Requiem (Ünlü)
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The Requiem of Altuğ Ünlü is a musical work commissioned.
Altuğ Ünlü composed his Requiem (2012–2013) on the occasion of the 100th year of commemoration after the outbreak of the First World War . It is a commission from the Rellinger Church . The work comprises 5 movements. It was published in print by Friedrich Hofmeister Musikverlag . The musicologist Constantin Floros has one for this work preface written in which he characterizes it as follows: "This work of Ligeti -Schülers Altuğ Ünlü can probably best known as a memorial composition to hear and understand. It is not intended as an intercession for the peace of the dead as in the Catholic funeral mass, nor as a consolation for the bereaved as in the German Requiem by Johannes Brahms . It is less disturbing than Mozart's Requiem and not theatrical and dramatic like Verdi's work . Rather, the focus is on reflecting on the terrible events of the 20th century. "
Sentence headings
text
This requiem is based on the traditional Latin text. Only in the 3rd sentence Dies irae was the text shortened. In contrast to many other Requiem settings, “Lacrimosa” does not appear as a separate sentence section or as an independent sentence.
Dies irae dies illa,
Solvet saeclum in favilla:
Teste David cum Sibylla.
Quantus tremor est futurus,
Quando iudex est venturus,
Cuncta stricte discussurus!
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
Mors stupebit et natura,
Cum resurget creatura,
Iudicanti responsura.
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus iudicetur.
Lacrimosa dies illa,
Qua resurget ex favilla
Iudicandus homo reus:
Huic ergo parce Deus.
occupation
The line-up includes 4 vocal soloists ( soprano , alto , tenor , bass ), a mixed choir and orchestra . The strings are soloist and are amplified with microphones .
Choral Quotes
The composer writes in a note in the conductor's score: “The 1st movement (introitus) is largely based on a Gregorian chant (with parodied text), its initial in the 3rd movement (Dies irae, from m. 25) and in the 5th movement (Lux aeterna, from bar 53) is quoted. "
stylistics
Stylistically oscillates the musical language this Requiem between modal melody and complex polyrhythmics and dense polyphony (see, for. Example, in the section of "This irae" above particular phrygische tone sequence the voice Alt and the rhythmic shape of the instrumental parts in the polyphonic braid). In the fourth movement, “Sanctus”, two time signatures are sometimes heard on top of each other. According to a note in the score: “The polymetric (3/4 versus 4/4 time) is best performed with the conductor striking 4/4 time while the singers (in some places the instrumentalists ) divide the time into 3/4 ". Also Floros noted in his preface, is that the "structure of this Requiem [...] by enormous complexity of [records] - a dense polyphony is their characteristic": In all the records there are imitative and canonic passages. The “Sanctus” begins paradigmatically with a canon between cello and double bass (in the ninth spacing).
premiere
This Requiem was premiered on November 1, 2014 in the Rellinger Church. The vocal soloists were Hanna Zumsande (soprano), Sara Gillamariam (alto), Wolfgang Klose (tenor), Keno Brandt (bass). The cantor Oliver Schmidt was in charge. The orchestra consisted mostly of members of the Hamburg Philharmonic and the Hamburg Symphony Orchestra: Stefan Czermak (1st violin), Stefan Schmidt (2nd violin), Teresa Westermann (viola), Valeri Krivoborodov (cello), Hannes Biermann (double bass), Judith Michalski (flute), Birgit Sader (oboe), Kathi Froelian (clarinet), Eva-Maria Matthiesen (bassoon), Thilo Jaques (horn), Gerhard Hoppe (trumpet), Eckard Meyer (bass trombone), Prof. Cornelia Monske (percussion ), Dr. Jörg Dehmel (organ). Before the premiere there was an introduction to the work with individual sound samples. The speaker was Dr. Wolfgang Doebel.
review
The Requiem was received very positively. After the premiere there were good reviews. The Pinneberger Tageblatt wrote on November 3, 2014:
"A requiem for the hundredth anniversary of the outbreak of the First World War - that was the task for the composer Altug Ünlü, to whom the Rellinger Church entrusted the commissioned work. After two years of meticulous work, the work of the 48-year-old Hamburg composer came to the Rellinger Church under cantor Oliver Schmidt now for the premiere. Although not all seats were occupied, many curious people were drawn to this event in the baroque building. The approximately thirty-minute funeral mass was introduced with a work review by Wolfgang Doebel, an old friend of Ünlü, his thoughtful work and his own musical language in this work. […] What the audience immediately noticed: The rhythm of this piece is also tough, as is the harmony, polyrhythmics, polyphony taken to extremes, chromatics, screaming glissandos and threatening organ points in the very low register: easy The Requiem is not cost, and it is certainly not easy to play e excellent performance and the Rellinger Kantorei and the soloists […] shone with the difficult score […]. The musician and composer earned a lot of applause, and in the end Ünlü and Schmidt were in each other's arms. A recording of the premiere is to appear on the online video portal Youtube. "
Individual evidence
- ↑ Work information ( Memento of the original from April 7, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at Friedrich Hofmeister Musikverlag
- ↑ The foreword was published as part of the conductor's score.
- ↑ In the Mozart Requiem z. B. “Lacrimosa” sounds as the 6th section of “Dies irae”
- ^ In the Ligeti Requiem z. B. “Lacrimosa” is an independent sentence that concludes the work.
- ↑ This is in the notes that the composer attached to the conductor's score.
- ↑ Augmented imitation between flute - viola and clarinet , (immediately afterwards) between bassoon and flute-clarinet
- ↑ Pinneberger Tageblatt of November 3, 2014
