The first performance of Requiem Canticles was conducted by Robert Craft at Princeton University on 8 October 1966.
The work calls for four-part mixed chorus, 3 flutes, alto flute, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, xylophone, vibraphone, campanella, harp, piano, celeste, and strings.
The work is twelve-tone and uses two closely related rows. The rows are manipulated extremely intricately. Rotation of hexachords and vertical sonorities are used in addition to standard canonic manipulation.
Certain aspects of the work pay homage to Verdi's Requiem which Stravinsky was studying at the time of composition. Some commentators see the progression of the syles in the movements of the Requiem Canticles as an overview of the styles employed throughout Stravinsky's career as a composer.
The prelude, for strings alone employs additive rhythms and note reiteration for a mesmerizing effect.
This movement is a contrast in directional sonorities. The text is a fragment from the Roman Catholic Requeim Mass Introit. The musical setting quotes from Stravinsky's Symphony of Psalms.
| Introit fragment: Exaudi orationem meam: ad te omnis caro veniet. | Hear my prayer: to you all flesh will come. |
Note the symmetrical structure of Stravinsky's text setting when he rhetorically repeats the first and last as well as the central two words.
The third movement employs a dramatic ritornello symbolic of the day of wrath. The text is from the Requiem Sequence vs. 1-2.
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Dies irae, dies illa, Solvet saeclum in favilla: Teste David cum Sibylla. Quantus tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus! |
That day, day of wrath, The age dissolves in ashes As prophesied by David and the Sibyll. What fear there will be when the judge will come to bind together all the scattered! |
Stravinsky repeats the opening line at the end of the movement.
The opening trumpet figure, an obvious pictorial reference, is based on the Tuba mirum in Verdi's Requiem. The text is taken from the Sequence vs. 3.
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Tuba mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum. |
The trumpet's astonishing sound sparkles throughout the sepulchers of the land, bringing all before the throne. |
Again Stravinsky brings the opening line back at the end. Also the text "per sepulchra" is repeated for rhetorical effect. The pronuncication of the final "tuba miru(u)m" is rearticulated similar to "laudate dominum" in the Symphony of Psalms.
This centerpiece "in memoriam Claude Debussy" is for the orchestra alone, and is the longest section of the work. It uses a flute and horn static ripieno for structure.
The chorus returns in contrapuntal imitative style in this movement which stresses the interval of the third. Its text is from the Sequence vs. 8
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Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis. |
King of tremendous majesty, who freely gives us salvation, Save me, fount of mercy. |
Stravinsky repeats the final line of text for rhetorical effect.
The long crying melisma in the alto solo depicts weeping in this setting of the Sequence vs. 18-20
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Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus: Huic ergo parce Deus. Pie Jesu Domine, dona eis requiem, Amen. |
That tearful day when rising up out of the ashes Guilty man must be judged O God, spare him! Merciful Lord Jesus, Grant them rest. Amen. |
Stravinsky repeats text often for rhetorical effect.
The spoken chorus is set free from pitches and tries to escape from behind the vertical and regular bars sung by the soli group. The text is taken from the Responsory after Absolution:
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Libera me, Domine, de morte aeterna, in die illa tremenda: quando coeli movendi sunt et terra: Dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira. Quando coeli movendi sunt et terra. Dies illa, dies irae, calamitatis et miseriae, dies magna amara valde. Dum veneris judicare saeculum per ignem. Requiem aeternam dona eis Domine: et lux perpetua luceat eis. Libera me, Domine, de morte aeterna, in die illa tremenda: quando coeli movendi sunt et terra: Dum veneris judicare saeculum per ignem. |
Set me free, Lord, from eternal death, in that awful day when the heavens and earth will be moved, when you will come to judge the age by fire. I dread and tremble for the scattering to come and your wrath, when the heavens and earth will be moved. In that day, day of wrath, of calamity and wretchedness, day of intense bitterness you will come to judge the age by fire. Eternal rest grant them, Lord, and give them perpetual light. Set me free, Lord, from eternal death, in that awful day when the heavens and earth will be moved, when you will come to judge the age by fire. |
Stravinsky divides the text between soli and chorus thus:
SOLI:
Libera me, Domine, de morte aeterna,
in die illa tremenda:
Quando coeli movendi sunt et terra:
Dum veneris judicare saeculum per ignem.
Tremens factus sum ego, et timeo,
dum discussio venerit, atque ventura ira.
Quando coeli movendi sunt et terra.
Dies illa, dies irae,
calamitatis et miseriae,
dies magna amara valde.
CORO (repetitions omitted):
Libera me, Domine, de morte aeterna,
Libera me, Domine, in die illa tremenda:
Quando coeli movendi sunt et terra,
Dum veneris judicare saeculum per ignem.
Requiem aeternam dona eis Domine: et lux perpetua luceat eis.
Word count: "Libera me" 18x in chorus, 1x in soli, 19x total. "Domine" 17x in chorus, 1x in soli, 18x total.
The final movement is for orchestra alone, and is reminiscent of the bell sounds of Les Noces.