Pennod 3 Requiem
Similar Content
Browse content similar to Pennod 3. Check below for episodes and series from the same categories and more!
Transcript
| Line | From | To | |
|---|---|---|---|
-Subtitles | 0:00:00 | 0:00:00 | |
-Subtitles - -Subtitles | 0:00:00 | 0:00:02 | |
-More than 2,000 requiems have been -written over the past 500 years. | 0:00:09 | 0:00:15 | |
-The requiem has inspired some of -our most famous classical works. | 0:00:20 | 0:00:25 | |
-A requiem brings something different -to us all. | 0:00:35 | 0:00:38 | |
-It carries you -on an emotional journey. | 0:00:39 | 0:00:42 | |
-# Selig sind, die da... # | 0:00:43 | 0:00:47 | |
-By the late 19th century, composers -had experimented with the format. | 0:00:51 | 0:00:56 | |
-It's a framework -which can be flexible... | 0:01:00 | 0:01:03 | |
-..but whose message is timeless. | 0:01:03 | 0:01:06 | |
-Brahms broke away from the tradition -of using Latin liturgy... | 0:01:10 | 0:01:14 | |
-..and Berlioz pushed the envelope -in his Grande Messe Des Morts. | 0:01:15 | 0:01:19 | |
-The work which best represents -the pinnacle of this development... | 0:01:20 | 0:01:25 | |
-..is the most famous of them all - -Verdi's masterful Messa Da Requiem. | 0:01:25 | 0:01:31 | |
-# Dies irae, dies irae | 0:01:36 | 0:01:43 | |
-# Dies illa, dies illa # | 0:01:50 | 0:01:57 | |
-This requiem has everything. | 0:01:59 | 0:02:01 | |
-Its drama and operatic elements -are the antithesis of the plainsong. | 0:02:01 | 0:02:06 | |
-# Teste David cum Sibylla | 0:02:08 | 0:02:12 | |
-# Dies irae, dies irae | 0:02:12 | 0:02:17 | |
-# Dies illa... # | 0:02:17 | 0:02:20 | |
-He portrays the epic battle between -life and death on Judgement Day. | 0:02:21 | 0:02:26 | |
-# Dies irae! Dies illa! | 0:02:28 | 0:02:31 | |
-Verdi's requiem is really -one of the best operas ever written. | 0:02:31 | 0:02:37 | |
-He created a full sound, -utilizing the whole orchestra. | 0:02:37 | 0:02:41 | |
-It's very theatrical. | 0:02:42 | 0:02:44 | |
-To call it an opera in -ecclesiastical robes is unfair. | 0:02:44 | 0:02:48 | |
-Who are we to cast doubt -on Verdi's integrity... | 0:02:48 | 0:02:51 | |
-..for writing his requiem -with operatic overtones? | 0:02:51 | 0:02:55 | |
-His wife said, "A man like Verdi -must write like Verdi." | 0:02:55 | 0:03:00 | |
-# Tuba mirum spargens sonum... # | 0:03:05 | 0:03:09 | |
-Following the works of Mozart, -Cherubini, Berlioz and Brahms... | 0:03:12 | 0:03:16 | |
-..this requiem sits more comfortably -in the concert hall than the church. | 0:03:17 | 0:03:23 | |
-It has been performed in churches -but more often in theatres... | 0:03:28 | 0:03:33 | |
-..which better suit the spectacular, -theatrical aspects of this requiem. | 0:03:33 | 0:03:41 | |
-If you slot Verdi's requiem -into a requiem Mass service... | 0:03:43 | 0:03:47 | |
-..with a priest at the altar... | 0:03:49 | 0:03:51 | |
-..it would last for three hours. | 0:03:51 | 0:03:53 | |
-That wasn't deemed suitable -for the Catholic Church at the time. | 0:03:54 | 0:03:59 | |
-Giuseppe Verdi was the first -composer to take a requiem on tour. | 0:04:00 | 0:04:04 | |
