Singer Part Learning Recordings
“Chord Perfect” Chorus Rehearsal Aids available free on YouTube
(Click on the link above)
Mozart Requiem
Mark your score: We need to all be on the same page!
For breath marks, articulations, dynamics, tempi, phrasing, text translation, measure numbers and rehearsal letters, and performance suggestions, see pdf at top of right hand column, "Schirmer Singer edition with Text translation, Rehearsal letters, measure numbers & Shulamit's singer markings" AND all of the notes below.
Markings can make us more subtle, attentive, nuanced, musical singers. There are shortfalls in trying to portray the subtleties of sound in a printed medium, of course,…because the music ain’t on the page, tis in you! But markings are street signs, without which it is illegal to drive.
DO-mi-ne = O-bvi-ous
REQUIEM Schirmer P4
M 11,13,14 DO-mine
M 15 Decrescendo on tua
M 16 < tua lu-ceat
M 26-27 AU of “audi”
M 29-30 > me-am
M31 CA of caro and VE of veniet
M 41-42-43 DO of dona > to na
M 43 ATB rich, present, front of stage
M 43 slight break: et / lux
M 44 and 45 PE <tua>
> E-is
M 46 breaks: e-is / et / lux per PE <tua>
KYRIE Schirmer P 9
Crispy K on every Kyrie and on every Ch(K)riste in the movement
Kyrie e LE-ison <>
Every KY-ri-e: energize the dotted rhythm
M 2-4 LEH
Difference between e-LEI-(still EH)-son and e-LE-i-son
M 34,35, 35, 37 Intensify every change of accidental. Rock and roll!
M 37 son / e – le
M46, 48 tap bell-like on pitches on-beat
M 49 Final so-nuh
The rest in this measure is full of meaning: We are waiting….for mercy
M 52 Crescendo into son
M 52 Enjoy the absence of the 3rd of the chord, 3 tonics (D, 1 dominant A)-an antique device, like a gothic cathedral, filled with awe.
DIES IRAE Schirmer P 15
M 1 and 2 Di-es
M 8 BI-lla
M 10 Crescendo thru Quantus
M 12, 15 TU-rus
M 12 do not cut off “rus”, hold
M 13 Crescendo thru QUA-ndo
M 18 -19 dis-CUS-su -< rus >
M 22 Note: SCARY
M 24 Piano, then Forte before the I-lah
M 25-27 solvet SAE-clum in fa- VI-<la>
M 29 sy-BI-lla
M 31 Note: Legato
M 31-33 Crescendo thru QUA-ntus
M 35,36 ven-TU-rus
M 37-38 CU-ncta STRI-cte
M 40 fu-SU-rus
M41, 45 < quantus tremor est fu-TU-rus
M 42 start mp and <
M 46 start mf and <
M 50 Note: Forte
M 54 and 57 K on the Cuncta
M 65 Cut off rus precisely on 2
REX TREMENDAE Schirmer P 25
M 3 Every Rex is RRRREX! with rolled R
M 3,4,5 Three Rex’s grow in intensity
M5 Letter U French overture grandeur, pomp, ceremonial.
M 6 – 7 REX tre-ME-ndae-MA-je-STA-tis REX
NOT double dotted
M7-10 now double dot to sync with the orchestra
3 canons: between A+S, T+B, and upper and lower strings
M 12-15 3 canons: between T+B, A+S, and upper and lower strings
M 11 REX-tre-ME/ndae MA
M 14 sal-vas-GRA-tis
M 15 rex (fermata) tre-men/dae ma/ je
M 16 qui sal-VA-ndos
M 17 GRA-tis
M 18,19 in contrast to the prior grandeur: now piano, interior, personal, pleading
M 21 spin pie-TA----- >tis
CONFUTATIS Schirmer P 36
M1-5 Single dot as printed, NOT double dot, but sixteenth always leads to the following quarter note
M 7 Letter A from heaven, no vibrato
M 27 breaks: SU-pplex / et / ae
M 29 a-CLI->nis
M 32, 38 Spin the long notes
M 39 FI->nis
M 40 HOLD the drama in the rests.
