0:00:03 > 0:00:05If you think of the word "Requiem", what does that signify to you?
0:00:08 > 0:00:09HE LAUGHS
0:00:09 > 0:00:11Hmm.
0:00:11 > 0:00:13Yeah... LAUGHTER
0:00:13 > 0:00:15Goodness, you should have warned me about that one.
0:00:19 > 0:00:21I think about...
0:00:21 > 0:00:24being a choirboy, actually, and singing them
0:00:24 > 0:00:27from a really young age at the big religious occasions
0:00:32 > 0:00:36It's a word that obviously has a slightly sombre connotation.
0:00:38 > 0:00:41It means rest, and I think the one thing
0:00:41 > 0:00:46that everybody seeks in bereavement is rest.
0:00:46 > 0:00:48Life and death and...
0:00:48 > 0:00:51maybe what's to come, or not to come.
0:00:54 > 0:00:57Some composers really do want to make you literally frightened
0:00:57 > 0:00:59of the Day of Judgment.
0:00:59 > 0:01:03Where you hope to be separated from the goats on the left
0:01:03 > 0:01:06and join the sheep on the right
0:01:08 > 0:01:11The one thing you have to believe in is death.
0:01:11 > 0:01:14And this is what these pieces are about.
0:01:15 > 0:01:18It belongs very much to this earth,
0:01:18 > 0:01:20this Requiem business. After all,
0:01:20 > 0:01:24it's only an imaginative guess at what might happen.
0:01:33 > 0:01:34Good afternoon, everyone.
0:01:34 > 0:01:35We'll do the Dies Irae,
0:01:35 > 0:01:37it's the first 100 or so bars of the Dies Irae.
0:01:39 > 0:01:41From plainsong to Penderecki,
0:01:41 > 0:01:43there have been more than 2,000 musical Requiems
0:01:43 > 0:01:46composed over the last 500 years.
0:01:46 > 0:01:50Think that that's still a fortissimo, so it has guts, that phrase.
0:01:50 > 0:01:52They include some of the most famous pieces
0:01:52 > 0:01:54of classical music ever written
0:01:54 > 0:01:57It's always about those upbeat quavers, ya-ba-bam-bah.
0:01:57 > 0:01:59If we can always energise that. .
0:01:59 > 0:02:01In an often secular world,
0:02:01 > 0:02:03the Requiem seems to have an ever-stronger hold
0:02:03 > 0:02:06on our imagination and our affections,
0:02:06 > 0:02:08whether as listeners or performers.
0:02:08 > 0:02:12I want to hear the two accents stronger. Dah, DAH-DAH. Dah, DAH DAH.
0:02:12 > 0:02:13From its Catholic roots,
0:02:13 > 0:02:18the concept of Requiem has flowered in other Christian traditions,
0:02:18 > 0:02:20and the Latin word is now part of everyday language.
0:02:20 > 0:02:24Such is the power of ritual and music
0:02:24 > 0:02:28at the heart of life's greatest mystery - death.
0:02:28 > 0:02:31BELL TOLLS
0:02:31 > 0:02:33In the waters of baptism, Peter Francis died with Christ
0:02:33 > 0:02:35and rose with him to new life.
0:02:35 > 0:02:39May he now share with him in eternal glory.
0:02:41 > 0:02:43The origins of the Requiem Mass
0:02:43 > 0:02:45are lost in the mists of medieval Christianity.
0:02:45 > 0:02:47Over the last two centuries,
0:02:47 > 0:02:51it's been prised out of the hands of the Church
0:02:51 > 0:02:54and taken to a wider concert audience.
0:02:54 > 0:02:56The culprits were composers
0:02:56 > 0:02:59who seized on the drama of the Last Judgment
0:02:59 > 0:03:02in the text of the Requiem with glee.
0:03:02 > 0:03:05At first, the different musical movements
0:03:05 > 0:03:07were scattered through the whole Mass,
0:03:07 > 0:03:10but later Requiems were heard in one go,
0:03:10 > 0:03:12without the liturgy getting in the way.
0:03:12 > 0:03:15The impetus behind this more symphonic Requiem
0:03:15 > 0:03:19came from the years of revolutionary turmoil in France
0:03:19 > 0:03:22thanks to one man largely overlooked today,
0:03:22 > 0:03:24the Requiem's godfather.
0:03:24 > 0:03:25He was, appropriately enough,
0:03:25 > 0:03:29an Italian living in Paris, Luigi Cherubini.
0:03:41 > 0:03:43# Dies irae
0:03:43 > 0:03:45# Dies illa
0:03:45 > 0:03:47# Solvet saeclum
0:03:47 > 0:03:50# In favilla
0:03:50 > 0:03:53# Teste David cum Sibylla!
0:03:53 > 0:03:55# Quantus tremor est futurus
0:03:55 > 0:03:58# Quando iudex est venturus
0:03:58 > 0:04:05# Cuncta stricte discussurus!
0:04:06 > 0:04:11# Tuba mirum spargens sonum
0:04:13 > 0:04:16# Per sepulchra regionum
0:04:16 > 0:04:19# Coget omnes
0:04:19 > 0:04:21# Ante thronum
0:04:21 > 0:04:24# Coget omnes
0:04:24 > 0:04:28# Ante thronum... #
0:04:28 > 0:04:30'I was fascinated'
0:04:30 > 0:04:32by working on the Cherubini,
0:04:32 > 0:04:36because that has the grand gesture,
0:04:36 > 0:04:38but it also has the pathos.
0:04:38 > 0:04:41You have this big tam-tam at the beginning,
0:04:41 > 0:04:43the gong, we would say nowadays
0:04:43 > 0:04:48And the tam-tam belonged to the music of the revolution.
0:04:48 > 0:04:50The day of the last judgment,
0:04:50 > 0:04:54in this piece, is not the judgment of Louis XVI,
0:04:54 > 0:04:59it's the judgment of the people who killed the King
0:04:59 > 0:05:01The assassins from the revolution.
0:05:01 > 0:05:03One thinks straight away of the Dies Irae of Verdi.
0:05:03 > 0:05:05I don't know if he knew the piece,
0:05:05 > 0:05:07but something had been created then already.
0:05:07 > 0:05:08I mean, it's no wonder
0:05:08 > 0:05:11that composers looked at the Cherubini as this model,
0:05:11 > 0:05:15because he did something, I think, which was very new.
0:05:15 > 0:05:17# Cum resurget creatura
0:05:17 > 0:05:23# Judicanti responsura... #
0:05:23 > 0:05:26And then you have the whisper of the chorus.
0:05:28 > 0:05:30French Revolution,
0:05:30 > 0:05:32the murderers of the King.
0:05:38 > 0:05:40Images of hell.
0:05:42 > 0:05:45The first time I heard this music, it was in a church
0:05:45 > 0:05:47and it struck me
0:05:47 > 0:05:50the power this music has inside a church.
0:05:50 > 0:05:53It was absolutely an amazing experience for me.
0:05:53 > 0:05:55# Quid sum miser tunc dicturus
0:05:55 > 0:05:57# Quem patronum rogaturus
0:05:57 > 0:06:03# cum vix justus sit securus
0:06:05 > 0:06:10# Rex tremendae majestatis
0:06:12 > 0:06:16# Rex tremendae majestatis
0:06:16 > 0:06:21# Qui salvandos salvas gratis
0:06:21 > 0:06:25# Salva me, fons pietas... #
0:06:25 > 0:06:29That seems to have freed up later composers in the 19th century
0:06:29 > 0:06:33to not incorporate some sort of church style in their music.
0:06:33 > 0:06:37They don't feel like they're caged in this religious context.
0:06:37 > 0:06:40They speak much more personally
0:06:40 > 0:06:44Cherubini changed the way composers viewed the Requiem.
0:06:44 > 0:06:46His contemporary, Beethoven,
0:06:46 > 0:06:49apparently said that if he wrote a Requiem, which he never did,
0:06:49 > 0:06:52he would take Cherubini's as his model.
0:06:52 > 0:06:57Cherubini might be a little forgotten nowadays,
0:06:57 > 0:06:59but in the end of the 18th century
0:06:59 > 0:07:01and the beginning of the 19th century,
0:07:01 > 0:07:04he was considered one of the greatest composers.
0:07:04 > 0:07:08We know that Schumann and Brahms admired Cherubini.
0:07:08 > 0:07:12Beethoven thought he was a sort of leading composer of the day
0:07:12 > 0:07:16and Berlioz writes a long article about Requiems.
0:07:16 > 0:07:20And he actually prefers Cherubini's Requiem to Mozart's
0:07:22 > 0:07:24It wasn't just a question of drama.
0:07:24 > 0:07:28The way Cherubini mixed religion and politics set a trend.
0:07:28 > 0:07:30Many later Requiems would, in their own way,
0:07:30 > 0:07:32have a political purpose.
0:07:34 > 0:07:37In 1816, Cherubini's was a propaganda piece
0:07:37 > 0:07:41for the newly restored Bourbon monarchy in France,
0:07:41 > 0:07:45a Requiem to suggest the French Revolution was dead
0:07:46 > 0:07:50The propaganda was a major element,
0:07:50 > 0:07:53because the hero of the time was Napoleon.
0:07:53 > 0:07:57So the French people had to forget about Napoleon
0:07:57 > 0:08:00and the Bourbons had a very hard time
0:08:00 > 0:08:05remembering that the real kings of France were them.
0:08:05 > 0:08:08So the court composers had an agenda,
0:08:08 > 0:08:10which was celebrating the royal family.
