0:00:00 > 0:00:00- *
0:00:01 > 0:00:07- # Requiem #
0:00:08 > 0:00:13- A requiem is part remembrance - and part celebration.
0:00:18 > 0:00:24- Requiem suggests 'rest' to me - and that's its literal meaning.
0:00:24 > 0:00:31- # Dona eis... #
0:00:32 > 0:00:35- It carries you - on an emotional journey.
0:00:37 > 0:00:42- Over 2,000 requiems have been - composed over the past 500 years...
0:00:44 > 0:00:48- ..among which are some of the most - famous classical works in history.
0:00:50 > 0:00:54- Instilling fear - was fashionable within the Church.
0:00:54 > 0:01:00- It kept the faithful true and - it brought the unfaithful to Church.
0:01:00 > 0:01:03- We're all familiar with the word.
0:01:03 > 0:01:06- Such is the power - of ritual and music...
0:01:06 > 0:01:10- ..at the heart - of life's greatest mystery - death.
0:01:13 > 0:01:15- Subtitles
0:01:17 > 0:01:21- It I had a top ten of requiems, - the Faure would be at number one.
0:01:27 > 0:01:30- For me, it's Britten - followed by Verdi.
0:01:33 > 0:01:37- I have two favourites... or maybe - even three favourites.
0:01:41 > 0:01:44- The Penderecki - is my third favourite.
0:01:46 > 0:01:50- The three that come to mind - are Mozart, Faure and Britten.
0:01:54 > 0:01:59- In terms of the Catholic - requiem Mass, I would favour Faure.
0:02:04 > 0:02:08- Mozart, Brahms and Verdi - with Britten a close fourth.
0:02:12 > 0:02:18- My personal favourite is Howells, - which isn't very well known.
0:02:23 > 0:02:24- Faure is at number four.
0:02:25 > 0:02:29- Penderecki and Faure - will jostle for third spot!
0:02:29 > 0:02:35- # The day of tears and mourning
0:02:35 > 0:02:41- # When from the ashes shall arise #
0:02:42 > 0:02:45- The roots of the requiem - are in plainsong.
0:02:45 > 0:02:48- It was earliest - Christian church music...
0:02:48 > 0:02:52- ..and the foundation - of Christian music for centuries.
0:02:52 > 0:02:56- # Spare us by your mercy, Lord #
0:02:57 > 0:02:59- Plainsong suits the requiem.
0:03:00 > 0:03:03- It's staid and serious.
0:03:03 > 0:03:08- The text of the requiem Mass is - expressed very well in plainsong.
0:03:09 > 0:03:12- Between the sixth - and the ninth centuries...
0:03:12 > 0:03:16- ..the plainsong repertory - was adapted and it developed.
0:03:21 > 0:03:26- # Aeternam #
0:03:34 > 0:03:37- The plainsong evolved - into a polyphonic form.
0:03:37 > 0:03:40- The earliest polyphonic requiem...
0:03:40 > 0:03:44- ..was written by Johannes Ockeghem - in around 1470.
0:03:49 > 0:03:55- The idea of moving towards polyphony - was to elevate the occasion.
0:03:55 > 0:04:01- There was more of a need for - celebratory music than sombre music.
0:04:13 > 0:04:16- Following Ockeghem's example...
0:04:16 > 0:04:20- ..Tomas Luis de Victoria - developed the form further...
0:04:20 > 0:04:23- ..with this work, written in 1603.
0:04:31 > 0:04:35- I think Victoria's requiem - is easy on the ear.
0:04:37 > 0:04:41- He was a priest who was ordained - by the Bishop Of St Asaph.
0:04:50 > 0:04:52- I can hear the voice of the priest.
0:04:56 > 0:05:03- # Et lux perpetua... #
0:05:04 > 0:05:07- It's a foretaste of Heaven.
0:05:14 > 0:05:22- # Luceat eis... #
0:05:22 > 0:05:26- In Victoria's times, - it was an all-male choir.
0:05:26 > 0:05:29- There were no female choristers.
0:05:32 > 0:05:37- # Luceat eis... #
0:05:37 > 0:05:42- This, the last of Victoria's works, - is a perfect example of polyphony...
0:05:43 > 0:05:45- ..and is classed as a masterpiece.