-Following its first performance in -St Mark's Church, Milan in 1874... | 0:04:05 | 0:04:10 | |
-..the requiem -was staged at La Scala... | 0:04:10 | 0:04:13 | |
-..before touring around Europe to -cities including Paris and London. | 0:04:13 | 0:04:18 | |
-The tours were lucrative and Verdi -made a lot of money from them. | 0:04:20 | 0:04:25 | |
-In the Libera Me, Verdi uses -his theatrical skills... | 0:04:34 | 0:04:38 | |
-..to convey the horrors -of Judgement Day. | 0:04:38 | 0:04:41 | |
-The soul pleads for deliverance -from eternal death. | 0:04:42 | 0:04:46 | |
-This Italian man uses Latin in -the opening recitative of Libera Me. | 0:04:56 | 0:05:01 | |
-Libera me, Domine, de morte aeterna. | 0:05:01 | 0:05:03 | |
-Latin comes to life. | 0:05:04 | 0:05:05 | |
-# Tremens factus sum ego | 0:05:06 | 0:05:08 | |
-# Et timeo | 0:05:09 | 0:05:12 | |
-# Tremens factus sum ego | 0:05:14 | 0:05:19 | |
-# Tremens factus sum ego | 0:05:19 | 0:05:24 | |
-# Tremens factus sum ego | 0:05:24 | 0:05:28 | |
-# Et timeo # | 0:05:28 | 0:05:37 | |
-The opera house greasepaint -is never far away in this requiem. | 0:05:39 | 0:05:44 | |
-We enjoy Verdi's requiem because -it's a theatrical experience. | 0:05:49 | 0:05:54 | |
-With that caveat, -it stands high in the pantheon. | 0:05:57 | 0:06:00 | |
-# Lux perpetua | 0:06:02 | 0:06:09 | |
-# Luceat eis | 0:06:10 | 0:06:18 | |
-# Luceat eis | 0:06:19 | 0:06:23 | |
-# Domine # | 0:06:24 | 0:06:32 | |
-Verdi had little time -for Catholic traditions... | 0:06:50 | 0:06:54 | |
-..but he took inspiration -from the requiem form... | 0:06:54 | 0:06:57 | |
-..whose roots lie in Italy. | 0:06:58 | 0:07:00 | |
-In Wales, since the early period, -the requiem wasn't part... | 0:07:00 | 0:07:05 | |
-..of the religious funeral service. | 0:07:05 | 0:07:08 | |
-When you think of chapels -and nonconformity... | 0:07:09 | 0:07:13 | |
-..the requiem is totally alien -to it. | 0:07:13 | 0:07:16 | |
-However, poets in the Middle Ages -wrote elegies for the departed. | 0:07:19 | 0:07:24 | |
-Early nonconformists didn't favour -music as part of worship... | 0:07:27 | 0:07:32 | |
-..especially not instrumental music. | 0:07:33 | 0:07:35 | |
-The organ was the musical instrument -of the devil. | 0:07:36 | 0:07:39 | |
-Simplicity characterizes -nonconformist worship. | 0:07:41 | 0:07:45 | |
-Chapels look like barns -for a reason. | 0:07:45 | 0:07:48 | |
-They include very little decoration. | 0:07:48 | 0:07:51 | |
-There's no room for a requiem in -a chapel and it would be unsuitable. | 0:07:52 | 0:07:57 | |
-The closest thing you get to it -in a chapel is the anthem. | 0:07:57 | 0:08:01 | |
-The hymn -and the more personal text... | 0:08:02 | 0:08:04 | |
-..is the nonconformist way of -remembering the departed individual. | 0:08:04 | 0:08:10 | |
-# Agnus Dei | 0:08:12 | 0:08:14 | |
-# Qui tollis peccata mundi # | 0:08:16 | 0:08:19 | |
-Despite the dearth of composers who -have written requiems in Wales... | 0:08:22 | 0:08:27 | |
-..in 2005, the Welsh -composer Karl Jenkins... | 0:08:27 | 0:08:30 | |
-..experimented with the form by -combining Japanese Haiku poems... | 0:08:30 | 0:08:35 | |
-..with the traditional requiem text. | 0:08:35 | 0:08:38 | |