0:08:13 > 0:08:14Long before the politics,
0:08:14 > 0:08:19the Requiem had begun as a prayer for the soul of a dead Christian,
0:08:19 > 0:08:21but it also suited the Church
0:08:21 > 0:08:24to remind the living of the terrors of the Day of Judgment
0:08:24 > 0:08:28and the need to behave well to win eternal life in heaven.
0:08:28 > 0:08:31That was the point of the Latin plainchant the Dies Irae -
0:08:31 > 0:08:34the Day of Anger.
0:08:34 > 0:08:36There's an element
0:08:36 > 0:08:38of what I might call verbal theatre about Requiem.
0:08:38 > 0:08:41It's meant to make us sit up a little bit,
0:08:41 > 0:08:43this is what we have to get ready for,
0:08:43 > 0:08:45this is the judgment we're going to confront.
0:08:45 > 0:08:47TRANSLATION FROM LATIN:
0:08:55 > 0:08:59What makes a Requiem Mass different from any other Mass
0:08:59 > 0:09:02is the great Thomas of Celano poem, the Dies Irae.
0:09:02 > 0:09:05Which I think, for me, actually
0:09:05 > 0:09:08is one of the greatest poems ever written.
0:09:08 > 0:09:11Extraordinarily disciplined poem
0:09:11 > 0:09:13of eight-syllable lines,
0:09:13 > 0:09:15three at a time, monorhymed.
0:09:31 > 0:09:33When Masses stopped being in plainsong
0:09:33 > 0:09:36and started being in polyphony and so on,
0:09:36 > 0:09:38then you could really get going on the drama.
0:09:38 > 0:09:42And, for instance, somebody like Cavalli,
0:09:42 > 0:09:44who wrote a very early one,
0:09:44 > 0:09:48has a tremendously dramatic Dies Irae.
0:09:55 > 0:09:58Not surprisingly, as he was an opera composer
0:09:58 > 0:10:00with a real theatrical feel.
0:10:05 > 0:10:08And by the time you get to... well, Berlioz, obviously,
0:10:08 > 0:10:10but even in the middle, Mozart it is like an opera.
0:10:10 > 0:10:13# Dies irae
0:10:13 > 0:10:16# Dies illa
0:10:16 > 0:10:19# Solvet saeclum in favilla
0:10:19 > 0:10:22# Teste David cum Sibylla... #
0:10:22 > 0:10:24I do think it's interesting, therefore,
0:10:24 > 0:10:27that it's the opera composers,
0:10:27 > 0:10:33when you think of Mozart and Verdi and Britten, to name but three
0:10:33 > 0:10:39who really get some of the most astonishingly terrifying music
0:10:39 > 0:10:40out of it.
0:10:40 > 0:10:43# Dies irae
0:10:43 > 0:10:45# Dies illa... #
0:10:46 > 0:10:50I think it's one of the most alarming things that Mozart ever wrote,
0:10:50 > 0:10:53and that anyone's ever written in this vein.
0:10:53 > 0:10:55So when you emerge from it,
0:10:55 > 0:11:00you will know something of what it will have felt like
0:11:00 > 0:11:03to believe in death, judgment, heaven and hell.
0:11:03 > 0:11:08# Cuncta stricte discussurus! #
0:11:08 > 0:11:11It demonstrates the fear and trembling
0:11:11 > 0:11:13in which we approach these things,
0:11:13 > 0:11:17and especially if you believed in the Last Judgment,
0:11:17 > 0:11:23because there is no human being without sin.
0:11:26 > 0:11:34# Dies irae
0:11:41 > 0:11:43# Dies irae
0:11:43 > 0:11:49# Dies illa
0:11:52 > 0:11:53# Solvet
0:11:53 > 0:11:55# Saeclum
0:11:55 > 0:11:57# In favilla... #
0:12:05 > 0:12:09By the time of Verdi, the Dies Irae poem had become divorced
0:12:09 > 0:12:11from its meditative plainsong origins,
0:12:11 > 0:12:14and the Church was not best pleased.
0:12:18 > 0:12:22Once you begin to have the terrors of judgment
0:12:22 > 0:12:26rather vigorously and fully portrayed in the text,
0:12:26 > 0:12:28then Christmas has come early for the composer,
0:12:28 > 0:12:31because they can elaborate the dramatic,
0:12:31 > 0:12:33or even melodramatic elements of that
0:12:33 > 0:12:36and, of course, frequently, they do.
0:12:36 > 0:12:39Is that at odds with the liturgical intention, really?
0:12:39 > 0:12:40I think it is, to be honest.
0:12:40 > 0:12:43I think it's one of the points of strain.
0:12:43 > 0:12:47Nobody would dream of performing Verdi's Requiem, I hope,
0:12:47 > 0:12:49as a liturgical event in a church.
0:12:49 > 0:12:54I've seen the Mozart and the Faure done in church.
0:12:54 > 0:12:56They just about work, but only just.
0:12:56 > 0:13:01Gabriel Faure wrote his Requiem - "for fun", as he put it -
0:13:01 > 0:13:04for the Madeleine Church in Paris where he was organist.
0:13:04 > 0:13:08He chose a different path from Verdi's, 15 years before.
0:13:08 > 0:13:11He steers clear of most of the drama.
0:13:11 > 0:13:15In fact, he leaves out the Dies Irae altogether.
0:13:15 > 0:13:16It's tender music,
0:13:16 > 0:13:18sometimes almost private.
0:13:18 > 0:13:20I remember, when I was still a student at the Royal Academy
0:13:20 > 0:13:23one of our fellow students died very suddenly
0:13:23 > 0:13:26and we performed the Faure Requiem
0:13:26 > 0:13:27at a memorial service
0:13:27 > 0:13:30and we all went to the rehearsal in the afternoon
0:13:30 > 0:13:34and it was not a profoundly solemn rehearsal,
0:13:34 > 0:13:37but then when it came to the service itself,
0:13:37 > 0:13:40it was absolutely devastating.
0:13:40 > 0:13:42I mean, to sit there and to see grieving parents,
0:13:42 > 0:13:46and I don't think anyone got through that performance
0:13:46 > 0:13:48without having to sit down and weep.
0:13:48 > 0:13:51And then stand up and carry on singing.
0:14:15 > 0:14:18Wonderful, grainy lower strings
0:14:18 > 0:14:23And you just know that it's going to be the altos...
0:14:23 > 0:14:26# O Domine
0:14:26 > 0:14:30# Jesu Christe... #
0:14:32 > 0:14:33These very bleak,
0:14:33 > 0:14:36barren...
0:14:36 > 0:14:38utterances from the choir.
0:14:38 > 0:14:42Not quite sure where... where things are going.
0:14:42 > 0:14:47# Defunctorum
0:14:47 > 0:14:50# De peonis
0:14:50 > 0:14:54# Inferni... #
0:14:54 > 0:14:59Lord, set the souls of the departed free
0:14:59 > 0:15:00from eternal punishment...
0:15:02 > 0:15:05..and the deep lake.
0:15:05 > 0:15:07That's such a wonderful image.
0:15:07 > 0:15:12# O Domine
0:15:12 > 0:15:17# Jesu Christe
0:15:17 > 0:15:20# Rex Gloriae
0:15:20 > 0:15:26# Libera animas
0:15:26 > 0:15:32# Defunctorum... #
0:15:32 > 0:15:34The lion's jaw.
0:15:34 > 0:15:41# De ore leonis... #
0:15:43 > 0:15:44Catholic images, these,
0:15:44 > 0:15:48which must have been so meaningful to Faure.
0:15:48 > 0:15:53# ..Tartarus...
0:15:55 > 0:15:57# O Domine
0:15:57 > 0:16:02# Jesu Christe
0:16:02 > 0:16:07# Rex Gloriae
0:16:07 > 0:16:09# O Domine
0:16:09 > 0:16:16# Jesu Christe... #
0:16:26 > 0:16:30May they not fall into darkness
0:16:33 > 0:16:37And those strings, the depth and the darkness.
0:16:39 > 0:16:41Wonderful scoring.
0:16:47 > 0:16:48This is when you always try
0:16:48 > 0:16:52and slow your breathing down, get a nice deep breath going.
0:17:00 > 0:17:03And then a spokesman for mankind
0:17:03 > 0:17:05steps forward, I suppose.
0:17:06 > 0:17:13# Hostias
0:17:13 > 0:17:19# Et preces tibi
0:17:19 > 0:17:24# Domine
0:17:24 > 0:17:30# Laudis
0:17:30 > 0:17:38# Offerimus
0:17:38 > 0:17:44# Tu suscipe
0:17:44 > 0:17:50# Pro animabus illis... #
0:17:50 > 0:17:54There's certainly tension and worry in the music,
0:17:54 > 0:17:56but the overall feeling
0:17:56 > 0:17:59is that you are being led very gently
0:17:59 > 0:18:02into the world to come.
0:18:03 > 0:18:08# Et semini
0:18:08 > 0:18:14# Eus... #
0:18:14 > 0:18:17There's a gentleness there which is rather feminine
0:18:17 > 0:18:23and is certainly different from the more rough-hewn,
0:18:23 > 0:18:25masculine cast
0:18:25 > 0:18:28of both the Berlioz and the Verdi Requiems.
0:18:32 > 0:18:35It was quite deliberate on Faure's part -
0:18:35 > 0:18:39he detected the terror that his musical forebear Hector Berlioz
0:18:39 > 0:18:41had so relished 50 years earlier.