0:05:45 > 0:05:51- # Eis #
0:05:54 > 0:05:58- His requiem was also the final work - of Wolfgang Amadeus Mozart.
0:05:59 > 0:06:03- He wrote it in Vienna - almost 200 years later, in 1791.
0:06:05 > 0:06:08- Mozart got the commission - from a stranger...
0:06:08 > 0:06:13- ..bringing a large fee from - a nobleman called Count Walsegg.
0:06:13 > 0:06:18- Mozart was under financial pressure - and, as his health deteriorated...
0:06:19 > 0:06:22- ..he became obsessed - with completing his requiem.
0:06:23 > 0:06:27- He was ill - but the words inspired him.
0:06:27 > 0:06:30- He may have sensed - that he was close to death...
0:06:31 > 0:06:34- ..and that - he was writing his own requiem.
0:06:34 > 0:06:37- Mozart's requiem - has been romanticized.
0:06:38 > 0:06:40- Was it his personal requiem?
0:06:40 > 0:06:42- Did he foresee his own death?
0:06:43 > 0:06:47- Did he know he would pass away - before he could complete the work?
0:07:10 > 0:07:13- Mozart died - on the December 5th, 1791...
0:07:13 > 0:07:16- ..before he could complete - his requiem.
0:07:19 > 0:07:21- Just after his funeral...
0:07:21 > 0:07:25- ..a memorial service was held - in St Michael's Church, Vienna.
0:07:26 > 0:07:30- In 1991, a document - found in the church archives...
0:07:31 > 0:07:37- ..proves that - parts of the unfinished requiem...
0:07:37 > 0:07:40- ..were performed at that service.
0:07:43 > 0:07:48- Count Walsegg, who commissioned - the requiem, knew nothing of this.
0:07:49 > 0:07:52- This is the original document.
0:07:52 > 0:07:55- This is the date - December 10th.
0:07:56 > 0:07:58- And the name - - Wolfgang Amadeus Mozart.
0:08:04 > 0:08:08- For the church bells, - three gulden and 36 kreuzer.
0:08:09 > 0:08:14- The document lists the costs of - the mass, the priest's vestments...
0:08:15 > 0:08:20- ..and the black cloth hanging - between the roof and the high altar.
0:08:20 > 0:08:24- In addition to this document, - an article in a newsletter...
0:08:25 > 0:08:28- ..proves that the requiem - was performed.
0:08:35 > 0:08:38- How can you not feel sad - when you hear it?
0:08:42 > 0:08:43- And yet...
0:08:47 > 0:08:51- ..there's something - incredibly joyous about it.
0:08:51 > 0:08:53- It's uplifting.
0:08:53 > 0:08:58- # Judicandus homo reus #
0:08:58 > 0:09:03- This is the point at which - Mozart stopped writing the requiem.
0:09:04 > 0:09:09- It's a passage which expresses - the sense of darkening anxiety.
0:09:10 > 0:09:13- Constanze had to - get the requiem finished.
0:09:15 > 0:09:16- She needed the money.
0:09:19 > 0:09:24- On his deathbed, Mozart instructed - Franz Xaver Sussmayr, his pupil...
0:09:25 > 0:09:27- ..how he wanted the work to go.
0:09:27 > 0:09:31- Sussmayr was a composer - who had moved to Vienna...
0:09:31 > 0:09:34- ..and became - close friends with Mozart.
0:09:34 > 0:09:40- All we know about Sussmayr is that - he completed the Mozart requiem.
0:09:44 > 0:09:48- The manuscripts, stored at - the Austrian National Library...
0:09:49 > 0:09:54- ..offer a fascinating glimpse of the - way Sussmayr approached the task.
0:09:54 > 0:09:59- Compare the manuscript by Mozart - and the manuscript by Sussmayr....
0:10:00 > 0:10:03- ..and we notice - a striking similarity.
0:10:03 > 0:10:07- At the head of the page, - Dies Irae written by Mozart.
0:10:08 > 0:10:12- Sussmayr tried to imitate - Mozart's handwriting.
0:10:12 > 0:10:15- We must state - he imitated it very well.
0:10:16 > 0:10:20- Sussmayr's handwriting - and Mozart's handwriting...
0:10:20 > 0:10:22- ..are remarkably similar.
