Page 1

Requiem for 16 part chorus and solo countertenor by Jacob Mashak

Each voice of the chorus is an individual (even when performed by ensembles larger than 16 singers). A conductor, if there is one, may indicate the pace of the entrances, ends of sections and movements, but exactly how a singer is singing and experiencing and communicating the requiem is their personal expression, within what is specified within the score and within the specific instructions for each movement listed bellow. The countertenor is a slight exception, though given near absolute freedom in rhythm and tempo, he should still present the text as simply as it appears on the page. I. Introit, for solo countertenor: honest and plaintive, do not try to invoke the style of Gregorian chant (unless you actually are of a monastic order and that would be an honest expression for you). II. Kyrie, for chorus: each voice (or section, if the choir is larger) enters with one syllable, repeating it (that is, rearticulating that syllable) as moved or desired. III. Agnus Dei, for solo countertenor and chorus: each member of the chorus sings their four note sequence, repeatedly and at their own pace, independent of the others. The whole ensemble ought change to “dona eis” and then “requiem” together, ending after everyone reaches a closed “m”. The word “sempiternam” is sung, again, repeatedly and at the individual's pace. IV. Lux aeterna, for chorus: Exactly as “sempiternam” above. Transitions between chords should be fuzzy: when indicated to move, each singer finishes their previous phrase and pitch, then moves freely to the next. V. Pie Jesu, for solo countertenor and chorus: much like the Agnus Dei, using only open vowels. The final “bar”, containing the word “sempiternam” from the countertenor should all be sung together, the only place of whole unity in the whole requiem. VI. In Paradisum, for solo countertenor and chorus: exactly as the Introit for the countertenor. The following “Chorus angelorum” much as the Kyrie, voices now mostly with a short phrases rather than single syllables. Ending “aeternam habeas requiem” as in Agnus Dei, with the same closed “m” to fade into eternity.


Requiem   

 

Countertenor Solo

Re



-

qui - em



   





ae

lux

per



Te

de

-

cet

hym

  





Et

Ex

Ad

ti

-

  -

au

 Te

-



bi

red

 -

-

-



nus,

De

tur

-

o

om

tu

de

do







-

nis

ca

ti

-

na

is,

Do -





ce

-

at

e

-

a

lu

-

e

-

-

tum

 -

o

-



us,

in

Si

in

-

Je

-





ro

ve

nem

-

 -

-

me

ni

ne.

 is.

-

on,

-

lem

 -

-

sa

(m)



  

ru

  



mi



 







 

-

-

-

 -

vo

ra

-

    



 

 -



nam

-

di

-

pe

 







-





ter

Et

-

Jacob Mashak

I. Introit

-

-



 -

-

am



et.


2

  

II. Kyrie

à2

    -ste

Ky-

S.

 



B.

    



-ri-

   

 

 

 

 (Ky-)

-e

  -i-

à2

 e-

à2

-i-



-e

  

   Ky  

e-

-ri-

   A.

Ky  

Chri-

 

-le-

e

 

 -i-

-le-

 

-son

 -son

 

 



-le-



 -ste 

Chri-

 



-son

 -son 

e-

 -ste  

Chri-

 

 

-le-

-i-

 

 

-ri-

 -le-

-e

 

 

-i-



-son

 e-

 

(Ky-)

 

-ri-

 

(Ky-)

 

Ky-

-le    

 -e

  e-

 -i-

 -son


3

 

 

  

 



-son

-le-

 

 

  

 

 

-son

-i-



 -son 

 

 

e-

e-

S. e-

  -i-

-le-

e-

-le-

e-

e-

  -i-

 

A.

 

T.



 

-i-

-e

 

 -ri

 

  

e

 

 -le-

 

-le-

   

-le-

  

-i-

-son

Ky-

-ste

-son

Chri-

Chri-

(Ky-)

 -le  

   -son

Ky-

    

 

-i-

(Ky-)

 

-ste



 

-son

e-

  

-e

-ri-

 e

 

-le-

B.

 -i-    -son

 

 

-le-

-i-

 -i-    -son


4

S.

  

Ag - nus

A.

   

Ag - nus

A.

