GUILDFORD
CATHEDRAL
MEMORIAL
CONCERT
SIR CHARLES GROVES, C.B.E.
1915-1992
Friday, 23rd October, 1992
at 8.00 p.m.
SIR
CHARLES
GROVES
Sir Charles Groves accepted the position of Principal Conductor of the Guildford
Philharmonic Orchestra in 1986 after a petition signed by 65 members of the Orchestra.
Sir Charles had many years of experience with a "municipal” orchestra in Bournemouth
and both he and Lady Groves gave themselves unstintingly to Guildford's music scheme.
Sir Charles appreciated the support of Guildford Borough Council and affirmed that there
was no other town of comparable size in the country that maintained "a concert series such
as ours."
Sir Charles steered the orchestra through six successful seasons, maintaining standards
both of playing and repertoire, and championing the works of British composers and
insisting that Guildford audiences be challenged with new works as well as entertained by
the established favourites.
Sir Charles appreciated the commitment of the Guildford Philharmonic Society - the
Orchestra's supporters club - and was delighted when Lady Groves accepted the position
of President of the Society. He was insistent that he always conducted a concert by the
Philharmonic Choir in each season, and the members of the choir are all showing their
respect and affection for Sir Charles by being here this evening. The South East Music
Trust, which is responsible for administrating the concerts outside Guildford Borough's
scheme, received great encouragement from Sir Charles, who was very keen to see an
expansion of the activities of the Guildford Philharmonic Orchestra and Choir.
Such was the esteem in which Sir Charles was held by the Orchestra that the members of
the Orchestra themselves were instrumental in the promotion of this Memorial Concert.
Everyone who came into contact with him experienced his great musicianship, his warm
personality and his many personal kindnesses. Guildford's musical forces were privileged
to have had the opportunity of working with such an accomplished musician who
combined dignity, artistry and integrity.
Not only is our debt to him incalculable, but so is that of musicians throughout the world.
GUILDFORD PHILHARMONIC ORCHESTRA
Associate Leaders - Hugh Bean and John Ludlow
GUILDFORD PHILHARMONIC CHOIR
Chorusmaster - Neville Creed
CHORISTERS OF GUILDFORD CATHEDRAL
Organist - Andrew Millington
FIONA FIRTH-SPILLER .. .. .
Soprano
PAULINE BIRCHALL .. .. .. . .
Mezzo-soprano
ANDREW KING = Tenor
GRAHAMTITUS ... Bass
JOHNLILL . Piano
ENSHAO......
... .. Conductor
PROGRAMME
Introduction by Caron Frank Telfer,
Pie Jesu (Requiem) ... .. .. ... .. .. .. .. ... . Faure
Piano Concerto No. 5 (Emperor) ... ...
. Beethoven
Interval
Requiem ... ... .. .. Mozart
A
MUSICIAN'S
PURPOSE
by Rebecca Ley, aged 13, Porthgwarra, Cornwall, June 1992, inspired by Sir Charles Groves
The long tearless cry of the tree
On Earth
Slaughtered and taken
We must remember
Far from its home
What will become of us.
Mixes with other cries
Forming an angel's heart.
The sound glows
And is regulated
Given a rhythm
A home
A purpose.
Everyone
Will form an angel's heart
To glow and make others surrender to its glory.
The musicians will use their skills
To teach the others,
I am you
And you are the angel's choice.
But all the sounds remember
Their homes
And the strains, of the angel's heart
Break my soul
Into tears.
The conductor, soloists, members of the
A little of the glory
orchestra, choirmasters and all musicians and
Is left in each soul
singers have given their services for tonight's
Who can master it with mind and fingers?
concert. The proceeds from this concert will be
When we die
We become the instruments
To form an angel's heart
We blow like the wind
used to establish a Sir Charles Groves
Endowment Fund.
The piano was provided by Steinways.
Tonight's concert takes place in Guildford
Shine like the stars
Cathedral by kind permission of the Dean and
And cry like the people.
Chapter.
PIANO CONCERTO No. 5 in E Flat 'Emperor' Beethoven (1770-1827)
Allegro
Adagio un poco mosso
Rondo: Allegro
Beethoven's E flat Concerto was composed in Vienna in 1809 during the Franco-Austrian war, which
resulted in a bombardment of Vienna, the economic collapse of the people, and various other pleasantries
usually brought about by civilised armed conflict. The Concerto, however, was not given its first public
performance until 1811 in Leipzig, and later it was heard in London at a concert of the Philharmonic
Society. Since that time it has established itself as one of the most popular concertos in the repertoire.