The last chord is the dominant of the Lachrymosa
LACRYMOSA Schirmer P 41
The teardrop or sighing motif permeates the “tearful” movement, both in descending form, and inverted, sometimes even more poignant.
M 5 pianissimo, < la cro MO sa>
M 7 start piano and cresc to forte m 8, so graduated steps for each dotted quarter louder than the previous; pp, p, mp, mf, f
M 8 (h)o-mo-RE-us …(h) is never pronounced in Latin
M 9 Sotto voce is more interior than p.
M 11 Forte QUA- re-SUR-get
M 15 (H)u ic / ER go
M 16 PA / rce / DE / us
M 18 crescendo to DO
M 22 <is>
M 23 <em>
M 27 Altos: C# first be is “re” of requiem; plz add in the syllable
M 27 into 28 > em
M 30 Spin the dotted whole note on A-in each part, then >men
The movement is in d minor, but it ends on a D major chord, a Baroque device or practice known as the Tierce de Picardy (the Picardian third, after the theorist who wrote about it). It is an optimistic gesture, to end a minor movement on a major chord. Altos, the major third, F sharp is yours, to make shimmer through the other voices of the chord, like a ray of sunlight.
DOMINE JESU Schirmer P 44
M 1 Note: piano
M 1 JE-su
M 3 glo-RI-ae, rex glor-RI-ae
M 4 LI-ber-A-nimas
M 5 <de>
M 7 <rum>
M 11 Break: et / de profundo
M 17 and 20 <nis>
M 23 ab-SOR-be-e-at
M 24 TAR-ta-rus, ne CA-dant
M 25 CA-dant
M 30 Note piano
M 44 Letter O Quam olim Abrahae
A German dance in 4, with emphases on 1 and 3.
Except M 66, Letter S, legato and fluid
A-bra-hae (ae = eh)
Pro-mi-SI-sti
E-jus
Final measure Tierce de Picardy, and a g minor section ends on major. Tenors have the third of the chord to relish.
HOSTIAS Schirmer P 52
M 2 Piano for gentle and lilting, somewhere between a waltz and a landler, with light, lifting third beats.
M 3-5 lead to:
M 6 DO-mi->ne
M 7 TI-bi
M 8 DO-<mine>
M 9 LAU-dis o FE-ri-mus
M 9 – 10 decrescendo thru
M12 SU-sci (shi)-pe
M 15 final quarter change to eighth note to clear the phrase for the orchestra
M 19 MO-ri-am
M 23 Forte, then subito piano at M 24/3.
M 27 Simile: subito forte
M 36 a-ni-MA-bus, I-llis
M 40 (h))O-di-e
M 46 Fac / E-as
52,53 VI-tam
M 53 >tam phrase end
SANCTUS Schirmer P 59
M 1 SA-nctus Note
M 4 DO-mi-nus DE-us
M 7 COE-li pronounced like celli
M 11 a - light, phrase end
M 19 Osanna in D; 26 mm
A DANCE, and a flirty one.
Bass starts
M 19 and 25 o-SA-nna
M 29-30 ek-CEL (shell)– then crescendo until >sis
M 36 Ek-SHEH-lsis
BENEDICTUS Schirmer P 61
M 54/3 Osanna in B flat; 21 mm
Tenor starts.
AGNUS DEI Schirmer P 68
M 2 Choir forte
M 4 <i>
M 5 spin/crescendo the TO-l
M 6-7 pe-CCA- ta
Break slightly before the cc (“K”) to articulate it more than just one c
M 8 Crescendo thru “mu---ndi”
M 11 Note: piano assai, inward, pleading
M 12 – 13 Crescendo thru
M 14 <em>
M 18-19 DE- crescendo to <i>
M 21 <lis>
M 23 – 24 Crescendo thru MU-----ndi
M 35-36 DE- crescendo to <i>
M 37 spin and crescendo “tol -----”
M 44-45 crescendo “qui” to decrescendo <em>
M 46 ATB Wait for sopranos
M 48-51 spin and crescendo “teh-----rnam”
LUX AETERNA Schirmer P 71 same music as Requiem M 19
M 8 Note: “sob, weep!”
