation Joh. 11,8 LUT ; 6.8 LUT ; 8,7.13 LUT ; Lament. Jerem. 2,21.13.8-9 LUT ; 1.11 LUT ; 1. Macc. 2.7 EU ; Jesus Sirach 51.10–11 EU |
| 21st | Gospel | Altar choir | Revelation Joh. 21,4-5 LUT |
| 22nd | Chorale | Remote choir | Wohlauf, Wohlan, to the last course , verse 2, text: CFH Sachse; Melody: 16th century, Frankfurt am Main 1589 |
| Sanctus | |||
| 23 | Praefatio | Main choir | liturgy |
| 24 | Sanctus | Main choir, altar choir, remote choir | liturgy |
| 25th | Osanna | Main choir, altar choir, remote choir | liturgy |
| 26th | Benedictus | Main choir | liturgy |
| 27 | Osanna | Main choir, remote choir | liturgy |
| 28 | Chorale | Main choir | Jerusalem, you high-rise city (EG 150, 4.6–7), text: Johann Matthäus Meyfart (1626), melody: Melchior Franck (1663) |
| 29 | Osanna | Main choir, altar choir, remote choir | liturgy |
| 30th | Chorale | Altar choir | Jerusalem, you high-rise city (EG 150, 4.6–7), text: JM Meyfart (1626), melody: Melchior Franck (1663) |
| 31 | Foreplay and chorale | Main choir and parish | Jerusalem, you high-rise city (EG 150, 4.6–7), text: JM Meyfart (1626), melody: Melchior Franck (1663) |
| 32 | prayer | Main choir | liturgy |
| Agnus Dei | |||
| 33 | Chorale | Main choir, altar choir | Text: liturgy, melody: from Spangenberg's church songs 1545 |
| 34 | Closing prayer | Main choir | liturgy |
| 35 | "Give them eternal rest" | Main choir, remote choir | liturgy |
| 36 | Foreplay and chorale | Main choir with community | Jesus, my confidence (EG 526,7) Text: Otto von Schwerin (1644), melody: Berlin (1653) |
| 37 | Final choir | Main choir, altar choir | liturgy |
literature
- Matthias Herrmann: Rudolf Mauersberger (1889–1971), catalog raisonné (RMWV) 2., gänzl. edit again Edition Dresden, Sächs. State Library, 1991. - XI, 155 S. - Studies and materials on the music history of Dresden, Vol. 3
- Martin Petzold in Rudolf Mauersberger on the 40th anniversary of the death of Dresden Requiem . Leaves of the Gewandhaus season 2010/2011. Leipzig.
- Matthias Herrmann in the booklet for CD Rudolf Mauersberger Dresden Requiem Funeral Motets How is the city so desolate . Carus-Verlag, Stuttgart 1995.
- Mauersberger, Rudolf: Dresdner Requiem - Mus.11302-D-505,1 (handwriting) as a digital copy of the SLUB , 1947-48
Individual evidence
- ↑ a b c Quoted from Martin Petzold in Rudolf Mauersberger on the 40th anniversary of the Dresden Requiem . Leaves of the Gewandhaus season 2010/2011. Leipzig.
- ^ Matthias Herrmann. What remains is the work in encounters with Rudolf Mauersberger . Berlin, 1977.