The title 'Emperor’ was not given by Beethoven. Nevertheless, in some ways it fits very well, for the music
(particularly the first and third movements) possess certain symbolical qualities of majesty and power so
usually and so hopefully associated with the sovereign of a great empire.
The first movement (Allegro) is designed on the following lines: Introduction, an orchestral tutti introducing
all the thematic material, a clearer definition of the first and second subjects by the piano, completion of
exposition, a colourful and varied development of the principal theme of the first subject groups, and finally
the usual recapitulation with cadenza. The quiet and meditative second movement (Adagio un poco mosso)
leads straight into the brilliant and triumphant finale, which follows the course of a rondo.
Short Interval
REQUIEM Mozart (1756-1791)
The origins of Mozart's Requiem, his last work, might be related as a mystery story under the title of The
Man in Grey, but the plain facts need no colouring. In July 1791 Mozart was visited by a grey-clad stranger
who bore a commission from an anonymous third party for a Requiem Mass. Mozart was to have complete
artistic freedom but must on no account divulge that he had composed the work. The stranger was the agent
of Count Franz von Walsegg, a Viennese nobleman who commissioned music in this secretive fashion so
that he could pass it off as his own, but this was not revealed to Mozart. Although he still had Die
Zauberflote to complete, Mozart started work on the requiem. Then another commission arrived, this time
for an opera to celebrate the coronation of Leopold II as King of Bohemia. Taking his wife Constanze and
his pupil Franz Sussmayr (1766-1803) with him, Mozart went to Prague and produced La Clemenza di Tito
in two-and-a-half weeks. On returning to Vienna he put the finishing touches to Die Zauberflote, completed
the Clarinet Concerto and resumed work on the Requiem. By this time he was seriously ill, and on 5
December he died, leaving the Requiem unfinished.
Mozart's pupil, the 25-year-old Sussmayr, who had been the composer's constant companion during his last
months, completed the work.
In fact, Mozart completed only the Introitus in every detail. However, he also composed the vocal parts from
the Kyrie to eighth bar of Lacrimosa and those of the Offertorium, and for all these sections he indicated the
instrumentation he had in mind, together with certain motives and figurations, and in some sections a figured
bass. Sussmayr completed these movements, incorporating some orchestral contributions by Eybler, and
supplied three movements - Sanctus, Benedictus and Angus Dei - which he later claimed were all his own
work. In the light of his other compositions and from internal evidence it has nevertheless been generally
concluded that he must have had detailed sketches of Mozart's (now vanished) to work up into finished
movements. To end the work as Mozart himself had suggested, he adapted music from the Introitus and the
Kyrie fugue to the concluding words.
The Requiem is written for four soloists, four-part chorus and an orchestra consisting of two pairs of
woodwind (basset horns and bassoons), two trumpets, three trombones, timpani, organ and strings. The
basset horns and bassoons predominate in the Introitus, a movement of solemn beauty employing a theme
used previously by both Mozart and Handel.
Brief as it is, Dies Irae is intensely dramatic; the music, evoked by the idea of wrath, is not unlike the
wrathful music of the Queen of the Night in Die Zauberflote. The Last Trump - Tuba Mirum - is solemnly
announced by a trombone solo (Mozart's own idea), which ushers in and accompanies the bass soloist, the
following text being divided between the four soloists in concertante manner. The choir re-enters in the
powerful Rex Tremendae, which leads to the solo quartet's gentle Recordare. Confutatis is another dramatic
movement, contrasting the male chorus' references to the wicked with the female voices' prayer, 'Call me
among the blessed.' The Lacrimosa rises to a troubled climax at the eighth bar, where Mozart broke off.
Sussmayr's continuation adds a further twenty bars.
Mozart treats the Offertorium (Domine Jesu and Hostias) in motet fashion, the first contrapuntally and the
second homophonically, and concludes each with a chromatic fugue at the words "Quam olim Abrahae.' The
following three movements, as already mentioned, are simply too good to have been Sussmayr's unaided
work; the Sanctus and Benedictus particularly breathe the spirit of Mozart in their vocal writing. Music from
the opening of the work, now matched to slightly different words, brings the Mass to its conclusion.