0:18:41 > 0:18:43His Requiem, The Grande Messe des Morts,
0:18:43 > 0:18:46was, like Cherubini's, a political commission,
0:18:46 > 0:18:50to express the glory of France at a big military funeral.
0:18:51 > 0:18:53Parts of it are on a gigantic scale
0:18:53 > 0:18:56and at the last minute it almost came to grief
0:18:56 > 0:18:59at the hands of the conductor, Francois Antoine Habeneck.
0:19:00 > 0:19:03Apparently he was very given to stopping beating
0:19:03 > 0:19:05and taking a pinch of snuff
0:19:05 > 0:19:08from his snuff box he always carried with him.
0:19:08 > 0:19:11There is a very difficult point in the Requiem
0:19:11 > 0:19:12which is in the "tuba mirums",
0:19:12 > 0:19:15the beginning of the different brass bands.
0:19:15 > 0:19:18In this point, the conductor has to be very attentive.
0:19:23 > 0:19:25Habeneck, at this point,
0:19:25 > 0:19:27as Berlioz tells us in the memoir,
0:19:27 > 0:19:30quietly took a snuff box...
0:19:31 > 0:19:34He chose the very moment in the Dies Irae
0:19:34 > 0:19:37when the four brass bands come in
0:19:37 > 0:19:38to stop beating.
0:19:38 > 0:19:41Berlioz was just behind him
0:19:41 > 0:19:44and very quickly took the stick of the conductor
0:19:44 > 0:19:47and conducted the four brass orchestras.
0:19:49 > 0:19:50Berlioz sprang forward
0:19:50 > 0:19:54and marked out the beats and the situation was saved.
0:19:54 > 0:19:56I know it sounds improbable,
0:19:56 > 0:19:57but Charles Halle,
0:19:57 > 0:20:01who later became the founder of the Halle Orchestra, was there
0:20:01 > 0:20:03and said it definitely did happen.
0:20:54 > 0:20:56It's so difficult to put it together.
0:20:58 > 0:21:02Those four brass bands, some 4 players spread around the church,
0:21:02 > 0:21:07were Berlioz's grand design for the last trump on Judgment Day.
0:21:07 > 0:21:12Third orchestra, fourth orchestra with all the precise instruments.
0:21:15 > 0:21:18He also specified a huge choir
0:21:18 > 0:21:21in which men were to outnumber women almost two to one.
0:21:21 > 0:21:26And an orchestra with 108 string players and 16 timpani.
0:21:28 > 0:21:30Here you see the tam-tam,
0:21:30 > 0:21:35which Berlioz probably heard and saw in Cherubini's Requiem
0:21:35 > 0:21:39And then you see how he gives very precise
0:21:39 > 0:21:42indications on how the instruments should be played.
0:21:42 > 0:21:45"Frappez comme le tam-tam avec une baguette d'eponge."
0:21:45 > 0:21:48And, of course, baguette is not a piece of bread,
0:21:48 > 0:21:50it is a sponge stick.
0:21:51 > 0:21:58Violent contrast, with a tremendous brass band effect and then
0:21:58 > 0:22:02the next piece is written for one cor anglais and a bassoon, or something.
0:22:02 > 0:22:09It's a tiny, tiny little sound And he's wonderful at that.
0:22:15 > 0:22:19Yes, Berlioz loved the sound of the cor anglais.
0:22:19 > 0:22:23And it's nearly always associated, in his music
0:22:23 > 0:22:28with extreme sadness and desolation.
0:22:28 > 0:22:34# Quid sum miser... #
0:22:38 > 0:22:45It's a sort of stunned aftermath of the Day Of Judgment.
0:22:45 > 0:22:48And these humanity...
0:22:48 > 0:22:53Human beings are just sort of alone in this empty universe.
0:22:57 > 0:22:59# Quem patronum... #
0:22:59 > 0:23:03And the cor anglais is, in a way, feeling sorry for them,
0:23:03 > 0:23:06is pitying them, in this sighing phrase.
0:23:06 > 0:23:10# Quem patronum... #
0:23:10 > 0:23:14The words are those of a despairing man pleading for mercy
0:23:14 > 0:23:17and Berlioz has no compunction in treating the Latin words
0:23:17 > 0:23:20of the Requiem Mass as an opera libretto,
0:23:20 > 0:23:22moving them around to suit the drama.
0:23:25 > 0:23:30Berlioz says that if all his works had to be burnt
0:23:30 > 0:23:34and all were lost, he would save one,
0:23:34 > 0:23:39and this one would be the Requiem, so he really loved this work.
0:23:39 > 0:23:47# Ne me perdas illa die. #
0:23:47 > 0:23:51His sort of innermost being is in this piece, you see.
0:23:51 > 0:23:56He says for seven years, religion had been the joy of his life.
0:23:56 > 0:24:00And I think the loss of that faith marks him very deeply
0:24:00 > 0:24:04and I think he regrets bitterly this loss, this absence of God
0:24:04 > 0:24:09# Cor contritum quasi cinis
0:24:09 > 0:24:16# Gere curam... #
0:24:20 > 0:24:23It's a very bleak work, I think
0:24:27 > 0:24:30At the end, there's no answer. There's just emptiness.
0:24:37 > 0:24:41100 years after Berlioz, 60 after Faure,
0:24:41 > 0:24:44came a more orthodox Requiem of fervent belief,
0:24:44 > 0:24:46written by another French organist.
0:24:47 > 0:24:50Maurice Durufle went back to its plainsong origins
0:24:50 > 0:24:53and you can almost smell the incense.
0:24:53 > 0:24:58# Sanctus
0:24:58 > 0:25:02# Sanctus Dominus Deus Sabaoth.. #
0:25:02 > 0:25:05Such beautifully positive music
0:25:05 > 0:25:08That wonderful sort of rippling in the accompaniment,
0:25:08 > 0:25:11with the voices just riding above it.
0:25:11 > 0:25:16# Sanctus Dominus Deus Sabaoth.. #
0:25:16 > 0:25:18I love that piece and, for me,
0:25:18 > 0:25:23it's one of the greatest incarnations of plainsong
0:25:23 > 0:25:26in a richer harmonic texture.
0:25:26 > 0:25:29I think it was obviously a conscious decision for him
0:25:29 > 0:25:34to go back to the liturgical roots of the Requiem after these great...
0:25:36 > 0:25:38..for want of a better word,
0:25:38 > 0:25:41"concert" Requiems of the 19th century.
0:25:43 > 0:25:45Now this wonderful build-up starts,
0:25:45 > 0:25:48the voices piling in on top of each other.
0:25:50 > 0:25:57# ...in nomine Domini! #
0:25:57 > 0:25:59Oh, that's wonderful!
0:25:59 > 0:26:02Just fantastic!
0:26:03 > 0:26:07I think if I had a choice of ending my days
0:26:07 > 0:26:09with a specific Requiem, it would be the Durufle.
0:26:12 > 0:26:14But like those of Berlioz and Cherubini,
0:26:14 > 0:26:18the Durufle Requiem was in some sense political.
0:26:18 > 0:26:21It was commissioned by the wartime regime of Marshal Petain,
0:26:21 > 0:26:23a propaganda piece for Vichy France
0:26:23 > 0:26:27during its collaboration with Nazi Germany.
0:26:27 > 0:26:30Durufle was a notoriously slow composer
0:26:30 > 0:26:34so his Requiem only emerged way after the liberation of France,
0:26:34 > 0:26:36free of any political taint.
0:26:48 > 0:26:52Of all the Requiems written as government commissions,
0:26:52 > 0:26:54the strangest is by Benjamin Britten.
0:26:56 > 0:26:58A few weeks into the Second World War,
0:26:58 > 0:27:01he was approached by the Japanese.
0:27:01 > 0:27:03They wanted a piece to honour the Emperor.
0:27:16 > 0:27:18It's bizarre. It's extraordinary.
0:27:18 > 0:27:22And I'm sure it wasn't the piece they wanted in any way at all
0:27:22 > 0:27:25but he's given us one of his great masterpieces.
0:27:25 > 0:27:27I think it's every bit as good as the War Requiem
0:27:27 > 0:27:30and every bit as personal.
0:27:37 > 0:27:40Britten wrote his famous War Requiem in the 1960s,
0:27:40 > 0:27:44but 20 years earlier came this Requiem symphony,
0:27:44 > 0:27:46In The Shadow Of War.
0:27:49 > 0:27:52The movements have Requiem titles.
0:27:52 > 0:27:54This first one is Lacrimosa.
0:27:54 > 0:27:56Its tears not of pity but of rage.
0:27:58 > 0:28:02Shortly before the Japanese attacked Pearl Harbor, they sent it back
0:28:47 > 0:28:50It's an outpouring of grief for Britten's own parents.
0:28:53 > 0:28:56What makes it really personal
0:28:56 > 0:29:00and different is the fact he uses these Latin texts
0:29:00 > 0:29:03as the titles of the three movements.
0:29:03 > 0:29:08And it gives him a context for the different stages of grief, in a way.
0:29:09 > 0:29:13But it's something which no-one else had really done before -
0:29:13 > 0:29:17the idea that a purely orchestral piece could be a Requiem in itself.
0:29:31 > 0:29:34It's like a ride into the abyss isn't it?
0:29:40 > 0:29:42It's the feeling of the battlefield.
0:29:47 > 0:29:49This piece just feels like it's galloping out of control.
0:29:49 > 0:29:52It's so raw. It's so feral.
0:30:33 > 0:30:34When you think of the Requiem,
0:30:34 > 0:30:38is there a particular setting that springs to mind first?
