Requiem Americano

Page 1

Timothy Verville

Requiem Americano for Orchestra, Chorus, and solo Tenor


The %tle of this work is a reference to the type of coffee Caffé Americano. The popular telling of how the beverage became named is that American soldiers overseas during World War II asked for their espresso to be served more similar to their regular coffee back home. And in this way, Requiem Americano has been adapted to include “flavors” of the United States through the inclusion of folk, popular, and na%onalis%c music. Using this common vernacular makes the work approachable without sacrificing the depth of the subject maKer. The nine movement piece is bookended by the Introit and closing Hymnus Ad Exequias Defunc% (from the mid-late 4th century by Pruden%us.) And between them, each movement addresses a different societal issue within the US, which are: II. Kyrie: Civil War III. Gradual, Tract: Social Isola%on IV. Dies Irae: An%-immigra%on V. Offertory: Hypercommercialism VI. Sanctus: Gun Violence (School Shoo%ngs) VII. Agnus Dei: Thoughts and Prayers VIII. Libera me: Dispropor%onate Incarcera%on

Instrumenta*on Flute I Flute II Piccolo Oboe I Oboe II Clarinet I Clarinet II Bassoon I Bassoon II Contrabassoon Horn I Horn II Horn III Horn IV Trumpet I Trumpet II Trumpet III Trombone I Trombone II Trombone III Tuba Timpani Percussion (3 Players plus an op*onal 4th): Crash Cymbal - Suspended Cymbal - 3 Snare Drums* - Toms - Op*onal Second Toms - Chimes Op*onal Second Chimes** - Large Gong - Anvil - Chains*** - Marimba - Bass Drum Strings (Violin I, Violin II, Viola, Cello, Double Bass) Solo Tenor SATB Chorus Treble or Youth Chorus *The 3 snare drums should be placed on the stage with Snare 1 to the leP of the conductor, Snare 2 to the right of the conductor, and Snare 3 in the center of the stage. If performing with 3 percussionists, the *mpanist should perform one of the snare parts appropriate to their placement on the stage. Snare 3 may op*onally be placed behind the audience. ** The chime part may be doubled at the director’s discre*on, but must be doubled if the chimes are inaudible. *** For chains, one or two performers may be u*lized, equipped with heavier gauge (but resonant) chains. It is recommended that for the dura*on notated, one chain be raised up while the other is lowered down onto a surface, causing the chain to sound as it impacts against itself.



























































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