-It's an example of the way -in which contemporary composers... | 0:08:42 | 0:08:47 | |
-..introduced other cultures -and religions to the requiem. | 0:08:47 | 0:08:51 | |
-The development of the requiem shows -how society's attitude has changed. | 0:08:52 | 0:08:57 | |
-Latin has been moved away -from centre stage... | 0:08:58 | 0:09:01 | |
-..allowing composers -to reach out to audiences... | 0:09:02 | 0:09:05 | |
-..to help them understand more -and look further. | 0:09:05 | 0:09:09 | |
-In the next part, -we see how 20th century composers... | 0:09:11 | 0:09:15 | |
-..built on the drama -of Verdi's requiem.... | 0:09:15 | 0:09:18 | |
-..making it a personal -and political statement. | 0:09:19 | 0:09:22 | |
-. | 0:09:22 | 0:09:23 | |
-Subtitles | 0:09:27 | 0:09:27 | |
-Subtitles - -Subtitles | 0:09:27 | 0:09:29 | |
-After the drama of Verdi's requiem -in the 19th century... | 0:09:34 | 0:09:38 | |
-..the 20th century composers -experimented further with the form. | 0:09:39 | 0:09:44 | |
-It took almost 25 years for Polish -composer, Krzysztof Penderecki... | 0:09:47 | 0:09:52 | |
-..to complete his masterpiece, -A Polish Requiem. | 0:09:53 | 0:09:56 | |
-Penderecki took his inspiration -for Lacrimosa, the first movement... | 0:09:56 | 0:10:01 | |
-..from the Verdi requiem. | 0:10:02 | 0:10:04 | |
-# Lacrimosa | 0:10:06 | 0:10:13 | |
-# Lacrimosa | 0:10:14 | 0:10:19 | |
-# Lacrimosa | 0:10:20 | 0:10:25 | |
-# Dies illa # | 0:10:26 | 0:10:29 | |
-Penderecki mourns Polish history -and he yearns for a better future. | 0:10:33 | 0:10:38 | |
-# Lacrimosa | 0:10:40 | 0:10:45 | |
-# Lacrimosa | 0:10:45 | 0:10:48 | |
-# Dies illa | 0:10:48 | 0:10:51 | |
-# Qua resurget | 0:10:56 | 0:11:00 | |
-# Qua resurget ex favilla # | 0:11:01 | 0:11:10 | |
-The Lacrimosa commemorates -the dockers' revolution in Gdansk... | 0:11:11 | 0:11:16 | |
-..and the cruel way -in which it was crushed. | 0:11:16 | 0:11:19 | |
-# Huic ergo parce, Deus... # | 0:11:20 | 0:11:25 | |
-It's an extremely powerful movement. | 0:11:30 | 0:11:32 | |
-# Pie Jesu... # | 0:11:34 | 0:11:45 | |
-The motive changed. | 0:11:46 | 0:11:47 | |
-The requiem became a form which can -be used to highlight world events. | 0:11:47 | 0:11:52 | |
-# Pie Jesu Domine # | 0:11:54 | 0:12:04 | |
-Penderecki's work is a powerful -statement about his nation. | 0:12:11 | 0:12:16 | |
-The requiem -was now a political weapon. | 0:12:16 | 0:12:19 | |
-In 1962, Benjamin Britten -wrote his War Requiem. | 0:12:20 | 0:12:24 | |
-It was composed for the consecration -of the rebuilt Coventry Cathedral... | 0:12:24 | 0:12:30 | |
-..following its bombing in 1940. | 0:12:30 | 0:12:33 | |
-This was by no means -a traditional requiem. | 0:12:33 | 0:12:36 | |
-# Dies illa | 0:12:38 | 0:12:42 | |
-# Dies irae | 0:12:43 | 0:12:47 | |
-# Calamitatis | 0:12:48 | 0:12:52 | |
-# Et miseriae # | 0:12:53 | 0:12:59 | |
-The original requiem was often -written for a specific person. | 0:13:02 | 0:13:06 | |
-Britten dedicated his War Requiem -to the friends he lost in the War... | 0:13:07 | 0:13:12 | |
-..and, through that, -to all the fallen. | 0:13:13 | 0:13:15 | |