The Requiem was the last choral work that Sir Charles Groves conducted in Guildford and formed part of
the commemorative concert for the bicentenary of Mozart's death.
EN SHAO
En Shao is Principal Conductor and Artistic Advisor Elect of the Ulster Orchestra, a post which he will
assume in August 1993.
He came to England in 1988, having been awarded the Lord Rhodes Fellowship at the Royal Northern
College of Music. In September 1988 he was awarded the first Eduard Van Beinum Foundation
Scholarship, and then in 1989 En Shao was declared the winner of the Hungarian Television International
Conductor's Competition. As a result, he was offered a series of engagements with the Hungarian Radio
Orchestra, and in January 1990 the BBC Philharmonic Orchestra created the new post of Associate
Conductor for him. He conducts the orchestra regularly each year both in the UK and on tour.
In the UK he works regularly with the Bournemouth Symphony, BBC Scottish, Northern Sinfonia, Royal
Liverpool Philharmonic, and the BBC Welsh Orchestras. In August 1992 he made his London debut with
the London Symphony Orchestra and in the 1993/4 season he will conduct the Royal Philharmonic
Orchestra.
He enjoys success in Europe with orchestras including the Oslo Philharmonic, Berlin Symphony and the
Czech Philharmonic Orchestras.
In 1991 En Shao made highly successful debuts with the ABC orchestras in Australia and the Hong Kong
Philharmonic, with immediate re-invitations to both. He also made his American/Canadian debuts in
November 1990 with the Toronto and Colorado Symphony Orchestras, and in March 1992 he conducted
in Vancouver and Calgary. Once again, these performances resulted in re-invitations.
Born in 1954 in Tianjin, in the People's Republic of China, En Shao and his family suffered severely
from the excesses of the cultural Revolution. Their home was ransacked by soldiers and the family was
forced to leave Tianjin and ordered to live in the country. With access to a piano in a country school, he
was gradually able to develop his musical studies, and in 1977, after the end of the Cultural Revolution,
he entered Peking Centre Music Conservatory.
In the winter of 1985 he took up an appointment as the first conductor of the newly-formed Chinese
Youth Orchestra, and took that orchestra on tour of Europe, culminating in a concert in Manchester in
1987. Following this concert he was personally approached by Lord Rhodes of Saddleworth with the
suggestion that he should study in the West, and that Lord Rhodes might well be prepared to help
personally if he wished to come to the Royal Northern College of Music in Manchester. After returning
home En Shao wrote to Lord Rhodes and as a result of this he came to the Royal Northern College of
Music as the first Lord Rhodes Fellow in January 1988.
It was at this stage that Sir Charles Groves became aware of En Shao and was supportive in the
development of his early career.
JOHN LILL
John Lill gave his first piano recital at the age of nine, and at eighteen he performed Rachmanninov's
Third Piano Concerto under Sir Adrian Boult, and made his much-acclaimed London debut playing
Beethoven's Emperor Piano Concerto at the Royal Festival Hall.
His success was reflected in major
prizes and awards, and in 1970 he won the most coveted of these, the Moscow International Tchaikovsky
Competition, which led to engagements with major orchestras throughout the world, working with
conductors such as Barbirolli, Jochum, Ozawa, Svetlanov and Rozhdestvensky.
International demand has brought John Lill to over forty countries, both as a recitalist, and as a soloist
with the majority of the world's leading orchestras. He has performed in the United States, the Soviet
Union, the Far East and Australasia, and plays regularly in all the European capitals including Vienna,
Berlin, Amsterdam, Paris, Prague, Stockholm and Rome. He is a frequent visitor to the States, where he
has appeared at the Hollywood Bowl, and worked with orchestras such as the Baltimore Symphony, the
Philadelphia and Cleveland Orchestras, the San Diego Symphony Orchestra under David Atherton, the
Dallas Symphony under Eduardo Mata, and the Boston Symphony under Temirkanov at Tanglewood. In
summer 1989, he adjudicated the Van Cliburn International Piano Competition, and returned to the States
in May 1990 to perform with the New York Philharmonic Orchestra
John Lill has an extensive repertoire including more than sixty concertos, and is recognised in particular
as a leading interpreter of Beethoven. In 1982 he became the first British pianist to perform the complete
Beethoven Sonata cycle at the Queen Elizabeth Hall, and was also the first to perform the cycle at the
Barbican Centre in autumn 1986. The complete sonata cycle has been broadcast by the BBC, and the
complete concertos of Beethoven have been televised with the BBC Welsh Symphony Orchestra and
broadcast with the London Symphony Orchestra and James Loughran.