M 8 Lux-ae-TER-na
M 10-11 E-IS DO-mi-<ne>
M 11 and 12 cum SAN-ctis
M 13 TER-num
M 14 <es>
M 26 and 27 PE-tu-a
M 28 crescendo thru et-lux-per
M 29 <pe> tu a
M 29-30 crescendo thru lu-ce-at-e-<is>
M 31 Cum Sanctis same music as Kyrie
M 32 cum / sanc/tis TU is in AE
M 47 Kum SAN (both C’s)
M 72 Note: BIG FINISH!!
M 72 and 73 KUM sanctis
M 81 Forte: Spin PI----us / ES! Take no prisoners!
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Dynamics
δύναμις (Greek) = power, strength = musical-emotional dynamite
As you are learning (or re-learning) your music, of course pitch and rhythm are foremost, at first. As soon as you can, include dynamics in your own practice, to gain both technical proficiency (what's required of the singing physique for p is not the same as what is required for f) and musical expressivity. Macro and micro dynamics. Dynamics happen in sections and from note to note.
In my score, I emphasize the printed dynamics by using colors. I suggest singers do the same:
p, pp, diminuendo, sotto voce= blue
f, ff, sf, crescendo = red
< is such a puny little sign but we use it for crescendo of all sizes. Likewise, > diminuendo.
Often Mozart wants the contrast between p and f to be clear, bold, and dramatic. But he also wants gradual transitions, of crescendi and diminuendi , even though he usually did not write these into his scores, as was the custom in the Classic Era and because he was busy composing 626 works by the age of 35! The music asks for these swells and eddies. These increases and decreases in volume are sometimes for phrasing and nuance, and sometimes they last longer and are structural. We will add these "hairpins"for crescendo and diminuendo to our scores and to our singing.
Dynamics, as a basic acoustic thing, are amounts of sound, or volume, p, f, <, >, etc. More interestingly, dynamics are also mood-conveyors. Dynamics are not just changes in volume. They carry so much emotive content. For every dynamic, create a descriptor of the mood you hear. Especially with timbre—the quality of the sound. Dynamics and timbre together make for a rich palette of suggestibility, from which we can draw to paint musical mood and meaning. Again, Mozart being Mozart, the representation of human emotions takes on a vivid, even pictorial quality. Write these into your score. As music captures mood, pinning a mood helps develop emotional contagion.
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Musical Things so that we Sing Musically
Emphases are textual but also because of the TENSION-resolution— DISSONANCE-consonance—that are the fabric of the musical language of the Classic Era. This omnipresent DOMINANT-tonic relationship is about dominant chords asking to be resolved. This strong weak relationship, both in macro key structures from movement to movement and in micro chord progressions including secondary dominants (and sevenths that are dominant surrogates)— is the inner fuel of the Classic style. It is the single most important ingredient in the formal structure and unfolding of a work’s musical ideas.
Along with this tension-resolution dance, goes phrasing and punctuation; in this aspect, the language of sound is directly analogous to the language of words. Periodic phrases carry the music in logical, organized, often symmetrical units. We may not see punctuation, but we surely hear it.
At the end of a phrase, the cadence, lit. the falling point (usually of the upper voice). Again, Mozart uncannily elicits such delicious meat from the four formulaic cadences.
And, because Mozart is Mozart, he takes what is the standard stuff of composition, the common musical parlance for all composers of the Classic Style and infuses it with a pictorial quality to its depiction of or representation of or transformation into music of human experience; his music’s expressiveness sometimes rousing, sometimes heart-rending and going to the quick. Ever the opera composer, his knack for the pathos, the bathos, the humor, the surprise, the reassurance, the fear and trembling, the supplications all are heard in the most beautifully musical rendition of these qualities.
And, in the Requiem, Mozart also brings us into the realm of the deeply interior, the religious or spiritual life, and the contemplation of death and of the possibility or promise of eternal life. Passages in the Requiem have an other-worldly quality, which we as a choir want to portray in our sound.