-You hear the bells - -the death knells. | 0:13:22 | 0:13:24 | |
-# Requiem aeternam # | 0:13:24 | 0:13:28 | |
-We know this is the War Requiem... | 0:13:30 | 0:13:32 | |
-..so the words requiem aeternam - -eternal rest... | 0:13:33 | 0:13:36 | |
-..refer to the war dead, -from every nation. | 0:13:36 | 0:13:40 | |
-# Requiem aeternam # | 0:13:44 | 0:13:48 | |
-I saw its 1965 Welsh premiere -in Swansea. | 0:13:50 | 0:13:54 | |
-Swansea was still scarred -by the Luftwaffe bombings in 1960s. | 0:13:56 | 0:14:00 | |
-It was a city -which had suffered greatly... | 0:14:00 | 0:14:04 | |
-..during World War II. | 0:14:04 | 0:14:06 | |
-The War Requiem -resonated with that audience. | 0:14:06 | 0:14:10 | |
-# Lacrimosa | 0:14:11 | 0:14:18 | |
-# Dies illa | 0:14:19 | 0:14:27 | |
-# Lacrimosa | 0:14:28 | 0:14:35 | |
-# Lacrimosa # | 0:14:37 | 0:14:45 | |
-It was an experimental work -on many levels... | 0:14:45 | 0:14:49 | |
-..in which Britten combined -elements of the requiem Mass... | 0:14:49 | 0:14:53 | |
-..with a poem by Wilfred Owen, -who was killed in the Great War. | 0:14:54 | 0:14:58 | |
-Britten wrote on the score... | 0:14:59 | 0:15:01 | |
-.."My subject is War, -and the pity of War." | 0:15:01 | 0:15:05 | |
-The weaving of the imagery in Owen's -poetry with the Latin requiem... | 0:15:05 | 0:15:10 | |
-..it totally inspired. | 0:15:10 | 0:15:12 | |
-It's a remarkable modern riff... | 0:15:12 | 0:15:14 | |
-..on the theme of requiem. | 0:15:15 | 0:15:17 | |
-It's doing something very different -yet drawing deeply from tradition. | 0:15:17 | 0:15:21 | |
-# Bugles sang # | 0:15:24 | 0:15:28 | |
-Bugles sang, -saddening the evening air. | 0:15:28 | 0:15:31 | |
-The poetry always transports us -from the ritual to a human level... | 0:15:32 | 0:15:37 | |
-..and to human suffering. | 0:15:37 | 0:15:39 | |
-Benjamin Britten deals with -life and death in his War Requiem... | 0:15:44 | 0:15:49 | |
-..and here, the Dies Irae expresses -Judgement Day in the trenches. | 0:15:50 | 0:15:54 | |
-Who lives? Who dies? | 0:15:55 | 0:15:58 | |
-You really do sense -the great truths of life, death... | 0:16:09 | 0:16:13 | |
-..who we're going to kill, -who we're going to spare. | 0:16:13 | 0:16:17 | |
-You can't get bigger questions -than this. | 0:16:17 | 0:16:20 | |
-As the work reaches its climax... | 0:16:24 | 0:16:26 | |
-..two soldiers who fought each other -on the battlefield... | 0:16:27 | 0:16:31 | |
-..meet after their death. | 0:16:31 | 0:16:33 | |
-# I am the enemy you killed | 0:16:36 | 0:16:43 | |
-# My friend # | 0:16:46 | 0:16:48 | |
-I am the enemy you killed, -my friend. | 0:16:49 | 0:16:51 | |
-That's where reconciliation -comes into it. | 0:16:52 | 0:16:55 | |
-It brings a tear to the eye -to think of all those deaths. | 0:16:55 | 0:16:59 | |
-Lives lost for no logical reason. | 0:17:00 | 0:17:03 | |
-Pacifism is the real power -behind the War Requiem... | 0:17:04 | 0:17:08 | |
-..from start to finish. | 0:17:08 | 0:17:10 | |
-I think every second of it -is a masterpiece of perfection. | 0:17:13 | 0:17:17 | |
-# Amen # | 0:17:18 | 0:17:31 | |
-This is a unique interpretation -of the requiem... | 0:17:32 | 0:17:36 | |