   



    

  qui

  tol - lis

 

 

 

pe - cat - ta

mun - di





    

do - na

qui tol - lis



 

 

do - na

 

 

do - na

i

  

do - na

De - i



   

de -

   Ag - nus De - i       B.    T.

i

   Ag - nus  B.      

 

Countertenor Solo

T.

S.

de -

III. Agnus Dei

  

pe - cat - ta - mun - di

e

-

e

 e

re - qui - em - (m)

 

 

 

 

re - qui - em - (m)

  

 

 

 

is

-



-





is



is

 

     

do - na

 

e - is





e - is



  

   re - qui - em



 

re - qui - em - (em)



re - qui - em - (m)

re - qui - (qui) - em

do - na

  

 

 

 

 

 

e - is

 

 

  



  Sempiternam

 

Sempiternam

 

Sempiternam

 


S.

5

   

Lux aeterna

  

A.

T.

B.

S.

    Lux aeterna

   

Requiem

A.

T.

B.

 

 

luceat eis,

Domine,

 

 

cum sanctis tuis

in aeternum,

quia pius es.

 

 

 

 

 

 

 

 

 

 

 

Domine,

 

 aeternam

 

cum sanctis tuis

 

 

  Domine,

et lux perpetua

dona eis

in aeternum,



 

luceat eis,

 

 





    Requiem

 

 

 

 

 

 

et lux perpetua

luceat eis,

 

 

 

 

 

   

 

 

luceat eis,

  

IV. Lux Aeterna

aeternam

dona eis

Domine,

 

quia pius es.

 

quia pius

    quia pius

 

 

es.

 

  es.

 


6

S.

   

[i]

 

A.

 T.

B.

  S.   

-

V. Pie Jesu

 

  [e]

[i]



Countertenor Solo

   [i]   

-

 

Pi

-

e



 Je

-

su,





-

-

Do

     [i] - [e]     B.   T.



ne,

do

-

[i]

-

   



    

mi -



  



Pi - e

      

Je - su,

Do

-

  

mi - ne,

do - na





    [i] - [e]

 



[e]

[i]



 

na

e

   e

-

is

 -

is

     

  [e]

[i]

-



 

qui

-

em.

  [e]

   

   

[e] - [i] - [e] - [a] - (m)

 







re - qui - em

  

-

 

 



re



 

-



 

  

 



[e]

[i] - [e]

[i] - [e]

 

 





[i] - [e]



-

 

 

[i] - [e]





[e]

[i] - [e]

A.





  



sem - pi - ter - nam

        

   

(m)

 

[e] - [i] - [e] - [a] - (m)

    




7

 





pa

-

ra

 



in

tu

-

o

 





Countertenor Solo

In

mar

  ci

-

-

 -



di

-

ty

rus



vi

-

ta

-

tem



sum

de



ad

-

ven

-

et

per

 san

-

-





du

-

cant

an

-

ge





tu

su

du

 -



-

VI. In Paradisum

-





-

ctam

Je

sci

-

li;





pi

-

ant

te

cant

-

-





ru

-

-

sa

te

in



 -

 -

lem.


8

S.

A.

     

       

an - ge - lo - rum

Cho - rus

   

     an - ge - lo - rum 

Countertenor Solo

        

Cho - rus     

   

     

    

     

pau - pe - re

  

   et

cum quon - dam

   La - za - ro,



te

suscipat

 et cum et

te

Lazaro,

quondam

paupere,

  

  

su - sci - pat

pau - pe - re

te



 



 

 

 

 

 





 



aeternam habeas requiem. (m)



  

aeternam habeas requiem. (m)

 

aeternam habeas requiem. (m)

La - za - ro,

  cum 

 

 

 

quon - dam

et

 

 

 

cum

  

 



  

an - ge - lo - rum

La - za - ro,

 

aeternam habeas requiem. (m)

quon - dam

su - sci - pat

te

an - ge - lo - rum

cum

    

te

  

pau - pe - re

   et

Chorus angelorum Cho - rus

B.

  

su - sci - pat

Cho - rus

T.

 

 

 



 

 

 



quon - dam

  

su - sci - pat

  

aeternam habeas requiem. (m)

La - za - ro,

  

pau - pe - re

 







Requiem  

for 16 part chorus and solo countertenor

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