Requiem (2020)

The musical ideas and themes that appear in this Requiem originated almost 30 years ago when I was a graduate student at Louisiana State University.  There was always a strong desire over the decades to compose a Requiem, but other academic obligations repeatedly postponed this goal on many occasions.  It was eventually my intention to write the composition as part of my doctoral dissertation, but some of my ideas were strongly opposed at the time by my teachers.  It wasn’t until recently when I discussed the idea with Todd Miller, director of the Kingwood Chorale, that my vision of the piece could be finally realized with this wonderful ensemble of musicians. 

Being raised in the Catholic church as a child, I’ve always been fascinated with the order of the traditional mass – how the form and ritual gradually over time progresses towards the sacrament of communion.  Similar strong forms appear in other types of masses and religious gatherings as well, such as the funerals and masses for the dead, and these have always appealed to my interests in formal design and musical organization in multi-movement works.  It would make sense that a Requiem would strongly appeal to my creative senses.

Probably my favorite classical piece of music of all time is Gabriel Faure’s Requiem, Op.48.  I always thought his setting of the mass was highly expressive, beautifully melodic, and elegantly presented – and I never get tired of hearing it.  I’ve studied this piece numerously over the years and decided that my version of it, when finally composed, would act as a companion-piece to his delicately beautiful and gorgeous approach to the Requiem in order to capture that same musical spirit.  In fact, the multi-movement’s structure is the same as Faure’s with seven separate movements, and the avoidance of an independent Dies Irae movement (in order to preserve the delicate and elegant musical aesthetic).  A true homage to Faure’s piece can be found in the Libera Me where the style and texture at first is very similar before taking on a character and language of its own.  It also incorporates a baritone soloist in the same manner as Faure’s version.  Another connection is heard in the Pie Jesu where, like Faure, a boy soprano is used as a soloist to convey the simple and innocent plea to the “merciful Jesus” to “grant them rest.”

While the work is strongly tonal in its musical language – again, giving it a firm connection to Faure’s, the landscape often incorporates a strong use of harmonic clusters that serve to provide a mysterious and uncertain element to the surrounding themes and textures.  Finally, the recurring thematic theme that generates the entire piece is found in every movement of the Requiem, and it’s my hope that the audience will not only recognize many of these recurrences, but also find the melodies and themes attractive and memorable among this solemn setting. 

Requiem is written and dedicated to the loving memory of my friend, Elizabeth Nuelle Barraza (1989-2019).

I. Intro and Kyrie

II. Offertory

III. Sanctus

IV. Pie Jesu

V. Agnus Dei

VI. Libera Me

VII. In Paradisum