-..but Britten said his musical and -theatrical inspiration was Verdi. | 0:17:36 | 0:17:41 | |
-# Domine, Domine, Domine | 0:17:43 | 0:17:46 | |
-# Libera, libera, libera me | 0:17:46 | 0:17:49 | |
-# Libera me | 0:17:49 | 0:17:57 | |
-# De morte aeterna | 0:17:57 | 0:18:02 | |
-# Libera me | 0:18:07 | 0:18:13 | |
-# Libera me, Domine, -De morte aeterna | 0:18:25 | 0:18:29 | |
-# In die illa tremenda | 0:18:30 | 0:18:35 | |
-# Libera me | 0:18:38 | 0:18:45 | |
-# Libera me # | 0:18:48 | 0:19:01 | |
-It would be hard to choose a requiem -for my own funeral. | 0:19:03 | 0:19:07 | |
-I'd probably cherry-pick... | 0:19:08 | 0:19:12 | |
-..from different, magnificent works. | 0:19:13 | 0:19:17 | |
-As a chapelgoer, -there will be no place... | 0:19:18 | 0:19:21 | |
-..for any of the great movements -from a requiem at my funeral. | 0:19:22 | 0:19:27 | |
-Faure's Libera Me -is one of my favourites. | 0:19:29 | 0:19:32 | |
-The first movement -from the Brahms requiem... | 0:19:33 | 0:19:36 | |
-..is a brilliant example of what our -attitude towards death should be. | 0:19:39 | 0:19:45 | |
-Mozart's Ave Verum -would be suitable. | 0:19:46 | 0:19:48 | |
-It's so simple. | 0:19:48 | 0:19:50 | |
-Verdi's Lacrimosa. | 0:19:51 | 0:19:52 | |
-I haven't chosen a requiem -for my funeral. | 0:19:52 | 0:19:55 | |
-It changes from day to day. | 0:19:56 | 0:19:58 | |
-A Welsh hymn - O Fryniau Caersalem. | 0:19:58 | 0:20:01 | |
-What would I have -from the Mozart requiem? Tuba Mirum. | 0:20:02 | 0:20:06 | |
-They'd have to get a bass -to sing it. | 0:20:06 | 0:20:08 | |
-I'll look into it in 50 years' time -and make my decision! | 0:20:09 | 0:20:14 | |
-The final chords of the Britten. | 0:20:17 | 0:20:19 | |
-Yes. I think those would form -a pretty balanced four corners. | 0:20:22 | 0:20:27 | |
-# Voca me cum benedictis | 0:20:30 | 0:20:43 | |
-# Benedictis... # | 0:20:43 | 0:20:49 | |
-One thing which we all share -is our attitude towards death. | 0:20:52 | 0:20:56 | |
-Death is the great unknown and -the requiem resonates with us all. | 0:20:57 | 0:21:02 | |
-It makes us think about death... | 0:21:02 | 0:21:05 | |
-..and we can draw comfort -from its message. | 0:21:05 | 0:21:08 | |
-# Cor contritum quasi cinis... # | 0:21:09 | 0:21:20 | |
-You must believe in something. | 0:21:21 | 0:21:24 | |
-Maybe not belief but hope. | 0:21:24 | 0:21:26 | |
-You must believe -the requiem has a purpose. | 0:21:26 | 0:21:29 | |
-We must have remembrance -and remain hopeful. | 0:21:30 | 0:21:33 | |
-# Lacrimosa dies illa | 0:21:33 | 0:21:39 | |
-# Qua resurget ex favilla... # | 0:21:39 | 0:21:44 | |
-It's an age-old subject -which continues to challenge us. | 0:21:47 | 0:21:51 | |
-The big question which has always -worried human beings. | 0:21:51 | 0:21:55 | |
-How do we deal with the thing in -the face of which we are powerless? | 0:21:55 | 0:22:00 | |
-Namely, our end. | 0:22:00 | 0:22:02 | |
-# Pie Jesu Domine | 0:22:03 | 0:22:13 | |
-# Dona eis requiem | 0:22:16 | 0:22:31 | |
-# Dona eis requiem | 0:22:32 | 0:22:53 | |
-# Amen | 0:22:55 | 0:23:01 | |
-# Amen # | 0:23:06 | 0:23:20 | |
-S4C subtitles by Eirlys A Jones | 0:23:43 | 0:23:45 | |
-. | 0:23:45 | 0:23:46 |