A secular requiem to be premiered on my funeral, were someone interested to perform it. In 5 sections:
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)
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)
Range is F3-G5 (I have Renée Morloc in mind).
[These are the voice types the girl I love could sing with.]
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.