Now a bit of technical stuff to get us going in our music making so that the music lives:
If you are not at ease with Italianate Latin pronunciation, consult the Pronunciation Guide in Singer Resources or an online guide in which you can hear as well as see the correct pronunciation. Once you start with this, it becomes enticingly MU-sical and SA-tisfying. Syllable emphasis is inherent in Latin language pronunciation, just as it is in any spoken language. With Mozart’s music, there is complete synchronicity between the accented and unaccented syllables of the text and the musical synchronous accented and unaccented beats.
We have no way of writing emphases to show the degree of emphasis, but in music, that shading can be exquisite. Also, almost no emphasis, text or musical, appears out of nowhere, unless the composer wants to make a dramatic point. And always the emphasis is in the context of a phrase and that phrase’s overall dynamics. So we will arrive at every important syllable and, then we will leave it; here we are in the wonderfully swimmy world of hairpin crescendi and diminuendi, in an always alive tapestry of subtle dynamics and tempi.
An entering part is more important than a continuing part; if you are singing a continuing part, give way a little for the new protagonist, no matter the dynamic level.
A moving part is more interesting or important than a held part; if you are holding, give way a little to give the moving part a chance to be heard.
Held notes really are never held; they are often spun forward to the next note, or they are retreating.
Commas in the text may be observed in singing with small breaks in the sound, or breaths, but not always. So check the markings in the pdf.
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The score is in your head or your head's in the score
Have either printed or digital music with you at all rehearsals; perform from memory if that is your preference (no need to hold a binder). Watch the video of the Viva performance in Dresden and see all the Vivans off-book. Watch performances in which the choirs are off-book: Von Karajan, John Eliot Gardiner. Very compelling!
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Key Moments to Memorize so You Can Look UP
The beginning and ending of every movement.
Every entry of your part.
The dramatic bits.
Kyrie and Sanctus: Adagio at end
Domine Jesu:
Letter K, 7-13
Letter M, 21-32 "Ne absorbeat"
Quam Olim Abrahae, both, after Domine Jesu and Hostias: opening and ending.
Osannas: both after Sanctus and Benedictus
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Schirmer edition annotated
with text translation,
rehearsal letters & measure numbers
& singery markings
Click the two right pointing arrows; select Presentation Mode to open the page fullscreen. When you are done, click ESCAPE on your keyboard to exit fullscreen.
Guide to Italianate Pronunciation
Used with permission of the author, Dr Thomas Bookhout
(Use the scroll bar to view other pages)
Mozart Requiem Autograph
in Mozart's own handwriting
(Click on the pdf below)
Road Map of the Movements
Of all the movements (fourteen in some editions, twelve in others where some movements are conjoined), the choir sings: Requiem, Kyrie, Dies irae, Rex tremendae, Confutatis, Lacrimosa, Domine Jesu, Hostias, Sanctus, Agnus Dei, Lux aeterna (and Cum sanctis).
Tuba mirum and Recordare are entirely for soloists. Benedictus is also for soloists, with a second choral Osanna (m 54), textually similar but not musically identical to the Osanna (m 11) of the previous Sanctus. Singers be on the alert for the starts of both Osannas.
There are a few solo interpolations in choral movements. In the first movement, Requiem, the soprano soloist sings "Te dect hymnus...," mm 21-26, in between the two choral sections ("Requiem aeterna" and "exaudi"). In the Domine Jesu, all four soloists enter fugally at mm 32-43) between the choral "Domine Jesu" and "Quam olim Abrahae (letter O)" In the Lux Aeterna, the soprano (mm 3-8) introduces the eponymous text that the choir takes up one beat after (m 8 pick up to m 9).
"Quam Olim Abrahae" text sung by the choir occurs twice: in Domine Jesu after the soloists, m 44, Letter O), and in Hostias (m 55, one after Letter Z) continuing the choral singing of the first section of the music. Both "Quam Olim Abrahae"s have the same music and text.
Osanna also for choir also occurs twice in Sanctus (m 11) and in Benedictus (m 54); the music is slightly different.
The music of the first two movements, aside from the dirst nineteen measures, is identical to the music of the last two movements; but the texts are different:
Requiem and Kyrie in the first two movements becomes Lux Aeterna and Cum sanctis in the last two movements.
