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Hi all, Today I focus on classical composer Johann Michael Haydn, The brother of World Renowned Joseph Haydn. And I wanted to switch it up, I'm usually sharing Concertos, and what not, I switched it up last week with a lied.This week I want to introduce you all too the subcategory of music known as the requiem, which is a death mass. (so it's mostly minor of course) I actually in the last few months found out about Michael, I knew of Joseph well of course but, you never really think oh! These composers have these brothers who compose too. Then again Mozart had a sister who was set to be the Family composer then, Mozart was born. Actually listening to the dies Irae in this I think I know where Mozart got his inspiration a bit? Then again maybe the whole thing? This is my first time hearing Michael's Mass along with you all, and I've heard Mozart's several times, and you can no doubt hear the influences. The requiem:

Requiem Op. 9

15 parts111 pages10:103 years ago2,709 views
Voice(3), Percussion, Violin(2), Guitar, Viola, Cello(2), Contrabass
A secular requiem to be premiered on my funeral, were someone interested to perform it. In 5 sections:
1. Introit
2. Kyrie
3. Tract
4. Sequence: Dies Irae, Ingemisco, Pie Jesu
5. In Paradisum

I do not believe in a "God" that gives me eternal rest or delivers me etc. Eternal rest is a wish of the living rather than of the dead. The music per se takes up the role of the so-called "God", and is written to give performers and listeners what they wish. Otherwise, "the day of wrath", "paradise", etc. are meant to depict a state of the mind not what is described in the Bible. Such is the "secularity" of the requiem.

Marimba cum Conductor
Narrator (no gender preference)
Tenor soloist (word-like sounds)
18 first violins
18 second violins
16 banduras (or 3 electric guitar)
16 violas
14 cellos
14 gehus (or cellos)
8 double basses
1 soubrette (wordless)
1 dramatic mezzo (wordless)

Notes on Instrumentation
I have become more informed of the Ukrainian music culture not long ago, especially the characteristic folk instruments and the Ukrainian mode.

The gehus are to be played not like violoncellos. These instruments are so similar that the only difference is that gehus have fewer high and more low overtones.

A soprano in the range C4-D6 with timbre of a mezzo (e.g. Jackie Evancho)

Dramatic mezzo
Range is F3-G5 (I have Renée Morloc in mind).

[These are the voice types the girl I love could sing with.]

Tenor solo
The range goes from A2 to E5. Hence it is better to have more than 1 tenor singing in relay. (I have Kaufmann, Giordani, Alagna, Bostridge, Diego Florez, Dahlin and Bocelli singing in relay in mind.)

Notes on Notations
Curves (fall, doit, plop, scoop)
denote Sprechstimme (of Schoenberg). The vocalists slide into or out of the notated pitch by going up or down in accord with its orientation.

Effects of accidental last for one bar.

means to mimic the style of the composer as indicated in ### when performing the piece. For example, in Wagner pieces it is generally the tradition that the vocalists perform with a more speech-like voice. In Puccini pieces, the vocalists sing more emotionally. These are also to be reflected in the words the tenor chooses to sing with, as in e.g. Mozart it is less preferable to sing French-like words.

W.A. Mozart - Dies Irae

3 parts8 pages01:59a year ago625 views
Clarinet(2), Piano
From the Requiem KV 626. For piano and 2 clarinets.

I made this to play it with a friend; he on clarinet.
It is possible that I make some changes while I learn it. So it may be not the definitive version ;)
Also, I think that the tempo can variate to 132 to144 but in my opinion 138 is a good compromise :)

Update 01.02.2018: additional clarinet; optional, but sounds better imo.



III. SEQUENZ - N° 1 Dies irae

13 parts17 pages02:162 years ago478 views
Clarinet, Bassoon, Trumpet, Timpani, Trombone, Violin(2), Viola, Voice(4), Strings
Dies irae dal Requiem di W.A. Mozart.