0:30:38 > 0:30:43Well, for me I think it always has to be Mozart,
0:30:43 > 0:30:46probably because it's the one I've been most concerned with
0:30:46 > 0:30:47most of my life.
0:30:47 > 0:30:51It's really hard. I've been trying to get them down to a top three
0:30:51 > 0:30:54and I think the Faure Requiem, for me,
0:30:54 > 0:30:55is just the perfect Requiem.
0:30:55 > 0:30:58I suppose the three that come to my mind
0:30:58 > 0:30:59would be Mozart, Faure and Britten,
0:30:59 > 0:31:02those are the three I personally value most.
0:31:02 > 0:31:04# Denn alles Fleisch, es ist... #
0:31:04 > 0:31:05This movement that...
0:31:05 > 0:31:07# Daa-di-da
0:31:07 > 0:31:10# La-di-ro-ro... #
0:31:10 > 0:31:12I've always said when I'm on that desert island
0:31:12 > 0:31:17that's the one disc that I'd take with me, is the Brahms Requiem
0:31:17 > 0:31:19I adore the Verdi Requiem,
0:31:19 > 0:31:23and I find that one of the most shattering.
0:31:23 > 0:31:25For me, the great Requiems start...
0:31:26 > 0:31:31..later on in the 19th century with Brahms, with Berlioz, with Verdi,
0:31:31 > 0:31:35right the way through to Britten's in the 20th century.
0:31:35 > 0:31:38Is that because of the dramatic element in them?
0:31:40 > 0:31:42I think they speak more clearly to me
0:31:42 > 0:31:44because of their dramatic element,
0:31:44 > 0:31:49and the fact they're not in any way straitjacketed by their religious,
0:31:49 > 0:31:50and the fact they're not in any way straitjacketed by their religious,
0:31:50 > 0:31:52by their ecclesiastical context
0:31:54 > 0:31:58# Requiem
0:32:00 > 0:32:14# Ternam... #
0:32:17 > 0:32:21The first Requiem we have that began that move out of the straitjacket
0:32:21 > 0:32:24is by the Flemish composer Johannes Ockeghem.
0:32:25 > 0:32:29In the late 15th century, it stepped away from traditional plainsong
0:32:31 > 0:32:34Death had become a lucrative business for the Church,
0:32:34 > 0:32:37which encouraged the faithful to pay large sums of money
0:32:37 > 0:32:41for a ticket to heaven, a practice that raised the hackles
0:32:41 > 0:32:43of the Protestant reformer Martin Luther.
0:32:49 > 0:32:52Part of the Reformation revolt
0:32:52 > 0:32:56was not only against the doctrine of purgatory, purification after death,
0:32:56 > 0:32:59but also, perhaps even more so against the practice,
0:32:59 > 0:33:03almost the industrialisation of prayer for the dead
0:33:03 > 0:33:06in the late Middle Ages, chantry chapels, chapels and churches
0:33:06 > 0:33:08dedicated entirely to praying for the dead.
0:33:08 > 0:33:10People in their wills providing
0:33:10 > 0:33:13for hundreds of Masses to be said for their soul.
0:33:13 > 0:33:16CHOIR SINGS IN THE ROUND
0:33:28 > 0:33:32The corrupt trade in death had a silver lining -
0:33:32 > 0:33:34rich and sublime Requiem music
0:33:43 > 0:33:47With the flowering of the polyphonic Requiem, plainsong took a back seat.
0:33:47 > 0:33:51Composers strove to make funerals ever more impressive,
0:33:51 > 0:33:54even if, as yet, there was no drama.
0:33:54 > 0:33:56Take this glorious example
0:33:56 > 0:33:59by the Spanish priest Tomas Luis de Victoria.
0:34:15 > 0:34:20It's like a great Gothic vault in music, isn't it? So architectural.
0:34:20 > 0:34:24There's an incredibly bright and affirmative sound,
0:34:24 > 0:34:26even though it's a Requiem.
0:34:28 > 0:34:33There's such certainty in the way he's setting it.
0:34:42 > 0:34:45Victoria's Requiem was for the funeral of his patron,
0:34:45 > 0:34:49the Empress Maria, sister of the King of Spain.
0:34:49 > 0:34:52It was a work of devotion and the last piece he wrote.
0:35:00 > 0:35:03Mozart's Requiem was his final work,
0:35:03 > 0:35:05a dark and mysterious one
0:35:05 > 0:35:09but not a work of devotion. It was just a job.
0:35:09 > 0:35:11He was offered a fat fee to write it
0:35:11 > 0:35:13by a stranger who knocked on his door,
0:35:13 > 0:35:17acting on behalf of an eccentric young nobleman he hardly knew,
0:35:17 > 0:35:20Count Walsegg.
0:35:20 > 0:35:23Mozart was busy and kept putting it off.
0:35:23 > 0:35:25When he finally got down to write it,
0:35:25 > 0:35:29he was exhausted and dying, though he was only 35.
0:35:29 > 0:35:33As he wrote his Requiem, he was getting weaker and weaker and weaker,
0:35:33 > 0:35:39but he became increasingly obsessed with this commission of the Requiem
0:35:39 > 0:35:43and even said to his wife at one point that he knew
0:35:43 > 0:35:46he was writing his own Requiem at which point
0:35:46 > 0:35:49Constanze very sensibly said, "Just leave it alone for a while,
0:35:49 > 0:35:51"put it away, we're going for a walk,
0:35:51 > 0:35:54"anything, but just get away from this."
0:35:54 > 0:35:56He never did complete it
0:35:56 > 0:35:59and whenever she conducts the Requiem, Jane Glover ensures
0:35:59 > 0:36:02everyone is reminded of Mozart's final moments,
0:36:02 > 0:36:06as recorded by Constanze's sister Sophie Haibel.
0:36:06 > 0:36:10And, indeed, it was in her arms that Mozart died,
0:36:10 > 0:36:11and 30 years later...
0:36:13 > 0:36:18..his biographers asked Sophie for an account of this, which she wrote,
0:36:18 > 0:36:22and it's sort of heartbreaking and so vivid.
0:36:23 > 0:36:25I went up to his bedroom.
0:36:25 > 0:36:33He called to me at once, "Ah, dear Sophie, it is good of you to come.
0:36:34 > 0:36:37"You must say here tonight.
0:36:38 > 0:36:40"You must see me die.
0:36:43 > 0:36:49"I have the taste of death on my tongue already."
0:36:50 > 0:36:53And she says that the last thing he tried to do
0:36:53 > 0:36:57was to mouth the timpani parts of the Requiem,
0:36:57 > 0:37:00and as she says, "That I can still hear."
0:37:10 > 0:37:16One of the extraordinary breadths of music ever written
0:37:16 > 0:37:19The opening bars of that piece are so extraordinary,
0:37:19 > 0:37:21with the basset horn, it's...
0:37:24 > 0:37:25..a one-off sound.
0:37:31 > 0:37:38The whole colour has this depth and umber quality, a sort of aural gloom.
0:37:40 > 0:37:53# Requiem aeternam dona eis... #
0:38:11 > 0:38:15Mozart died on December the 5th 1791,
0:38:15 > 0:38:17and it now turns out that he had, in effect,
0:38:17 > 0:38:19been in writing his own Requiem
0:38:19 > 0:38:21Just after his funeral,
0:38:21 > 0:38:26a memorial service was held in St Michael's Church in central Vienna.
0:38:26 > 0:38:28A document found in the church archives
0:38:28 > 0:38:32suggests that what Mozart had written was sung at that service.
0:38:36 > 0:38:39Mozart's widow Constanze was desperate to ensure that
0:38:39 > 0:38:43the eccentric count would get the complete Requiem he'd commissioned,
0:38:43 > 0:38:46and would therefore pay up in full,
0:38:46 > 0:38:50so within days, she asked other hands to complete the score.
0:38:53 > 0:38:56There were to be wrangles with the count over who had the right
0:38:56 > 0:38:59to give the first full performance a year or so later,
0:38:59 > 0:39:01but it seems that it was here
0:39:01 > 0:39:04that Mozart's unfinished Requiem was first heard.
0:39:05 > 0:39:08MAN SPEAKS IN GERMAN
0:39:11 > 0:39:15Here we have the day, December the 10th 1791...
0:39:19 > 0:39:22"Wolfgang Amadeus Mozart."
0:39:22 > 0:39:27"The memorial Mass of Wolfgang Amadeus Mozart."
0:39:27 > 0:39:30HE SPEAKS IN GERMAN
0:39:30 > 0:39:32"Church bells..."
0:39:35 > 0:39:41"3 gulden and 36 kreuzer," the money of those days.
0:39:42 > 0:39:46The document shows the cost of the Mass itself, the priest's vestments,
0:39:46 > 0:39:50and a big black cloth hanging between the roof and the high altar.
0:39:50 > 0:39:54Not a memorial Mass done on the cheap.
0:39:54 > 0:39:57We discovered a document about 20 years ago,
0:39:57 > 0:40:01and until then we thought Mozart is a poor man,
0:40:01 > 0:40:03which is not right, because here we can see
0:40:03 > 0:40:06that he got the second class
0:40:06 > 0:40:13and second class means he had a special music, a special Mass
0:40:13 > 0:40:17special church bells, special accolades.
0:40:17 > 0:40:20A report in a handwritten Vienna newsletter called
0:40:20 > 0:40:24The Secret Messenger makes clear that at this memorial Mass
0:40:24 > 0:40:29at St Michael's, Mozart's Requiem was sung.