In 1978 John Lill was awarded the OBE for his services to music. John is a frequent visitor to Guildford
and is a patron of the South East Music Trust. John Lill performed Beethoven's 'Emperor' Piano Concerto
February this year with the Guildford Philharmonic Orchestra, which was the last concert Sir Charles
conducted in Guildford.
FIONA FIRTH-SPILLER (Soprano)
Fiona Firth-Spiller was born in Berkshire
and studied at Trinity College of Music and
at Guiseppe Verdi Conservatorio, Milan.
She has worked extensively as a principal
for Travelling Opera, with whom she made
her Sadler's Wells and South Bank debuts,
and also works with Devon Opera, London
Touring Opera and British Youth Opera.
Last year she sang Micaela in a touring
production of Carmen, followed by a third
annual appearance in the Bayreuth Wagner
Festival. Oratorio and concert engagements
take her all over England and have included
British premieres of the Menotti and Mayr
Masses at the Barbican Church and St.
PAULINE CAYZER (Mezzo-soprano)
Pauline Cayzer was born in Wigan, Lancs,
and studied at the Royal Northern College
of Music. She began her career working
with English National Opera, and was a
soloist with New Sadlers Wells Opera in La
Belle Helene and The Gondoliers. She was
also a Principal with New D'Oyly Carte
Opera and appears on their most recent
recordings as Kate in the Pirates of
Penzance. She sang in the 1991 production
of Carmen at the Royal Opera House and
took the title role on a provincial tour and in
several regional productions. She is at this
time on contract with La Scala, Milan.
John's, Smith Square.
ANDREW KING (Tenor)
Andrew King enjoys a busy international
career performing music from the twelfth
century to the present day. Acknowledged as
a leading interpreter of "Early Music", he is
particularly associated with specialist
ensembles such as the Consort of Musicke,
New London Consort and Taverner consort.
He is noted for his performances as
Evangelist in the Bach Passions which he has
performed in Finland, France, Germany and
Holland, as well as Christ Church Cathedral,
Oxford, King's College, Cambridge, the
Barbican, and also the St. John Passion with
the Guildford Philharmonic.
He has made numerous recordings for Decca,
EMI, Harmonia Mundi, Hyperion and Virgin
Classics. Most recent recordings include the
Libre Vermell (New London Consort Decca) and several works by Monteverdi:
GRAHAM TITUS (Baritone)
Born in Newark, Graham Titus began his
musical career as organ scholar of Clare
Madrigal Books 6 and 8 (Consort of Musicke
- Virgin), his 1610 Vespers (New London
Consort-Decca) and the part of Apollo in
'Orfeo' due for release (NLC/Decca).
Other engagements in October have included
a joint recital of 18th Century song with
Emma Kirkby in Bath, concerts in the Queen
Elizabeth Hall, Belgium and Birmingham. He
will return to Birmingham for the second
performance of Mark Anthony Turnage's
"Leaving" with the CBSO (which he
premiered to critical acclaim in May) before
flying to Italy to record for Dutch television.
Andrew King is particularly pleased to return
to Guildford, where he sang as a Lay Clerk in
the Cathedral Choir, and to sing at this special
memorial; Sir Charles Groves was most
encouraging after a televised Prom given by
the Consort of Musicke a few years ago.
College, Cambridge, where he read music.
However, on leaving Cambridge, he scored
immediate success as a singer and furthered
his vocal studies with Joseph Hislop and
(Schumann's
broadcast
radio
a
"Dichterliebe"). In the following year, he
was a prize winner in 's-Hertogenbosch
International Singing Competition,
subsequently appearing on Dutch radio and
television, and is a regular broadcaster for
Elizabeth Flemming.
Radio 3.
After joining Glyndebourne Festival
Chorus, he made his London concert debut
in the Purcell Room as the winner of the
Young Musicians Platform and, in the same
year, was a finalist in the Leeds National
In the world of opera, he has performed
roles for English National Opera, Opera
North, London Opera Factory (including
the televised performance of Birtwistle's
"Punch and Judy"), the Handel Opera
Musicians Platform, which led to a
television appearance (Schubert Lieder) and
Society and the New Opera Company.
