Requiem in E minor (completed movements)

Since this section has been a little slow, I thought I'd repost the completed movements of my requiem.  I'm almost done with the first part (Introitus and Sequentia), just needing to finish the Recordare (part VI) which I've been a little stuck.  I've been making minor revisions to the other movements.

I've been working on this off and on for quite a long time, since college, though more in earnest over the past couple years so it is a bit of a microcosm of my development as a composer.  It initially was heavily inspired by Mozart's Requiem (I plan to setting the same text as his including the Sussmayr completion) but I've also drawn inspiration and influence from many other Classical and Romantic settings.  When I get a chance, I'll post the scores as well.

Any thoughts welcome!

1. There were a couple times I think your suspensions held even though it resolved? Maybe a clarinet held a concert E while the voice dropped to D# in E minor? Could be wrong. Your modulations are smooth and impactful, I like that. The arc is clear and defined. Very good intro.

2. When you hold the D in the alto (I think?) I get it was supposed to be a lot of suspensions and retardations but it ended up sounding awkward to me. Picardy thirds were used well in this movement, but the movement felt kind of short to have that be super impactful.

3. Your violins might a little bored with that ostinato, but they can suck it up, haha. Here I hear the Mozart a lot more for some reason, despite all the changes. Pedal tone of A in the bass as an interesting choice. I think it pretty much works, even in the augmented 6th chord. V of vi chords were seamless in this one. Great. 

4. This one felt a little out of place to me. This one has some passing tone issues, I think. In your tonic chord I hear the perfect 4th in there sometimes. The E-flat major section was quite nice, though.

5. Great! Once it hit its stride, the deceptive cadence section was fine, but initially it felt awkward. 

7. Lingering on a chord in this one with not much change was the one that took me out of this one a little bit. The rhythm got more stale this time around as it went along as well, as an addendum to that. 

8. Again, I hear the Mozart very heavily in this one, almost like there are quotes from it. Minor seconds in your dominant chords was an interesting change, but it's subtle enough where I think it's okay (also I could be wrong in hearing that). Great, with enough variation to keep the atmosphere of the main motif going through most of the piece. 

It's nice. Sorry if anything I heard was wrong, and if it is, the general things I say, I'm pretty sure are right, haha. I see the style resemblance very much, and I think you did a good job with that. A lot of great chordal transitions to where it rarely fell flat. Would love to see scores when you can!

I haden't listened to some parts, so it's good you post all together.

Although I'm not very very fond of the style, Of course, I rescpect and consider your work. I like the whole, but the ones I enjoy more are the Kyrie and the Rex Tremendae.

There's only one thin I don't like (but, again, it's an opinion): the high-high note (¿piccolo?) in the very beginning, in the Introitus. Don' know, perhaps it's the virtual instrument... I think it breaks the "darkness" of the beginning (with voices).

Quote

Thanks for the comments!

HOW do you get that choir sound?! Hahaha...I mean I've heard of Symphonic Choirs by East West but this is magnificent. 

Your choirs say actual words...what program do you use?

2 hours ago, LostSamurai said:

HOW do you get that choir sound?! Hahaha...I mean I've heard of Symphonic Choirs by East West but this is magnificent. 

Your choirs say actual words...what program do you use?

 

Symphonic Choirs comes with a program called Worldbuilder where, if you the time and patience, you can enter syllables to be sung.  I never figured it out but an old member here (not sure if he is still active) who was kind enough to do it for me.

This sounds like a very polished classical work. The lines are clear with their own identity and momentum, and the overall form is balanced with nothing lacking. Well done, Brian. I could not do this. Although you may have borrowed from Mozart from time to time, it doesn't really matter because all the pieces fit together as a complete composition.

Thanks Ken

On 10/21/2016 at 1:58 AM, Ken320 said:

This sounds like a very polished classical work. The lines are clear with their own identity and momentum, and the overall form is balanced with nothing lacking. Well done, Brian. I could not do this. Although you may have borrowed from Mozart from time to time, it doesn't really matter because all the pieces fit together as a complete composition.

 

Thanks Ken!  That means a lot coming from you. 

On 10/7/2016 at 0:11 PM, Monarcheon said:

1. There were a couple times I think your suspensions held even though it resolved? Maybe a clarinet held a concert E while the voice dropped to D# in E minor? Could be wrong. Your modulations are smooth and impactful, I like that. The arc is clear and defined. Very good intro.

2. When you hold the D in the alto (I think?) I get it was supposed to be a lot of suspensions and retardations but it ended up sounding awkward to me. Picardy thirds were used well in this movement, but the movement felt kind of short to have that be super impactful.

3. Your violins might a little bored with that ostinato, but they can suck it up, haha. Here I hear the Mozart a lot more for some reason, despite all the changes. Pedal tone of A in the bass as an interesting choice. I think it pretty much works, even in the augmented 6th chord. V of vi chords were seamless in this one. Great. 

4. This one felt a little out of place to me. This one has some passing tone issues, I think. In your tonic chord I hear the perfect 4th in there sometimes. The E-flat major section was quite nice, though.

5. Great! Once it hit its stride, the deceptive cadence section was fine, but initially it felt awkward. 

7. Lingering on a chord in this one with not much change was the one that took me out of this one a little bit. The rhythm got more stale this time around as it went along as well, as an addendum to that. 

8. Again, I hear the Mozart very heavily in this one, almost like there are quotes from it. Minor seconds in your dominant chords was an interesting change, but it's subtle enough where I think it's okay (also I could be wrong in hearing that). Great, with enough variation to keep the atmosphere of the main motif going through most of the piece. 

It's nice. Sorry if anything I heard was wrong, and if it is, the general things I say, I'm pretty sure are right, haha. I see the style resemblance very much, and I think you did a good job with that. A lot of great chordal transitions to where it rarely fell flat. Would love to see scores when you can!

 

Sorry I never acknowledged the great feedback.  You really have a great ear.  I'll post the scores soon, I forgot that I didn't upload them earlier.

The Lacrimosa was the very first movement completed and Mozart's Lacrimosa is my favorite part of his Requiem so probably not surprising that it has the most obvious connection to it.  The Kyrie was written soon after and I agree it's on the short side.  It initially was a direct connection to a previous version of the Requiem part of the Introitus that I discarded but kept the Kyrie with only slight modification is as a standalone movement.  Maybe I should reconsider that.