0:10:23 > 0:10:26- This was a real game of Cluedo!
0:10:26 > 0:10:30- There's further evidence of the ruse - on the first page...
0:10:31 > 0:10:34- ..where we see Mozart's signature - dated '92...
0:10:34 > 0:10:37- ..which was - a year after Mozart's death.
0:10:38 > 0:10:42- # As Thou promised Abraham
0:10:42 > 0:10:47- # As Thou promised Abraham
0:10:48 > 0:10:53- # And his seed #
0:10:54 > 0:10:57- The melodies and the drama - of Mozart's work...
0:10:57 > 0:10:59- ..is utterly brilliant.
0:11:00 > 0:11:04- # And his seed
0:11:05 > 0:11:09- # As Thou promised Abraham
0:11:10 > 0:11:15- # As Thou promised Abraham
0:11:15 > 0:11:30- # And his seed #
0:11:34 > 0:11:39- In the next part, - our journey takes us to Germany...
0:11:40 > 0:11:45- ..and an influential composer who - transformed the requiem for ever.
0:11:46 > 0:11:47- .
0:11:51 > 0:11:51- Subtitles
0:11:51 > 0:11:53- Subtitles- - Subtitles
0:11:58 > 0:12:03- The significance of the requiem - fires the imagination of composers.
0:12:04 > 0:12:07- They may write - numerous symphonies and operas...
0:12:07 > 0:12:10- ..but usually only one requiem Mass.
0:12:20 > 0:12:26- His requiem was the last orchestral - work written by Robert Schumann...
0:12:26 > 0:12:32- ..before he attempted suicide and - was committed to a mental asylum.
0:12:37 > 0:12:46- # Requiem aeternam #
0:12:47 > 0:12:49- There's a sense of longing - in the music.
0:12:56 > 0:12:57- It's mournful.
0:12:58 > 0:13:02- # Dona eis
0:13:06 > 0:13:11- # Requiem
0:13:12 > 0:13:15- # Requiem
0:13:16 > 0:13:20- # Requiem #
0:13:20 > 0:13:22- It's simple, homophonic music.
0:13:23 > 0:13:28- It's like the faithful - praying through a hymn.
0:13:31 > 0:13:35- # Requiem aeternam
0:13:35 > 0:13:42- # Requiem
0:13:43 > 0:13:47- # Dona eis
0:13:47 > 0:13:55- # Et lux perpetua
0:13:56 > 0:14:00- # Luceat eis
0:14:01 > 0:14:09- # Luceat eis
0:14:10 > 0:14:15- # Et lux perpetua
0:14:16 > 0:14:22- # Luceat eis
0:14:23 > 0:14:30- # Et lux perpetua
0:14:31 > 0:14:39- # Luceat eis #
0:14:39 > 0:14:42- D flat major - is incredibly hard to play in.
0:14:42 > 0:14:45- Schumann meant - something specific by that.
0:14:45 > 0:14:50- It's a tonality and a sense that is - unlike any other piece I know.
0:14:55 > 0:14:59- # Requiem #
0:15:00 > 0:15:02- Schumann never heard - his own requiem.
0:15:05 > 0:15:11- # Aeternam #
0:15:11 > 0:15:12- After his death...
0:15:13 > 0:15:17- ..his widow sent the manuscript - to his friend, Johannes Brahms.
0:15:19 > 0:15:23- It was Brahms who suggested - that the work should be published.
0:15:27 > 0:15:31- By that stage, Brahms had begun - to write a requiem...
0:15:31 > 0:15:34- ..in memory of Schumann, - a man who inspired him.
0:15:34 > 0:15:38- Brahms's work is called - Ein Deutsches Requiem.
0:15:39 > 0:15:44- He ignored the Latin text - and set his work entirely in German.
0:15:44 > 0:15:47- That was the point, - according to Brahms.
0:15:47 > 0:15:51- He wanted to write - in a language people understood.
0:15:51 > 0:15:55- Maybe that allowed him - to be emotional and honest.
0:15:56 > 0:15:59- Brahms was part of - the German Protestant tradition.
0:16:00 > 0:16:04- In his requiem, he sets parts of the - German, Lutheran Bible to music.
0:16:05 > 0:16:06- It's religious...