0:40:40 > 0:40:42Having sung all his operas,
0:40:42 > 0:40:47Don Giovanni, The Magic Flute, Figaro,
0:40:47 > 0:40:49this is...
0:40:49 > 0:40:51totally different.
0:40:56 > 0:40:57This, of course,
0:40:57 > 0:41:00is the point at which Mozart actually stopped writing the Requiem
0:41:00 > 0:41:03and as a passage, it expresses very deeply
0:41:03 > 0:41:06the sense of darkening anxiety
0:41:09 > 0:41:13It is indeed chilling that the last words that he actually said
0:41:13 > 0:41:18were, "Judicandus homo reus" - a guilty man going to be judged
0:41:24 > 0:41:25On his deathbed,
0:41:25 > 0:41:30Mozart had been instructing his pupil Franz Xaver Sussmayr how
0:41:30 > 0:41:32he wanted the work to go
0:41:32 > 0:41:35and it fell to Sussmayr to complete it for Count Walsegg.
0:41:37 > 0:41:40From the artful way Sussmayr wrote out the score,
0:41:40 > 0:41:44the count may well have assumed that Mozart had composed the whole thing.
0:41:44 > 0:41:46He certainly paid up.
0:41:46 > 0:41:49If we compare the manuscript by Mozart
0:41:49 > 0:41:56and the manuscript by Sussmayr we notice a striking similarity
0:41:56 > 0:42:00At the head of the page, "Dies Irae" written by Mozart.
0:42:00 > 0:42:04Obviously, Sussmayr tried to imitate Mozart's handwriting
0:42:04 > 0:42:08and we must state that he imitated it very well.
0:42:10 > 0:42:14The manuscripts provide fascinating evidence of which parts were
0:42:14 > 0:42:17written when, according to the colour of the ink.
0:42:17 > 0:42:20But they raise as many questions as they answer.
0:42:20 > 0:42:23Even the declaration that the score is in Mozart's own hand
0:42:23 > 0:42:26can't be taken at face value.
0:42:26 > 0:42:31On the top of the first page, we see Mozart's signature.
0:42:31 > 0:42:32It is written by me,
0:42:32 > 0:42:39Wolfgang Amadeus Mozart, and we have the interesting date '92, which was
0:42:39 > 0:42:42one year after Mozart's death,
0:42:42 > 0:42:45so it's impossible that he wrote it himself.
0:42:45 > 0:42:49We are sure that this signature and the date was written by Sussmayr.
0:42:59 > 0:43:01Since Sussmayr finished it,
0:43:01 > 0:43:06many people with a much cleverer idea of how Mozart wrote and
0:43:06 > 0:43:12what his processes were have done much cleverer completions of it
0:43:12 > 0:43:14All of which I admire,
0:43:14 > 0:43:17but I have to say the only one I ever perform is Sussmayr.
0:43:17 > 0:43:20Why? Because he was there.
0:43:34 > 0:43:37No other Requiem has had such a colourful genesis.
0:43:37 > 0:43:40It set new benchmarks in its poignancy,
0:43:40 > 0:43:43its sense of theatre and its orchestration.
0:43:43 > 0:43:47In some ways, it started a chain of inspiration that stretched
0:43:47 > 0:43:49throughout the 19th century.
0:43:49 > 0:43:53Indeed, that godfather of the Requiem, Luigi Cherubini
0:43:53 > 0:43:57took it up and performed it in Paris for the first time.
0:43:57 > 0:44:01And he drew on its personal drama when writing his own.
0:44:18 > 0:44:22Its politics apart, Cherubini's music was much admired,
0:44:22 > 0:44:25even by the young Hector Berlioz, one of his students,
0:44:25 > 0:44:28who enraged Cherubini with his cheek.
0:44:28 > 0:44:30The rage was mutual.
0:44:30 > 0:44:34Cherubini was probably about 7 and very sort of crotchety by that
0:44:34 > 0:44:37time and Berlioz was this very young -
0:44:37 > 0:44:42he was only in his early 20s - callow, young man who had no
0:44:42 > 0:44:45respect for authority, so it's not surprising that they clashed.
0:45:03 > 0:45:07There is a very important article of Berlioz at the death
0:45:07 > 0:45:09of Cherubini in 1842.
0:45:09 > 0:45:13Berlioz says Cherubini's religious music was one of the most
0:45:13 > 0:45:17important of the beginning of the 19th century.
0:45:17 > 0:45:18In particular, the Requiem,
0:45:18 > 0:45:21which was the absolute masterwork of Cherubini.
0:45:27 > 0:45:30The Agnus Dei, Cherubini's final movement,
0:45:30 > 0:45:32is a plea to the lamb of God for eternal rest.
0:45:34 > 0:45:36It gradually retreats from its earlier drama.
0:45:40 > 0:45:45Berlioz said it surpassed any previous setting of the words.
0:45:45 > 0:45:48"It's the gradual collapse of the suffering being," he said.
0:45:48 > 0:45:53"One sees him fading and die, one hears him expire."
0:45:56 > 0:46:00The end of that Agnus Dei is extraordinary in its pathos.
0:46:05 > 0:46:11Cherubini loves these long diminuendos where the sound gradually
0:46:11 > 0:46:16fades out into the distance, and this is an absolute hallmark of Berlioz.
0:46:21 > 0:46:25I think Cherubini sort of sanctioned that in a way.
0:46:39 > 0:46:44It's a chilling musical vision of nothingness, of a life extinguished.
0:46:47 > 0:46:51As far back as we can go in human history, human beings
0:46:51 > 0:46:56and even Neanderthals did not just drop corpses by the roadside.
0:46:56 > 0:46:59They did something with them as if to say something has happened
0:46:59 > 0:47:03here in this life which needs to be symbolised.
0:47:03 > 0:47:05It's one of the things that makes us distinctive,
0:47:05 > 0:47:07we treat the dead like that,
0:47:07 > 0:47:11and if we ever got to the stage of a society which simply
0:47:11 > 0:47:18discarded human remains as if they were rubbish, something very, very
0:47:18 > 0:47:21serious would have happened to what we thought we were as human beings.
0:47:22 > 0:47:26The momentous nature of the Requiem in marking the formality
0:47:26 > 0:47:30and finality of death is perhaps why composers with numerous
0:47:30 > 0:47:34symphonies, quartets or operas to their name seldom write more
0:47:34 > 0:47:36than one Requiem Mass.
0:47:37 > 0:47:40The last orchestral work by Robert Schumann, before he attempted
0:47:40 > 0:47:45suicide and was taken to a mental asylum, was a Requiem
0:47:45 > 0:47:47His own, just like Mozart's.
0:47:47 > 0:47:50And distinctive in its unusual key.
0:47:50 > 0:47:53D flat major is incredibly hard to play in
0:47:53 > 0:47:55and Schumann meant something very specific by that.
0:47:55 > 0:47:58D major is the sound of war and brilliance
0:47:58 > 0:48:03because that's the trumpet's and timpani's best key,
0:48:03 > 0:48:06the brightest key for them, but D flat major has this extraordinary
0:48:06 > 0:48:11soulfulness because it's a hard key for everyone to find, actually
0:48:11 > 0:48:14You really hear that in the beginning of Schumann's Requiem.
0:48:14 > 0:48:19It's a tonality and a sense that is unlike any other piece I know.
0:48:45 > 0:48:48It's a real de profundis, isn't it, to feel the depth of these chords.
0:48:48 > 0:48:52The weight of that sound in D flat major is amazing.
0:49:25 > 0:49:28It's so simple, but it's still got some real tensions
0:49:28 > 0:49:29and darkness underneath.
0:49:31 > 0:49:34And a lovely overlying romanticism.
0:50:26 > 0:50:30His bright lux perpetua.
0:50:30 > 0:50:33It's got so much sunshine in it
0:51:01 > 0:51:04I came across it by chance, the Schumann Requiem,
0:51:04 > 0:51:08about 15 years ago, and I couldn't believe what this piece was.
0:51:09 > 0:51:13Its humanity and its beauty and its soothing quality.
0:51:46 > 0:51:49Schumann, who declared Cherubini's Requiem was without
0:51:49 > 0:51:52equal in the world, never actually heard his own.
0:51:55 > 0:51:59After his death, his widow Clara sent the manuscript to the young
0:51:59 > 0:52:02Johannes Brahms, and on his advice it was published
0:52:04 > 0:52:07By that stage, Brahms had embarked on his Requiem
0:52:07 > 0:52:10in memory of Schumann, who had so encouraged him.
0:52:12 > 0:52:15Of course, the Brahms Requiem isn't really a Requiem at all
0:52:15 > 0:52:19I mean, it's a selection of verses that he set to music
0:52:19 > 0:52:20from the Lutheran Bible,
0:52:20 > 0:52:24which were really on the subject of bereavement
0:52:24 > 0:52:29and us down here, rather than the souls at rest up in heaven
0:52:29 > 0:52:31The death of Schumann,
0:52:31 > 0:52:35and later on then when he finalised the Requiem,
0:52:35 > 0:52:37the death of his mother,
0:52:37 > 0:52:42were very important for him to compose such a piece of music.
0:52:43 > 0:52:47This was a revolutionary Requiem - the first by a Protestant.
0:52:47 > 0:52:51Brahms ignored the Latin text of the Catholic Requiem Mass,
0:52:51 > 0:52:54and set his work entirely in German.
0:52:54 > 0:52:59But the surprising thing is that he still called it a Requiem,
0:52:59 > 0:53:00a German Requiem.