Intruitus and Kyrie
Confutatis
Chorus and Soprano
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
Chorus
Confutati maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Kyrie eleison.
Christe eleison.
Dies Irae
Chorus
Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sybilla.
Quantus tremor est futurus,
Quando Judex est venturus
Cuncta stricte discussurus.
Tuba Mirum
Bass
Tuba mirum spargens sonum
Per sepulchra regionum
Coget omnes ante thronum
Tenor
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura.
Liber scriptus proferetur,
In quo totum continuetur,
Unde mundus judicetur.
Alto
Judex ergo cum sedebit,
Quidquid latet apparebit,
Nil inultum remanebit.
Soprano
Quid sum, miser, tunc dicturus,
Quem patronum rogaturus
Cum vix justus sit securus?
Rex Tremendae
Lacrimosa
Chorus
Lacrimosa dies illa,
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce Deus.
Pie Jesu Domine,
Dona eis requiem. Amen.
Offertorium
Chorus and Quartet
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni
et de profundo lacu;
libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum;
sed signifer sanctus Michael
repraesentet eas in lucem sanctam,;
quam olim Abrahae promisisti
et semini ejus.
Chorus
Hostias et preces tibi, Domine,
laudis offerimus; tu suscipe
pro animabus illis quarum hodie
memoriam facimus; fac eas, Domine,
de morte transire ad vitam.
Quam olim Abrahae promisisti
et semini ejus.
Sanctus
Chorus
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
Chorus
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tue.
Osanna in excelsis.
Recordare
Benedictus
Quartet
Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas illa die.
Quaerens me sedisti lassus,
Redemisti crucem passus,
Tantus labor non sit cassus,
Juste Judex ultionis,
Donum fac remissionis
Ante diem rationis.
Ingemisco tamquam reus,
Culpa rubet vultus meus,
Supplicanti parce, Deus.
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti.
Preces meae non sunt dignae,
Sed tu bonus fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
Quartet
Benedictus qui venit in nomine Domine.
Chorus
Osanna in excelsis.
Agnus Dei
Chorus
Agnus Dei, qui tollis peccata
mundi, dona eis requiem sempiternam.
Communio
Soprano and Chorus
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum
quia pius es.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Cum sanctis tuis in aeternum,
quia pius €s.
PAULINE CAYZER (Mezzo-soprano)
FIONA FIRTH-SPILLER (Soprano)
Fiona Firth-Spiller was born in Berkshire
and studied at Trinity College of Music and
at Guiseppe Verdi Conservatorio, Milan.
She has worked extensively as a principal
for Travelling Opera, with whom she made
her Sadler's Wells and South Bank debuts,
and also works with Devon Opera, London
Touring Opera and British Youth Opera.
Last year she sang Micaela in a touring
production of Carmen, followed by a third
annual appearance in the Bayreuth Wagner
Festival. Oratorio and concert engagements
take her all over England and have included
British premieres of the Menotti and Mayr
Masses at the Barbican Church and St.
Pauline Cayzer was born in Wigan, Lancs,
and studied at the Royal Northern College
of Music. She began her career working
with English National Opera, and was a
soloist with New Sadlers Wells Opera in La
Belle Helene and The Gondoliers. She was
also a Principal with New D'Oyly Carte
Opera and appears on their most recent
recordings as Kate in the Pirates of
Penzance. She sang in the 1991 production
of Carmen at the Royal Opera House and
took the title role on a provincial tour and in
several regional productions. She is at this
time on contract with La Scala, Milan.
John's, Smith Square.
ANDREW KING (Tenor)
Andrew King enjoys a busy international
career performing music from the twelfth
Madrigal Books 6 and 8 (Consort of Musicke
- Virgin), his 1610 Vespers (New London
century to the present day. Acknowledged as
a leading interpreter of "Early Music", he is
particularly associated with specialist
ensembles such as the Consort of Musicke,
Consort-Decca) and the part of Apollo in
'Orfeo’ due for release (NLC/Decca).
Other engagements in October have included
a joint recital of 18th Century song with
New London Consort and Taverner consort.
