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CompositionThe War Requiem was commissioned for the reconsecration of Coventry Cathedral on May 30, 1962 after the original fourteenth century structure was destroyed in a World War II bombing raid on the night of November 14, 1940. As a pacifist, Britten was inspired by the commission, which gave him complete freedom in choosing the type of music he would like to compose. He conceived of setting the traditional Latin Mass for the Dead interwoven with nine poems about war by the English poet Wilfred Owen. Owen, who was born in 1893, was serving as the commander of a rifle company when he was killed in action on 4 November 1918 during the crossing of the Sambre-Oise Canal in France, just one week before the Armistice. Although he was virtually unknown at the time of his death, he has subsequently come to be revered as one of the great war poets. Orchestration
The full orchestra consists of three flutes (third doubling piccolo), two oboes, cor anglais, three clarinets (third doubling E-flat clarinet and bass clarinet), two bassoons and contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, percussion (four players: two crotales, glockenspiel, gong, tubular bells, vibraphone, cymbals, triangle, temple block, whip, bass drum, two snare drums, tambourine, and tenor drum), piano, portable organ or harmonium (a grand organ is called for only in the Libera Me, the last movement), and strings. The chamber orchestra consists of flute doubling piccolo, oboe doubling cor anglais, clarinet, bassoon, horn, percussion (one player, on timpani, gong, cymbals, bass drum, and snare drum), harp, and string quintet. Movements and structureThe work consists of six movements:
One striking juxtaposition is found in the Offertorium, a fugue in the repeating three-part time scheme 6/8, 9/8, 6/8 where the choir sings of God's promise to Abraham ("Quam olim Abrahae promisisti, et semini eius" — "which once Thou didst promise to Abraham and to his seed"). This frames Owen's retelling of the offering of Isaac, in which the angel tells Abraham to:
As the male soloists sing the last line repeatedly, the boys sing "Hostias et preces tibi, Domine" ("Sacrifice and prayers we offer thee, Lord"), paralleling the sacrifice of the Mass with the sacrifice of "half the seed of Europe" (a reference to World War I). The interval of a tritone between C and F♯ is a recurring motif, the occurrence of which unifies the entire work. The interval is used both in contexts which emphasise the harmonic distance between C and F♯ and those which resolve them harmonically, mirroring the theme of conflict and reconciliation present throughout the work.[1] The Requiem aeternam, Dies irae, and Libera me movements end in a brief choral phrase, consisting mainly of slow half notes, that resolves the tritone's discord to an F major chord, while at the end of the Agnus Dei the tenor (in his only transition from the Owen poems to the Requiem liturgy, on the key words, Dona nobis pacem - Give us peace) outlines a perfect fifth from C to G before moving down to F♯ to resolve the chorus's final chord. At the end of the Dies irae, the tenor sings (from Owen's "Futility") "O what, what made fatuous sunbeams toil, to break earth's sleep at all?" The notes of "at all" form the tritone and lead into the choir's formal resolution. In the final Owen setting, "Strange Meeting", one of the most prominent expressions of the tritone is sung without accompaniment by the Tenor, addressing an opposing soldier with the words "Strange friend". This poem is accompanied by sporadic detached chords from two violins and a viola, which include the tritone as part of a dominant 7th chord. At the end of the poem, the final string chord resolves to the tonic, bringing the work to its final, reconciliatory In paradisum. Four other motifs that usually occur together are distinct brass fanfares of the Dies Irae: a rising arpeggio, a falling arpeggio followed by a repeated note, a repeated dotted fifth ending in a minor arpeggio, and a descending scale. These motifs form a substantial part of the melodic material of the piece: the setting of "Bugles sang" is composed almost entirely of variations of them. Although there are a few occasions in which members of one orchestra join the other, the full forces do not join together until the latter part of the last movement, when the tenor and baritone sing the final line of Owen's poem Strange Meeting ("Let us sleep now…") as "In Paradisum deducant" ("Into Paradise lead them...") is sung first by the boys' choir, then by the full choir (in 8-part canon), and finally by the soprano. The boys' choir echoes the Requiem aeternam from the beginning of the work, and the full choir ends on the resolved tritone motif mentioned above. Premiere and performancesFor the opening performance, it was intended that the soloists should be Galina Vishnevskaya (a Russian), Peter Pears (an Englishman) and Dietrich Fischer-Dieskau (a German), to demonstrate a spirit of unity. Unfortunately the USSR did not permit Vishnevskaya to travel to Coventry for the event and, at short notice, she was replaced by Heather Harper. The premiere took place on May 30, 1962, in the rebuilt cathedral with the City of Birmingham Orchestra and Melos Ensemble conducted by Meredith Davis and the composer. There was a profound silence between the final notes and the applause. It was a triumph, achieving an impact matched by few works in the twentieth century. Writing to his sister after the premiere, Britten said of his music, "I hope it'll make people think a bit." On the title page of the score he quoted Wilfred Owen: "My subject is War, and the pity of War / The Poetry is in the pity … / All a poet can do today is warn." The Southern Hemisphere premiere was in Wellington, New Zealand, on July 27, 1963. John Hopkins conducted the New Zealand National Orchestra (now the New Zealand Symphony Orchestra) and the Royal Christchurch Musical Society, with soloists Peter Baillie, Graeme Gorton and Angela Shaw. The North American Premiere took place later that same day at Tanglewood, with Erich Leinsdorf conducting the Boston Symphony Orchestra with soloists Phyllis Curtin, Nicholas Di Virgilio, Tom Krause and choruses from Chorus Pro Musica and the Columbus Boychoir. The Dutch premiere took place during the Holland Festival, in 1964. The Amsterdam Concertgebouw Orchestra and the Netherlands Radio Choir were conducted by Bernard Haitink; the chamber orchestra (consisting of Concertgebouw Orchestra instrumentalists) by Britten himself. The soloists were Vishnevskaya, Fischer-Dieskau and Pears, in their first public performance together. An interpretation of the work was performed by the English Chamber Choir at Your Country Needs You, an evening of "voices in opposition to war" organised by The Crass Collective in November 2002. Recordings
The most famous recording of all, featuring Vishnevskaya, Fischer-Dieskau and Pears, with the London Symphony Orchestra conducted by Britten, was produced in 1963. It quickly sold 200,000 copies, an unheard-of number for a piece of classical music at that time. Recording engineer John Culshaw reports that Vishnevskaya threw a tantrum during the recording, thinking she should be placed with the male soloists instead of the choir. Another recording, featuring Elisabeth Söderström, Robert Tear and Thomas Allen, with the City of Birmingham Symphony Orchestra conducted by Sir Simon Rattle is available. The piece has also been recorded by Kurt Masur, Carlo Maria Giulini, Richard Hickox, Martyn Brabbins, John Eliot Gardiner, and Robert Shaw. Film AdaptationIn 1989, the British film director Derek Jarman made a screen adaptation of War Requiem with no spoken dialogue and a soundtrack using the 1963 recording only. The film starred Nathaniel Parker as Wilfred Owen and Sir Laurence Olivier as an old soldier. This was Olivier's last acting appereance in any medium before his death in July 1989, after suffering from ill health for the last 20 years of his life. Cast
The film was shot in a hospital in Kent, began on 17 October 1988, and lasted for 18 days. It was released in the United Kingdom 6 January 1989, in Canada 12 September 1989, and in the United States 26 January 1990.
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