0:53:00 > 0:53:04His original idea was to call it "Ein Menschliches Requiem",
0:53:04 > 0:53:05A Human Requiem,
0:53:05 > 0:53:09because it is really about human loss and bereavement.
0:53:09 > 0:53:12Yes, if you're not going to pray for the dead, then what do you do?
0:53:12 > 0:53:14You focus, I suppose, on comfort,
0:53:14 > 0:53:18you focus on what kind of god is it
0:53:18 > 0:53:21into whose hands you've, as it were, delivered the departed.
0:53:21 > 0:53:25Brahms was writing in the 1860s a young man,
0:53:25 > 0:53:28not the bearded sage he later became.
0:53:28 > 0:53:31It was his first big orchestral success,
0:53:31 > 0:53:33just before the unification of Germany.
0:53:33 > 0:53:37I love the fact it's in his own language and I think
0:53:37 > 0:53:39that's such a model for what came afterwards,
0:53:39 > 0:53:41right the way up to Britten.
0:53:41 > 0:53:45It's become a sort of...almost a folk Requiem for the Germans
0:53:45 > 0:53:48Everybody knows it, everybody has sung in it.
0:53:57 > 0:54:03It's a consolation, a reminder that we live such a short time
0:54:03 > 0:54:08And we don't understand why we're here or where we're going to.
0:54:17 > 0:54:19The first movement feels to me
0:54:19 > 0:54:23so similar to the Mozart in what he's trying to create.
0:54:25 > 0:54:27He has only the low strings playing,
0:54:27 > 0:54:29so no violins at all in that movement.
0:54:29 > 0:54:32Grand in the sense that you have a chorus and orchestra there,
0:54:32 > 0:54:34but intensely private at the same time,
0:54:34 > 0:54:39because it's so undemonstrative and it's completely magical.
0:54:42 > 0:54:50# Selig sind... #
0:54:50 > 0:54:52There is something warming about it,
0:54:52 > 0:54:55and the voices coming together unaccompanied as well.
0:54:55 > 0:54:58The private little prayer at the start.
0:54:58 > 0:55:04# Selig sind
0:55:04 > 0:55:16# Die da Leid tragen
0:55:16 > 0:55:24# Denn sie sollen getrostet
0:55:24 > 0:55:31# Getrostet werden. #
0:55:31 > 0:55:34It's a very expressive interpretation of the text.
0:55:34 > 0:55:39"Blessed are they that mourn, for they shall be comforted."
0:55:39 > 0:55:46# Selig sind
0:55:48 > 0:55:53# Selig sind
0:55:56 > 0:56:02# Die da Leid
0:56:03 > 0:56:11# Da Leid tragen
0:56:18 > 0:56:30# Denn sie sollen getrostet
0:56:32 > 0:56:39# Getrostet werden
0:56:45 > 0:56:49# Die mit Tranen... #
0:56:49 > 0:56:52It moves on, then, with the men talking about the tears
0:56:52 > 0:56:55and living through their tears but it's still got this
0:56:55 > 0:56:58sort of tension between the voices, if you like.
0:56:58 > 0:57:05# Die mit Tranen saen... #
0:57:13 > 0:57:16# Werden mit Freuden ernten Mit Freuden
0:57:16 > 0:57:19# Mit Freuden... Mit Freuden..
0:57:31 > 0:57:37# Mit Freuden ernten. #
0:57:40 > 0:57:43It's interesting that he uses the word "Requiem".
0:57:45 > 0:57:50Yes, as if he wants to do something that is very much
0:57:50 > 0:57:55rooted in a tradition without committing himself to the dogma
0:57:55 > 0:57:58So, is it a Requiem at all?
0:58:00 > 0:58:05You can name it Requiem. He did ..
0:58:07 > 0:58:11TRANSLATION:
0:58:19 > 0:58:23Brahms made Requiems respectable for Protestants.
0:58:23 > 0:58:25But even that took time.
0:58:25 > 0:58:28The Anglican church had been nervous of anything that
0:58:28 > 0:58:31smacked of Popery - it took 50 years for the Faure Requiem
0:58:31 > 0:58:33to get a British performance,
0:58:33 > 0:58:36and there were virtually no homegrown Requiems.
0:58:36 > 0:58:41Praying for the dead was pointless and wrong. God's judgment was final.
0:58:42 > 0:58:44To suggest that we human beings
0:58:44 > 0:58:47could expedite someone's passage towards heaven,
0:58:47 > 0:58:50or save them from a passage towards hell,
0:58:50 > 0:58:52that was blasphemous and unacceptable -
0:58:52 > 0:58:56you couldn't make a difference, and it's sometimes been rather brutally
0:58:56 > 0:58:58put, by Calvinists especially,
0:58:58 > 0:59:00picking up the Biblical phrase
0:59:00 > 0:59:03"Where the tree falls, there let it lie".
0:59:13 > 0:59:17In the 20th century, there were too many fallen trees.
0:59:17 > 0:59:20The Requiem tide was hard to resist.
0:59:20 > 0:59:24In the aftermath of war, there were moves to allow prayers for the dead.
0:59:27 > 0:59:30The Large World Requiem, by John Foulds,
0:59:30 > 0:59:34was heard on Armistice Day four years in a row.
0:59:34 > 0:59:37The words "Lord, grant them rest" met a clear public need.
0:59:47 > 0:59:50The crucial period was the First World War.
0:59:50 > 0:59:55That's when unexpected violent death hit almost every household
0:59:55 > 1:00:00in the land, and somehow it wasn't quite enough to go on
1:00:00 > 1:00:02with the old prayer book liturgy,
1:00:02 > 1:00:06people wanted to express their bond with the departed in a Christian way.
1:00:07 > 1:00:09And that's when, I think,
1:00:09 > 1:00:12prayers for the dead began to come into the mainstream.
1:00:12 > 1:00:15Possibly the biggest single change in the Christian culture
1:00:15 > 1:00:17of Britain in the 20th century
1:00:24 > 1:00:28For years, people in Britain had happily said "rest in peace",
1:00:28 > 1:00:29or just "R-I-P",
1:00:29 > 1:00:33as if unaware that this itself was a prayer for the dead.
1:00:37 > 1:00:40When Benjamin Britten wrote his War Requiem for the rebuilt
1:00:40 > 1:00:43Coventry Cathedral after the Second World War,
1:00:43 > 1:00:46he used the Latin text of the Requiem Mass.
1:00:46 > 1:00:48This time, it drew no protest.
1:01:16 > 1:01:17The War Requiem,
1:01:17 > 1:01:21when I first heard it, I heard it by accident when I was very small,
1:01:21 > 1:01:25because I walked in on a rehearsal at Hereford Cathedral.
1:01:25 > 1:01:28I remember being blown away by this rehearsal.
1:01:28 > 1:01:30I didn't know what this music was.
1:01:32 > 1:01:37After the nationalism of Cherubini, Berlioz, Brahms and Verdi,
1:01:37 > 1:01:40Britten's agenda was also political, but international.
1:01:49 > 1:01:51As a confirmed pacifist,
1:01:51 > 1:01:56Britten wove into the Latin text the English war poetry of Wilfred Owen.
1:01:56 > 1:01:59The Requiem had become a public commentary on world events -
1:01:59 > 1:02:01at the height of the Cold War,
1:02:01 > 1:02:04when memories of both world wars were still fresh.
1:02:07 > 1:02:11It's the most remarkable modern. .
1:02:11 > 1:02:14I'm almost tempted to say "riff" on the theme of Requiem
1:02:14 > 1:02:16It's doing something very different,
1:02:16 > 1:02:19yet drawing very deeply from the tradition.
1:02:23 > 1:02:25The Day Of Wrath, the Dies Irae
1:02:25 > 1:02:28is not encountered at the judgment seat, but on the battlefield.
1:02:28 > 1:02:31For Britten, the chain of inspiration links him
1:02:31 > 1:02:35directly to the drama of Giuseppe Verdi.
1:02:35 > 1:02:37We think of course of the Dies Irae
1:02:37 > 1:02:41as the defining moment of any Requiem, I think,
1:02:41 > 1:02:45and his moments are just as huge and overwhelming
1:02:45 > 1:02:49as those incredible bass drum moments are in Verdi
1:03:10 > 1:03:14The Libera Me is a prayer to be spared the terrible day of judgment,
1:03:14 > 1:03:16calamity and bitterness.
1:03:16 > 1:03:19But in Britten's Requiem, there is no mercy -
1:03:19 > 1:03:21the earth really does shake,
1:03:21 > 1:03:24and you almost choke on the stench of slaughter and cordite
1:03:24 > 1:03:29in Flanders, and the wailing of troops begging to be spared.
1:03:40 > 1:03:46You really do sense that people are...shattered by it,
1:03:46 > 1:03:51because they are confronted in such a direct way with...
1:03:51 > 1:03:57the great truths of life, death, who we're going to kill
1:03:57 > 1:03:59who we're going to spare.
1:03:59 > 1:04:01You can't get bigger questions than this.
1:04:05 > 1:04:09Britten finally offers release through Wilfred Owen's poem
1:04:09 > 1:04:13Strange Meeting, when two soldiers, one British, one German,
1:04:13 > 1:04:17meet "down some profound dull tunnel" after their deaths.
1:04:19 > 1:04:26# It seemed that out of battle
1:04:26 > 1:04:30# I escaped... #
1:04:32 > 1:04:36When the War Requiem came my way for the first time
1:04:36 > 1:04:39I don't know if you remember,
1:04:39 > 1:04:45but on November 9, 1989, the Berlin Wall came down.
