Instrumentation:

• 4 sop — electronics (tape) — 4 vcl

Duration: 53:00

First Performance: —

Dedication: —

Program Note:

• I began work on this setting of the latin Missa pro defunctis, the Mass of the Dead, in August, 2020. By that time, the COVID-19 pandemic, which had swept across the whole world, was at its zenith. I, like many other people, lost my jobs, and was forced to spend endless weeks (it seemed) indoors and away from my beloved friends and extended family. I was also pained to witness the ruination of the musical world as virtually all scheduled performances and concert seasons were unceremoniously cancelled, depriving people of their much needed solace and comfort in the very time where it was needed most. 
  
  My Requiem was born out of the desire to provide that sense of comfort and normalcy back to everyday life. It also reflects the changing landscape of the musical world, which forced many musicians to go online and experiment with virtual performance and recording practices. From the beginning, the Requiem, was designed for a home studio production and this is reflected in the instrumentation which consists of four female vocalists, four cellos, and electronics.
  
  The primary sound world is a dreamscape of evocative vocal lines, bolstered by nostalgic synths and the earthy-ness of the acoustic cello quartet. It begins with a turgid chorale for the four cellos, starting the piece off in the ambiguous realm of uncertainty which the world faced at the beginning of the pandemic. After this opening, the mood pivots to a tonal, but nonetheless somber D minor “Requiem æternam”. 
  
  A remote inquietude settles in during the second movement “Lacrimosa”. The second soprano is accompanied by a halting chordal accompaniment for the other three voices doubled by cello harmonics. The movement ends with ethereally beautiful, but emotionless setting of the “Pie Jesu” text, bringing the movement to an ambiguous close.
  
  The third movement “Agnus Dei — Lux æterna” is an exploration of irregular meters in a dirge-like setting. The dirge is set against a beautiful chorale for the four voices singing the “Lux æterna” before the “Agnus Dei” comes back more fully scored. 
  
  The “Libera me” fifth movement begins with a trio for solo soprano, harp, and cello, with cello commenting the soprano on alternate phrases. The middle section presents a particularly ghoulish setting of the “Dies irae”. Slowly, the music winds down and chorale from the “Lux æterna” floats the sopranos and cellos above angelic textures of harp, piano and synths. The piece closes with a fully scored return of the “Libera me”.
  
  The final movement, “In paradisum”, begins with an ethereal glittering of multiple rhythmic piano, harp and celeste textures. Near the end, the turgid cello chorale from the beginning comes back, shedding a discoloring light on the comforting music. But with one final resolution to F major, the relative major key of the opening key of D minor, the piece gently hangs in suspended animation, glittering rhythmic textures supporting flowing canonic vocal lines, until the piece comes to a full rest.