Emma Kirkby in Bath, concerts in the Queen
He is noted for his performances
Elizabeth Hall, Belgium and Birmingham. He
will return to Birmingham for the second
as
Evangelist in the Bach Passions which he has
performed in Finland, France, Germany and
Holland, as well as Christ Church Cathedral,
Oxford, King's College, Cambridge, the
Barbican, and also the St. John Passion with
the Guildford Philharmonic.
performance of Mark Anthony Turnage's
"Leaving" with the CBSO (which he
premiered to critical acclaim in May) before
flying to Italy to record for Dutch television.
He has made numerous recordings for Decca,
Andrew King is particularly pleased to return
to Guildford, where he sang as a Lay Clerk in
EMI, Harmonia Mundi, Hyperion and Virgin
Classics. Most recent recordings include the
the Cathedral Choir, and to sing at this special
memorial; Sir Charles Groves was most
Libre Vermell (New London Consort Decca) and several works by Monteverdi:
encouraging after a televised Prom given by
the Consort of Musicke a few years ago.
GRAHAM TITUS (Baritone)
Born in Newark, Graham Titus began his
musical career as organ scholar of Clare
College, Cambridge, where he read music.
However, on leaving Cambridge, he scored
immediate success as a singer and furthered
(Schumann's
broadcast
radio
a
"Dichterliebe"). In the following year, he
was a prize winner in 's-Hertogenbosch
International Singing Competition,
his vocal studies with Joseph Hislop and
subsequently appearing on Dutch radio and
television, and is a regular broadcaster for
Elizabeth Flemming.
Radio 3.
After joining Glyndebourne Festival
In the world of opera, he has performed
Chorus, he made his London concert debut
roles for English National Opera, Opera
North, London Opera Factory (including
in the Purcell Room as the winner of the
Young Musicians Platform and, in the same
year, was a finalist in the Leeds National
Musicians Platform,
which led to a
television appearance (Schubert Lieder) and
the televised performance of Birtwistle's
"Punch and Judy"), the Handel Opera
Society and the New Opera Company.
Intruitus and Kyrie
Confutatis
Chorus and Soprano
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis caro veniet.
Kyrie eleison.
Christe eleison.
Chorus
Confutati maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
Dies Irae
Chorus
Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sybilla.
Quantus tremor est futurus,
Quando Judex est venturus
Cuncta stricte discussurus.
Tuba Mirum
Bass
Tuba mirum spargens sonum
Per sepulchra regionum
Coget omnes ante thronum
Tenor
Mors stupebit et natura
Cum resurget creatura
Judicanti responsura.
Liber scriptus proferetur,
In quo totum continuetur,
Unde mundus judicetur.
Alto
Judex ergo cum sedebit,
Quidquid latet apparebit,
Nil inultum remanebit.
Soprano
Quid sum, miser, tunc dicturus,
Quem patronum rogaturus
Cum vix justus sit securus?
Rex Tremendae
Lacrimosa
Chorus
Lacrimosa dies illa,
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce Deus.
Pie Jesu Domine,
Dona eis requiem. Amen.
Offertorium
Chorus and Quartet
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni
et de profundo lacu;
libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum;
sed signifer sanctus Michael
repraesentet eas in lucem sanctam;
quam olim Abrahae promisisti
et semini ejus.
Chorus
Hostias et preces tibi, Domine,
laudis offerimus; tu suscipe
pro animabus illis quarum hodie
memoriam facimus; fac eas, Domine,
de morte transire ad vitam.
Quam olim Abrahae promisisti
et semini ejus.
Sanctus
Chorus
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
Chorus
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tue.
Osanna in excelsis.
Recordare
Benedictus
Quartet
Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas illa die.
Quaerens me sedisti lassus,
Redemisti crucem passus,
Tantus labor non sit cassus,
Juste Judex ultionis,
Donum fac remissionis
Ante diem rationis.
Ingemisco tamquam reus,
Culpa rubet vultus meus,
Supplicanti parce, Deus.
Qui Mariam absolvisti
Et latronem exaudisti
Mihi quoque spem dedisti.
Preces meae non sunt dignae,
Sed tu bonus fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
Quartet
Benedictus qui venit in nomine Domine.
Chorus
Osanna in excelsis.
Agnus Dei
Chorus
Agnus Dei, qui tollis peccata
mundi, dona eis requiem sempiternam.
Communio
Soprano and Chorus
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum
quia pius es.
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Cum sanctis tuis in aeternum,
quia pius es.