1:04:46 > 1:04:51And the atmosphere in the hall that night was electric.
1:04:51 > 1:04:53People drove to the concert,
1:04:53 > 1:04:58hearing on their car radios what was going on in Berlin that minute
1:04:58 > 1:05:01and then we performed, unforgettably,
1:05:01 > 1:05:05you know, "I am the enemy you killed, my friend".
1:05:09 > 1:05:16# I am the enemy you killed
1:05:16 > 1:05:19# My friend. #
1:05:21 > 1:05:24Nobody who was in the hall that night, whether performer or audience,
1:05:24 > 1:05:27will ever forget it, and people still talk about it
1:05:32 > 1:05:36I think it will always be remembered alongside Berlioz
1:05:36 > 1:05:39and Verdi and Faure and Mozart
1:05:39 > 1:05:46It holds its place in the pantheon of noble Requiems
1:05:51 > 1:05:54Do you think a composer has to be a Christian
1:05:54 > 1:05:56to write a Requiem successfully
1:05:59 > 1:06:04I don't think there is an absolute requirement.
1:06:04 > 1:06:07I think an agnostic like Britten,
1:06:07 > 1:06:12although a very religiously informed agnostic, can write something
1:06:12 > 1:06:14which is very powerful.
1:06:20 > 1:06:27It speaks so deeply of the futility and the evil of war.
1:06:30 > 1:06:34If that doesn't speak of a profound question of faith,
1:06:34 > 1:06:37then I don't know what does.
1:06:44 > 1:06:47Britten ends his requiem by going back in the tradition
1:06:47 > 1:06:50to the elemental power of unaccompanied voices.
1:06:52 > 1:06:55# Dies Irae... #
1:07:01 > 1:07:05Unlike Britten, the Italian Ildebrando Pizzetti
1:07:05 > 1:07:09was a devout believer, and his unaccompanied voices hark even
1:07:09 > 1:07:13further back - to plainsong - but with a modern twist.
1:07:22 > 1:07:25I love the fact that you've got the lower voices singing
1:07:25 > 1:07:27the plainchant, if you like.
1:07:27 > 1:07:29It's like a sort of funeral march,
1:07:29 > 1:07:32and then you've got the lamenting higher voices, weeping.
1:07:47 > 1:07:51Pizzetti - a contemporary of Stravinsky - was another opera
1:07:51 > 1:07:55composer, but his sense of drama is focused on the voices alone.
1:08:02 > 1:08:07Strange keening harmonies...
1:08:07 > 1:08:10You expect something that's just
1:08:10 > 1:08:16for unaccompanied choir to be more formal, but this is so expressive.
1:08:34 > 1:08:37The 17 movements of the Polish Requiem emerged across
1:08:37 > 1:08:40a quarter of a century from the contemporary composer
1:08:40 > 1:08:44Krzysztof Penderecki - himself a practising Roman Catholic.
1:08:46 > 1:08:50It's a commentary on modern Polish history,
1:08:50 > 1:08:54from the Warsaw Uprising to the death of the Polish pope.
1:08:54 > 1:09:00# Lacrimosa
1:09:02 > 1:09:07# Lacrimosa
1:09:08 > 1:09:14# Lacrimosa... #
1:09:17 > 1:09:21The Lacrimosa - the Day Of Tears - was the first.
1:09:21 > 1:09:24It commemorates the anti-government protesters killed
1:09:24 > 1:09:27at the Gdansk Shipyard and elsewhere in 1970.
1:09:34 > 1:09:37# Lacrimosa... #
1:09:41 > 1:09:46Penderecki included the full Dies Irae, even though by this stage
1:09:46 > 1:09:49the Church had watered down its focus on the Day of Judgment.
1:09:59 > 1:10:04The second Vatican Council dropped the Dies Irae and discouraged
1:10:04 > 1:10:08the use of black vestments so that the funeral liturgy,
1:10:08 > 1:10:10the Requiem Liturgy,
1:10:10 > 1:10:13could be restored to some kind of Easter feeling.
1:10:13 > 1:10:17And then you had the risk,
1:10:17 > 1:10:19and sometimes the reality,
1:10:19 > 1:10:22of a slightly bland, slightly sentimental,
1:10:22 > 1:10:26"It's all all right and daddy's gone to be an angel" kind of approach.
1:10:26 > 1:10:30So there are those who I think would want to bring back
1:10:30 > 1:10:32that element of starkness.
1:10:32 > 1:10:37Let's say starkness, at least, rather than gloom or gothic blackness
1:10:45 > 1:10:50Dust thou art, and unto dust shalt thou return
1:10:50 > 1:10:54For we go down to the dust, and weeping over the grave,
1:10:54 > 1:10:56we make our song.
1:11:02 > 1:11:06The starkness of an epic life or death struggle
1:11:06 > 1:11:08was what appealed to Berlioz.
1:11:08 > 1:11:12In his view of the Day Of Tears there is no holding back.
1:11:15 > 1:11:17I've always thought the Lacrimosa
1:11:17 > 1:11:20is a greater movement than the Tuba Mirum.
1:11:20 > 1:11:25I think it's more original and more remarkable and more powerful.
1:11:32 > 1:11:36His Lacrimosa is one of the great pieces.
1:11:43 > 1:11:47The human race being lashed to the abyss!
1:12:05 > 1:12:08Berlioz found the musical ideas coming so thick and fast
1:12:08 > 1:12:10he thought his head would burst
1:12:12 > 1:12:15He developed a form of shorthand to avoid forgetting them
1:12:15 > 1:12:17before he could scribble them down.
1:12:45 > 1:12:48I think he thought, if I'm going to write a Requiem
1:12:48 > 1:12:53there will never have been anything like it before. Nor after!
1:13:09 > 1:13:13The Berlioz Requiem is thrilling in its majesty and daring,
1:13:13 > 1:13:17but probably not a piece you'd want at a time of grief and mourning
1:13:20 > 1:13:23Perhaps that is why Gabriel Faure, as a church musician,
1:13:23 > 1:13:25looked the other way.
1:13:25 > 1:13:29There are certainly specific numbers in specific pieces that seem
1:13:29 > 1:13:33to trigger a very strong emotion with people,
1:13:33 > 1:13:38the most obvious one being the Pie Jesu in the Faure Requiem -
1:13:38 > 1:13:41you see a lot of people clutching hands
1:13:41 > 1:13:46with the people they've come with, sometimes weeping quite openly
1:13:46 > 1:13:50It doesn't have the gesture of a Verdi or a Berlioz,
1:13:50 > 1:13:53or even a Britten, but it soothes,
1:13:53 > 1:13:58and that has to be one of the basic needs that we have from a Requiem.
1:13:58 > 1:14:07# Pie Jesu domine
1:14:09 > 1:14:17# Dona eis requiem
1:14:19 > 1:14:28# Dona eis requiem. #
1:14:32 > 1:14:35Many composers have set these words,
1:14:35 > 1:14:39but as his teacher Saint-Saens said, there's only one Pie Jesu.
1:14:39 > 1:14:43This plea to Jesus actually belongs to the Dies Irae,
1:14:43 > 1:14:47but Faure followed Cherubini's example and set it separately.
1:14:48 > 1:14:58# Pie Jesu Domine
1:14:58 > 1:15:09# Dona eis requiem
1:15:09 > 1:15:20# Dona eis requiem... #
1:15:20 > 1:15:23It seems as though you should be able to sing it in your sleep,
1:15:23 > 1:15:26and it requires an immense amount of breath control,
1:15:26 > 1:15:29but the joy of it is to make it sound as though it's easy,
1:15:29 > 1:15:32just a prayer that you're singing from the heart.
1:15:32 > 1:15:38# Sempiternam
1:15:38 > 1:15:43# Requiem
1:15:43 > 1:15:49# Sempiternam
1:15:49 > 1:15:57# Requiem
1:15:57 > 1:16:08# Pie Jesu... #
1:16:08 > 1:16:12It's on another scale, isn't it That's a very private...
1:16:14 > 1:16:16..piece.
1:16:17 > 1:16:19Done well, it's very beautiful
1:16:19 > 1:16:31# Dona eis
1:16:31 > 1:16:33# Sempiternam... #
1:16:33 > 1:16:40Faure sees death and the afterlife in a much more welcoming sense
1:16:40 > 1:16:42whereas in many Requiems,
1:16:42 > 1:16:46there's a sort of sombre silence at the end,
1:16:46 > 1:16:48you wind down to a point
1:16:48 > 1:16:51where you sort of look thoughtfully into the darkness
1:16:51 > 1:16:55# Requiem... #
1:16:55 > 1:16:58Faure tilts it upwards a bit.
1:17:10 > 1:17:13# Libera me, Domine, de morte aeterna
1:17:13 > 1:17:17# In die illa tremenda
1:17:17 > 1:17:20# Quando coeli
1:17:20 > 1:17:28# Movendi sunt et terra... #
1:17:28 > 1:17:31Whatever Giuseppe Verdi believed lay in store,
1:17:31 > 1:17:34his Requiem drives remorselessly to the end.
1:17:34 > 1:17:38The final movement, Libera Me, was actually the first bit he wrote,
1:17:38 > 1:17:42as his contribution to an earlier Requiem for Rossini,
1:17:42 > 1:17:45each movement from a different Italian composer.
1:17:45 > 1:17:53# Dum veneris iudicare saeculum per ignem... #
1:17:54 > 1:17:58That project never came off, so Verdi expanded his piece
1:17:58 > 1:18:01into a Requiem for another Italian hero,
1:18:01 > 1:18:04the novelist and poet Alessandro Manzoni,
1:18:04 > 1:18:07just after the unification of Italy in 1870.
