The Requiem, a piece of music that is taken from the original liturgical text from the Roman Catholic Church to accompany ceremonial funerals. It's described as, "an act or token of remembrance" (Google Dictionary). Many composers have written stellar requiems such as Mozart, Verdi, Durufle, Berlioz, and Britten just to name a few.
The central theme of a requiem seems is to provide a benediction before passing on to the afterlife. Musically speaking, it does it in a more dramatic way. Traditionally, music requiems are sung either in a Gregorian chant by composers such as Ockeghem. Requiems written in the Classical to Modern era are complex with harmonies and emotions. The Dies Irae, or "Day of Wrath" is always a section that people most remember because of its fearful tone. Atonement seems to be the central theme in this section; "Kyrie Eleison" or "Lord, have mercy" sets up the Die Irae text in the musical form. With the exception of some composers such as Durufle and American composer, Jeff Manookian. Their compositions take a peaceful approach to the more fearful sounding requiems as mentioned above.
The Requiems of Verdi, Mozart, Berlioz, Britten, and even Stravinsky are much more like over-the-top dramatic operas. The vocal lines demonstrate the ability to power through sonorous melodies and shape those lines to convey a powerful image of atonement and eventually, peace.
This is where I come in. A 33-year old flutist and composer who is a native of San Francisco and currently living in Pittsburg, CA. I have two professional ensembles. The first is Etesian Duo, a flute duo which premiered at the National Flute Association Convention in San Diego in 2016. This year I co-founded another ensemble called Queentet which is a gay men's wind quintet based in San Francisco. I graduated from the University of the Pacific Conservatory of Music in 2013 with a Bachelor's Degree in Flute Performance. What most people don't know about me is that I also compose. Mostly chamber and solo works. I have sketches of orchestral and chamber orchestral works. None have met the equal of my Requiem Sinfonica, subtitled A Requiem Without Words.
The Requiem Sinfonica is an ongoing project I am currently composing in remembrance of the victims of the Ghost Ship Fire which happened on December 2, 2016, was a tragedy which claimed 36 lives. The subtitle, a requiem without words, reflects the tragedy in that these people's voices will not be heard again. They're gone physically, but their spirits live on in the hearts of friends and family. There is no text, no voices to sing the liturgical text that accompanies this music.
I have completed most of the movements; which include the Introit, Kyrie, Agnus Dei, Pie Jesu, Sanctus, Libera Me, and the In Paradisum.
The Introit text introduces a central theme of allowing the dead to rest:
Eternal rest give unto them, O Lord; and let perpetual light shine upon them; A hymn, O God, becometh Thee in Sion; and a vow in shall be paid to Thee in Jerusalem; hear my prayer; all flesh shall come to Thee; Eternal rest give unto them, O Lord' and let perpetual light shine upon them.
The text is very explicit that this section is to prepare the dead for eternal rest. My idea of the Introit was to take more noble approach. In Verdi's Requiem, his Introit/Requiem Aeternam the text and music set up a peaceful and somber tone which the choir hands off to the solo voices. In my symphonic approach to this, I treat the orchestra as the choir. The basses and cellos begin the central theme, which I entitled "The Hymn of Ghost Ship."This theme is used in later movements, much like Hanson did in his 2nd Symphony "Romantic" called the Interlochen Theme which is treated and reintroduced several times throughout the work.
In my mind, it's a way to remind the families that their loved ones' spirit is always here. The Introit has this beautiful theme which is layered by the strings and upper winds while the lower strings provide this forward moving motion. This motion represents the families and friends of the victims moving forward; it's their love moving their loved ones forward. I quote Vaughan Williams' opening to the Sixth Symphony in the middle section of the Introit as the actual tragedy which is then taken by a solo flute and harp which is a variation on the main theme. The theme is recapitulated and then the chorale like coda ends the first movement.
The Kyrie Eleison section is simply Lord, have mercy. This particular section is written more traditionally as a chorale for orchestra. The serious key of f minor introduces this chorale theme which goes into a canonical fugue in the central section.
This fugal theme is interrupted twice. First, by a bassoon solo which is a variation on the Ghost Ship Hymnand a second time by solo clarinets which the melody will be featured in the Pie Jesu. The chorale theme is then recapitulated to be transformed into Ghost Ship Hymn and taken by the lower brass in a chorale which ends the section on a picardy third.
I am currently working on the Gradual which quotes another of my favorite composers, Charles Koechlin. This section will set up the chaotic Dies Irae which is an idea I kicked around for weeks on whether I wanted to include it. My idea of this requiem was to be a musical guide to finding peace. The Dies Irae presents a challenge and is heard somewhat in the Kyrie. I am placing this section into the work because it encompasses the tragedy and compositionally speaking will set the entire tone of the work. Other completed movements include Sanctus, Pie Jesu, Agnus Dei, Libera Me, and finally In Paradisum.
In the In Paradisum, I plan on arranging Tschenokov's Salvation is Created as the central theme. This choral work was arranged for concert band and popularly performed. The text of Salvation is Created is translated from the original Russian text which states Salvation is made in the midst of the earth, O God. Alleluia. This benediction is a beautiful statement and the music is even more gorgeous. It's a beautiful tribute and testament to the victims.
This project presents interesting challenges and employs some traditional as well as non-traditional methods of composition. My two favorite quotes of Claude Debussy are, "Works of art make rules, rules do not make works of art" and "There are no rules, pleasure is the law." When I compose music, I treat it as the human language. Sometimes there are rules to good music and other times, the best music comes from the heart. Composers such a Debussy and Stravinsky were often criticized their music had no form and didn't follow proper compositional structure, yet their works are some of the most favored today. There are times where I feel the need to take a traditional approach and other times, where it's unnecessary. Great music comes from the soul.
The Requiem Sinfonica is a testament to my passion for music. It's also a reminder for us to keep living; to carry our loved ones in our hearts forever.
Read the feature on the San Francisco Chronicle Late Edition, KQED California Report Story on Requiem Sinfonica, Awesöme Orchestra Collective Story on the Requiem, Berkeleyside Story on Requiem Sinfonica