0:16:07 > 0:16:11- ..but it isn't requiem, - in the traditional sense.
0:16:12 > 0:16:16- The idea that you could adapt - a requiem to your own purpose...
0:16:17 > 0:16:18- ..began with Brahms.
0:16:28 > 0:16:31- It's in memory of his mother - and of Schumann.
0:16:31 > 0:16:34- There was a lot happening - in his life.
0:16:34 > 0:16:39- His requiem is a collage - of emotions and reflections...
0:16:39 > 0:16:42- ..about the meaning of death.
0:16:44 > 0:16:46- In it, he reflects upon death...
0:16:47 > 0:16:50- ..and what the Christian response - to death should be.
0:17:11 > 0:17:20- # Selig sind #
0:17:21 > 0:17:23- It's like a prayer.
0:17:24 > 0:17:25- It starts peacefully.
0:17:29 > 0:17:45- # Selig sind, die da Leid tragen
0:17:47 > 0:18:02- # Denn sie sollen getrostet werden #
0:18:06 > 0:18:09- They move together, - singing in block chords.
0:18:11 > 0:18:16- # Selig sind
0:18:18 > 0:18:24- # Selig sind
0:18:27 > 0:18:32- # Die da Leid
0:18:34 > 0:18:42- # Leid tragen #
0:18:43 > 0:18:46- I love the fact - it's in his own language.
0:18:46 > 0:18:49- It's a model - for what came afterwards.
0:18:49 > 0:19:01- # Denn sie sollen getrostet
0:19:02 > 0:19:10- # Getrostet werden
0:19:17 > 0:19:19- # Die mit Tranen #
0:19:20 > 0:19:23- It's a message for the living...
0:19:24 > 0:19:26- ..rather than a prayer for the dead.
0:19:27 > 0:19:29- He speaks to those - who are still on earth.
0:19:30 > 0:19:40- # Die mit Tranen
0:19:40 > 0:19:44- # Mit Tranen saen
0:19:44 > 0:19:47- # Werden mit Freuden
0:19:48 > 0:19:50- # Mit Freuden ernten
0:19:51 > 0:19:58- # Werden mit Freuden
0:20:02 > 0:20:11- # Ernten #
0:20:15 > 0:20:20- The first three movements were - performed at Musikverein, Vienna...
0:20:21 > 0:20:22- ..on December 1st, 1867.
0:20:23 > 0:20:26- Brahms himself was the conductor.
0:20:27 > 0:20:31- Over 100 years later, in 1997, - Bryn Terfel performed the work...
0:20:31 > 0:20:34- ..in the same location.
0:20:35 > 0:20:41- # Herr, lehre doch mich
0:20:42 > 0:20:51- # Das ein Ende mit mir haben mus #
0:20:52 > 0:20:55- I'll never forget that performance.
0:20:56 > 0:20:59- If I were marooned on an island - with one record...
0:21:01 > 0:21:02- ..I'd choose...
0:21:02 > 0:21:07- # Denn alles Fleisch es ist wie Gras
0:21:07 > 0:21:10- # Da-dee da da-dee-da #
0:21:13 > 0:21:15- It's a huge crescendo.
0:21:16 > 0:21:19- It's like walking - to the top of Snowdon.
0:21:27 > 0:21:31- What a crescendo! - That moment elevates you.
0:21:32 > 0:21:42- # Und alle Herrlichkeit... #
0:21:42 > 0:21:48- It's unacceptable to applaud. - It isn't the done thing.
0:21:48 > 0:21:50- After a movement such at that...
0:21:51 > 0:21:55- ..you really want to stand up...
0:21:55 > 0:21:57- ..and scream.
0:22:06 > 0:22:12- The words translate as, "Lord, - teach me that I must have an end."
0:22:12 > 0:22:14- It's impossible to continue.
0:22:15 > 0:22:20- That's the challenge which faced - the composers over the centuries.
0:22:34 > 0:22:38- Brahms inspired - the composers of the future.
0:22:38 > 0:22:43- In the next programme, we look at - the development of the requiem...
0:22:44 > 0:22:48- ..into the 20th century, - as it became a political statement.
0:23:08 > 0:23:10- S4C subtitles by Eirlys A Jones
0:23:10 > 0:23:10- .