Of course, the mood changes from movement to movement are carried by texture, major-minor modality, tempo, meter, dynamics, articulation, voicing, as well as orchestration. It is this characterization of each movement, and parts of movements, that we will explore in rehearsal.
Also we will create drama by our segues from movement to movement!
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Homophonic, Polyphonic/Contrapuntal, and Fugal Textures
Mozart uses both homophony and polyphony for musical and theatrical effect (see Requiem notes). It's useful to know into which weeds we are wading in each movement, so we are chorally prepared, as each texture has its own requirements for the choir. Fugal writing requires each new entry to be incisive and ongoing entries to give way to the newcomer. Homophonic writing requires blend and balance, and an occasional highlighting of a an individual part for a dissonance or a moving line.
I. Requiem Introitus
A m8 polyphonic
B m15 homophonic
D m 34 Double fugue: "requiem" for first musical subject; "dona eis" for second subject
Pu (pickup) to m 44 "et lux" homophonic
II. Kyrie
A double fugue with"kyrie" one subject and "Christe" another subject.
III. Dies irae
Homophonic with saucy offbeat interjections
V. Rex tremendae
Homphonic until contrapuntal at Pu to 7, actually a canon, actually several! A+S; T+B; and again A+S. Then chordal sections e.g. V m11 followed immediately by contrapuntal at Pu to m 13
m 16 "statis" to end homophonic.
VII. Confutatis
Contrapuntal until C m 17 homophonic and contrapuntal
D m 26 homophonic
VIII. Lacrimosa
Homophonic
IX. Domine Jesu
homophonic and polyphonic
Letter O m 44 "Quam olim Abrahae" polyphonic
X. Hostias
Homophonic
One after Z m 55 "Quam olim Abrahae" polyphonic
XI. Sanctus
Homophonic until m 11 "Osanna" polyphonic
XII. Benedictus
m 54 "Osanna" polyphonic
XIII. Agnus Dei
Homophonic
XIV. Lux Aeterna
O m 8 polyphonic
P m 16 Double fugue, like the Introitus; "requiem" for first musical subject; "dona eis" for second subject
Cum Sanctis (starts at m 31)
Another double fugue, like movement 2, now with"Cum sanctis" the text for both subjects.
Pu to m 81 Adagio: Homophonic
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Text translation
I've written in a translation in the Schirmer pdf in the next column. I like to see the literal meaning of every word, even if this jumbles the order of words. And often, because the repetition of a word or phrase has dramatic impact, i write in the repetitions also. This is a personal process, so do whatever way works for you, to bring the text vividly and meaningfully to life for YOU! It is one path to an emotionally contagious performance! To personalize the text, write the translation of the Latin into English above/below every word we sing (see pdf -->).
There are several sources for translation. The translation in the Shunotes is highly recommended.
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Text & Music
There is either:
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A word/syllable for a note of music (Requiem mvt, Dies Irae, Rex Tremendae, Confutatis, Lacrymosa, Domine Jesu, Hostias, Agnus Dei to Adagio)
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Few text words repeated for several or many notes/lines of music—usually in contrapuntal or fugal textures (Kyrie, Quam olim Abrahae, Osanna, Agnus Dei from Letter P, "Requiem eternam" and "Dona eis Domine" and "Cum sanctis" at Allegro)
-
There is no instance for choir of many words/syllables for few notes.
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Text Painting in the Requiem: Picturesque Music
Throughout the Requiem Mozart uses the most picturesque so-called text or tone painting. This is a musical device whereby the sound captures the meaning. The obvious example in Requiem is the teardrop motif that infuses "Lacrymosa."
Despite the prescription of musical movements to follow theRequiem Mass liturgy, and despite the Latin language that could put it at a distance for those of us who don't speak Latin, the music-to-text relationship is rich. There are many instances of the music illustrating the text, and, for performers and listeners, this is key to the music's affective power.
As performers, we want to bring to life every picturesque musical moment for our audiences. There is a wealth to discover in the treasure trove that is Mozart's Requiem!
There are many completions of the Requiem, including several recent completions.