1:18:08 > 1:18:13If those composers had written their pieces... Did they? Yes.
1:18:13 > 1:18:16..Verdi looked at them and thought, "My God. Mine stands out.
1:18:16 > 1:18:19"It's much better than theirs. I'm going to write the whole thing."
1:18:19 > 1:18:22Its first performance WAS liturgical,
1:18:22 > 1:18:25part of a service at St Mark's Church in Milan.
1:18:25 > 1:18:30Special permission was required for women singers to take part
1:18:30 > 1:18:32Verdi was no friend of the Church hierarchy
1:18:32 > 1:18:34and bent the rules to get his way.
1:18:37 > 1:18:40TRANSLATED FROM ITALIAN:
1:18:56 > 1:19:00# Libera me, Domine, de morte aeterna
1:19:00 > 1:19:04# In die illa tremenda
1:19:04 > 1:19:08# Quando coeli... #
1:19:08 > 1:19:09This is opera.
1:19:11 > 1:19:13And dramatic opera.
1:19:15 > 1:19:19# Libera me, Domine, de morte aeterna
1:19:19 > 1:19:22# In die illa tremenda
1:19:22 > 1:19:24# Libera me, Domine... #
1:19:24 > 1:19:30Yes, it is operatic, it is dramatic. It's certainly not liturgical.
1:19:30 > 1:19:34# Libera me, Domine, de morte aeterna
1:19:34 > 1:19:37# In die illa tremenda... #
1:19:37 > 1:19:40How far is it Christian? Well, it is very hard to say.
1:19:40 > 1:19:42But I think, like others,
1:19:42 > 1:19:44I'd probably give it the benefit of the doubt
1:19:44 > 1:19:47so far as to say, why not in a church?
1:19:47 > 1:19:50I've heard it very effectively in Canterbury Cathedral.
1:19:50 > 1:19:54# Libera me
1:19:54 > 1:19:57# Domine, de morte
1:19:57 > 1:20:01# De morte aeterna... #
1:20:01 > 1:20:04People often criticise the Verdi Requiem for being operatic.
1:20:04 > 1:20:06That's ridiculous.
1:20:08 > 1:20:13I mean, the text is itself theatrical. And...
1:20:18 > 1:20:21..that's the way he wrote music and I...
1:20:21 > 1:20:23It never feels like that at all
1:20:23 > 1:20:27# Domine
1:20:27 > 1:20:34# Domine... #
1:20:36 > 1:20:38"An opera in ecclesiastical garb"
1:20:38 > 1:20:41was how some critics described it at the time.
1:20:41 > 1:20:44Not that it particularly bothered Verdi.
1:20:44 > 1:20:47As the great opera composer that Verdi was,
1:20:47 > 1:20:50there is the smell of greasepaint in it.
1:20:50 > 1:20:53But I would not say that that is in any way an insult,
1:20:53 > 1:20:55even if it was meant to be one
1:20:55 > 1:20:56I think it IS a religious peace
1:20:56 > 1:21:00I just think Verdi allowed himself his full wealth
1:21:00 > 1:21:03and range of expression, and that gave us...
1:21:03 > 1:21:05Well, it gave composers an incredible model
1:21:05 > 1:21:07for the next 140 years.
1:21:09 > 1:21:11It set another pattern for the future
1:21:11 > 1:21:15as it became the first Requiem to set off round the world.
1:21:15 > 1:21:18Berlioz had only four or five performances of his Requiem
1:21:18 > 1:21:19during his entire life.
1:21:19 > 1:21:23But Verdi saw his as a commercial proposition.
1:21:23 > 1:21:29Verdi wanted to have control on the conducting of the work
1:21:29 > 1:21:33and he wanted it to be performed in front of large audiences.
1:21:33 > 1:21:37And he took it on tour in France, in Italy, in England,
1:21:37 > 1:21:39and also in Germany.
1:21:46 > 1:21:49The concert Requiem had come of age.
1:21:49 > 1:21:52The Church could no longer hold people in thrall,
1:21:52 > 1:21:55terrified by the Day Of Judgment.
1:21:55 > 1:21:58Instead, audiences were thrilled by the way composers treated it
1:21:58 > 1:22:00and enjoyed it.
1:22:00 > 1:22:03Music, once the servant of the Church's Requiem,
1:22:03 > 1:22:05was now its master.
1:22:05 > 1:22:07None more so than Verdi's.
1:22:07 > 1:22:12# Domine
1:22:12 > 1:22:17# Libera me... #
1:22:17 > 1:22:19It's more shattering than the Berlioz Requiem
1:22:19 > 1:22:24because the Berlioz Requiem ends with a kind of resignation,
1:22:24 > 1:22:27I think, doesn't it, an acceptance,
1:22:27 > 1:22:29whereas the Verdi Requiem ends
1:22:29 > 1:22:34with just the whole world given over to the flames.
1:22:34 > 1:22:36It's shattering.
1:22:36 > 1:22:39CHOIR SINGS IN THE ROUND
1:22:50 > 1:22:58# Libera me
1:22:58 > 1:23:07# Domine... #
1:23:11 > 1:23:15He saw a Requiem as a dramatic opportunity
1:23:15 > 1:23:20to portray an epic battle between life and death,
1:23:20 > 1:23:25with no very clear answer as to which one ultimately will win.
1:23:29 > 1:23:31This text of the Requiem
1:23:31 > 1:23:35produced some of the greatest music that we have
1:23:36 > 1:23:39I mean, Verdi's Requiem towers above..
1:23:41 > 1:23:43..all the other things he did.
1:23:46 > 1:23:50# Libera me, Domine, de morte aeterna
1:23:50 > 1:23:55# In die illa tremenda... #
1:23:55 > 1:23:58It sums up the piece, doesn't it?
1:23:58 > 1:24:01"Libera me, Domine, de morte aeterna."
1:24:04 > 1:24:07"Release me from eternal death.
1:24:08 > 1:24:18# Libera me... #
1:24:18 > 1:24:23Mozart, Verdi and Berlioz, they all shared the same problem.
1:24:23 > 1:24:27They were brought up as children to be Catholics.
1:24:27 > 1:24:32They fell foul of the Church one way or another.
1:24:32 > 1:24:37But they never forgot what it was like to believe
1:24:37 > 1:24:41and they never forgot what it was like to be afraid of death.
1:24:41 > 1:24:44If you were planning your own funeral... Yes.
1:24:44 > 1:24:47..and you had the chance of having a Requiem,
1:24:47 > 1:24:51which one would you choose and why? Well, I would have...
1:24:52 > 1:24:54..maybe a potpourri.
1:24:54 > 1:24:59I think I would go for the C major quintet of Mozart!
1:25:00 > 1:25:03Rather than a gigantic Requiem
1:25:03 > 1:25:07Definitely the Libera Me from Faure.
1:25:07 > 1:25:10I certainly don't think my widow would thank me
1:25:10 > 1:25:15for making her hire a whole orchestra and chorus to sing Verdi.
1:25:15 > 1:25:17Plainsong works for me, I have to confess.
1:25:17 > 1:25:19Yes, plainsong and a bit of Byrd.
1:25:19 > 1:25:21Since I've only got one death, you know.
1:25:21 > 1:25:26If you had more than one, you could go out to the Dies Irae,
1:25:26 > 1:25:30or God Save The Queen, or whatever you wanted to have
1:25:30 > 1:25:34Maybe those last amazing chords from the Britten Requiem.
1:25:34 > 1:25:37My own father wanted the Recordare
1:25:37 > 1:25:40from the Mozart Requiem played at his.
1:25:40 > 1:25:42Um...
1:25:42 > 1:25:44And so we did.
1:25:44 > 1:25:46Did that for him.
1:25:46 > 1:25:49MUSIC: "Recordare"
1:25:49 > 1:25:53That, for him, was the heart of the Requiem.
1:25:53 > 1:25:56Not the Dies Irae, not even the Lacrimosa, but the Recordare.
1:26:02 > 1:26:04I love that, and I always think of my Dad, actually,
1:26:04 > 1:26:06every time I do that now.
1:26:06 > 1:26:08So, maybe that'll do.
1:26:08 > 1:26:11Just that one little movement. Maybe I'll have that at my funeral too.
1:26:11 > 1:26:14Thanks, Dad. Good idea.
1:26:14 > 1:26:16CHOIR SINGS IN THE ROUND
1:26:34 > 1:26:39I think the power invested in the music which clothes these texts
1:26:39 > 1:26:41is so compelling
1:26:41 > 1:26:46that it forces people to think about what it's about
1:26:46 > 1:26:48And...
1:26:50 > 1:26:53..we know just as little about death as they did.
1:26:53 > 1:26:56THEY SING IN THE ROUND
1:27:04 > 1:27:07I don't think a listener needs to be religious
1:27:07 > 1:27:09to appreciate what a Requiem is
1:27:09 > 1:27:14and the fervour and the sense of loss, both collective and personal,
1:27:14 > 1:27:18and the sense of the soothing of what that music can do.
1:27:26 > 1:27:30But if you ARE a believer, it certainly helps.
1:27:36 > 1:27:38Whether you believe that there is an afterlife
1:27:38 > 1:27:41or even whether there is a God
1:27:41 > 1:27:44the one thing you have to believe in...
1:27:45 > 1:27:47..is death.
1:27:47 > 1:27:50THEY SING IN THE ROUND
1:28:45 > 1:28:50Subtitles by Red Bee Media Ltd