Dies Irae

1 part1 page01:378 months ago195 views
Dies Irae from Mozart's Requiem Mass arranged for Solo Clarinet

Requiem in D Minor, K. 626, W.A. Mozart

14 parts24 pages04:532 months ago119 views
Clarinet, Bassoon, Trumpet, Timpani, Violin(2), Viola, Voice(4), Cello, Contrabass, Organ
Wolfgang Amadeus Mozart started composing the Requiem Mass in D minor (K. 626) in Vienna in 1791, following an anonymous commission from Count Franz von Walsegg, who requested the piece to commemorate the anniversary of his wife's death. Mozart passed away on December of 1791, however, having finished and orchestrated only one movement. The Requiem is widely considered one of Mozart's greatest works, and its composition process is surrounded a shroud of mystery and myths, usually attributed to Mozart's wife Constanze, who had to keep secret the fact that Mozart hadn't completed the work in order to be able to collect the final payment from the commission. It is commonly accepted that Mozart finished the Introitus, and left detailed sketches of the Kyrie and Dies Irae all the way to the first eight bars of the Lacrimosa and parts of the Offertory. There are now several completions of the Requiem Mass, though the most common by far (considered the standard version of the piece) is the one by Franz Xaver Süssmayr. He not only completed the movements Mozart left (borrowing an unspecified amount from Joseph von Eybler's previous attempts at completing the work) but also added several movements of his own: Sanctus, Benedictus, and Agnus Dei. He then added a final section, Lux aeterna by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass. The myth surrounding this work was increased by the fictional rivalry between Mozart and Antonio Salieri first expressed in 'Mozart and Salieri', a play by Alexander Pushkin, which in turn inspired an opera by Rismky Korsakov of the same name, the immensely popular 1979 play 'Amadeus', by Peter Shaffer, and it's 1984 film adaptation by Miloš Forman. The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, bass soloists, and an SATB mixed choir.

This is the first movement only. Feedback welcome.

03 Dies Irae

5 parts11 pages01:49a year ago83 views
Voice(4), Piano
This is a movement from Mozart's Requiem. I did not create this score. But I found it somewhere and downloaded it to musescore 2.
W. A. Mozart - "Dies Irae" (Piano arr. by Karl Klindworth)
Custom audio

W. A. Mozart - "Dies Irae" (Piano arr. by Karl Klindworth)

1 part3 pages01:4210 days ago50 views
An awe-inspiring (and equally challenging) piano transcription of Mozart's "Dies Irae" written by Karl Klindworth.

"Dies Irae" - The Day of Wrath - a latin hymn and the third part of Mozart's Requiem in D Minor. It's often quickly recognized by people, and no wonder why. The mighty choir, sudden fortissimo beginning... All of this can burn into one's mind. Although the piano doesn't really sound like choir, Karl Klindworth does an amazing job at preserving the piece's power and allowing it to be played on a single instrument.

The sheet music I used can be found on IMSLP:,_K.626_(Mozart,_Wolfgang_Amadeus)

I used the Salamander Grand Yamaha C5 Soundfont for playback, which can be found here:

If you see any mistakes, please let me know.

Pierre Desvignes - "Confutatis" from Unfinished Requiem

16 parts18 pages02:36a year ago128 views
Flute, Oboe, Clarinet, Bassoon, Trombone(3), Strings(5), Voice(4)
Pierre Desvignes (1764-1827) was a Classical-era French composer. A prodigy in his youth, Desvignes began his career in the church, writing masses and liturgical works. Following the French Revolution, he composed operas and anthems that glorified the republic. Upon Napoleon's rise to power, he returned to his ecclisastical roots, eventually becoming chapel master at the Notre Dame Cathedral in Paris.

Desvignes appears to have begun composition of a requiem in 1808 for the late Archbishop of Paris Jean-Baptiste de Belloy. However, he only finished the opening bars of his Introitus and the majority of the Dies Irae Sequence before stopping completely. Instead, Mozart's Requiem was performed at Belloy's obsequies coupled with an additional Pie Jesu and Marche Funebre by Desvignes. The quality of these two pieces astounded the parisioners who mistook them for compositions by Mozart himself.

Although the manuscript is littered with crossed out passages, corrections and revisions, Desvignes' own Requiem still remained unfinished at his death. Its realization here is likely the first time it has ever been heard by anyone.