We are set on the Süssmayr completion, so the particular completion is not the point, for us. But one completer of the Requiem, Howard Arman, in speaking about the compelling nature of the music, describes the Requiem as "picturesque". To make the point that the the music illustrates the imagery of the text, Arman refers to the "Tuba Mirum" movement.
Howard Arman talks about his completion. Tune in around 3'8".
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FOR SINGERS LATE TO THE PARTY
Singer scores
The version of the Requiem that we will perform is the completion by Franz Xaver Süssmayr. Süssmayr was a student of Mozart and his is the most common completion. Several editions of the Süssmayr completion are available. In the massed choir, it is possible that different choirs will use different editions, provided all singers have measure numbers and rehearsal letters either printed or written into their scores (see facing column and below).
Editions of the Süssmayr completion are published by: Schirmer, Kalmus, Henle, Bärenreiter 4538-90 (not Ostrzyga), Peters. The Schirmer edition is ubiquitous. I also like Barenreiter, Henle, and Peters editions because they are Urtext (original, minimally edited) and beautiful to read, but you choose whichever you like.
Completions by any of the following are NOT useable for our performances: Bayer, Levin, Maunder, Druce, Robbins Landon, Ostrzyga, Arman, or anyone else who is not Süssmayr. Sometimes editions are not completely overt about who is the completer of their Requiem, so please look for "Süssmayr" on the front cover or title page.
It goes without saying that we each need to have a legal copy. The Pdf of the Schirmer in the facing column is a working copy, not a legal copy, so singers may not use a downloaded copy of this for Carnegie or for any Viva performances, unless they also have a bought Schirmer score in their possession.
MAP does not permit the use of iPads onstage at Carnegie.
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Keep tabs on your movements :)
It is handy to tab movements in your score so that, when we jump around between movements, you can easily find each movement; handy in rehearsals when we change the order of movements.
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Rehearsal Measures and Measure Numbers
Most scores have one or the other. We all need to mark in whichever one is not printed in our score, so we all have both ways of referencing a place in a movement.
Rehearsal letters
If your score is Kalmus/Schirmer, it has rehearsal LETTERS. If your score does not have rehearsal letters please write these into you score, so we are on the same page, literally and so to speak, as the orchestra. Click on the adjacent pdf to find the rehearsal letters that singers need to copy into scores that do not already have rehearsal letters.
For all movements in which the choir sings, we need both rehearsal letters and measure numbers. For solo movements, choristers do not need numbered measures. Also, hopefully, you are not following the printed music when the soloists are singing.
Measure numbers
If your score does not have measure numbers, use the Schirmer pdf at the top of the next column.
Some movements that are conjoined in Schirmer are separate movements in Barenreiter. Specifically: Kyrie in Schirmer is a continuation of Introitus but, in Barenreiter, Kyrie is a separate movement; when numbering measures for Kyrie, regardless of whether it is a continuation of Introitus in your score, restart numbering at m 1.
Similarly, in Schirmer Agnus Dei and Lux aeterna are shown as one movement, but, in Barenreiter, the Lux aeterna is a separate movement, so please re-start numbering the Lux aeterna as m 1.
In Schirmer and in Barenreiter, Cum sanctis is conjoined with Lux aeterna (unlike Kyrie), so Cum sanctis continues Lux aeterna numbering ( m 31 at start of Cum sanctis).
Check that your numbering system has the following number of measures (mm) for each movement or combo movement:
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Introitus 48 mm
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Kyrie 52 mm
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Dies Irae 68 mm
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Tuba Mirum—a solo movement; choir does not need mm numbers.
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Rex Tremendae 22 mm
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Recordare—a solo movement; choir does not need mm numbers.
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Confutatis 40 mm
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Lacrimosa 30 mm
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Domine Jesu (including Quam Olim Abrahae) 78 mm
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Hostias (incl Quam Olim Abrahae) 89 mm
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Sanctus (incl Osanna m 11) 38 mm
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Benedictus Mostly solo. Choir enters at m 54, Allegro, Schirmer p 67, (incl a second Osanna, different from Osanna in Sanctus) 76 mm
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Agnus Dei 51 mm
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Lux aeterna and Cum sanctis 82 mm