Performance Notes for Mozart Req

Performance Notes for Mozart Requiem

To be placed in scores, in preparation for the March 2010 multi-choir performance at Benaroya Hall.

Notes are given in a table format. The first column indicates the measure number. The second column indicates what beat of that measure. The third column indicates to which part(s) the note is applicable. The fourth column is the note itself.

Unless otherwise noted, please place all final consonants on the rest, whether the rest is in the printed score, or newly created by the notes below.

There will not be extended breaks between the movements. Be prepared to move immediately from one movement to the next, without being given a pitch.

The conductor reserves the right to modify any of these markings at later rehearsals.

I. Introitus: Requiem

			This movement will be conducted in eighth-notes.
16	4	SATB	Connect -a to lu- without a break.
41	1	S	Add a slight crescendo on the top A.
46	3	SATB	Add a caesura on this rest. The rest will be elongated; watch carefully.

II. Kyrie

48	1	AT	Change this quarter-note to an eighth-note followed by an eighth-rest.
48	3	AT	Change this quarter-note to an eighth-note followed by an eighth-rest.

III. Sequenz

1. Dies irae

2	2	SATB	Hold this note for its full duration. This also applies to later notes in similar places.
6	2	S	Connect -la to te- without a break.
12	3	SAB	Change this half-note to a quarter-note followed by a quarter-rest.
13	3	T	Change this half-note to a quarter-note followed by a quarter-rest.
15	3	SAB	Change this half-note to a quarter-note followed by a quarter-rest.
27	2	S	Connect -la to te- without a break.
31	1	SATB	Mark this mp.
33	3	SATB	Change this half-note to a quarter-note followed by a quarter-rest.
36	3	SATB	Change this half-note to a quarter-note followed by a quarter-rest.
37	1	SATB	Mark a crescendo to m.40.
40	2	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
40	3	B	Mark this f.
42	2	B	Hold this note for its full duration.
42	3	SAT	Mark this mp.
42	3	SAT	Crescendo slightly for two beats.
43	1	SAT	Diminuendo for one beat.
43	2	SAT	Add a slight lift at the comma.
44	3	B	Mark this f.
46	2	B	Hold this note for its full duration.
46	3	SAT	Mark this mf.
46	3	SAT	Crescendo slightly for two beats.
47	1	SAT	Diminuendo for one beat.
47	2	SAT	Add a slight lift at the comma.
50	3	B	Mark this f.
50	2	B	Change this quarter-note to an eighth-note followed by an eighth-rest.
49	3	SATB	Mark this f.
59	2	TB	Connect -cte to stri- without a break.
61	1	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
63	2	TB	Connect -cte to stri- without a break.

2. Tuba mirum [soloists only]

3. Rex tremendae

When measure number is indicated as “1.5”, it signifies the “and of one”.

			This movement will be conducted in eighth-notes.
			We will not double-dot rhythms. Sing the rhythms exactly as notated.
3	2	SATB	Hold this note for its full duration. This also applies to m.4 and m.5.
7	1.5	SATB	Change this eighth-note to a sixteenth-note followed by a sixteenth-rest.
9	1	A	Connect -tis to Rex without a break.
9	3	S	Connect -tis to Rex without a break.
11	1.5	ST	Change this eighth-note to a sixteenth-note followed by a sixteenth-rest.
11	1	AB	Change this quarter-note to a dotted-eighth-note followed by a sixteenth-rest.
12	1.5	SATB	Change this eighth-note to a sixteenth-note followed by a sixteenth-rest.
14	1	T	Connect -tis to Rex without a break.
14	3	B	Connect -tis to Rex without a break.
15	1	STB	Connect -dae to Rex without a break.
18	1	SA	Mark this non vibrato. A small ensemble may be assigned to this measure.

4. Recordare [soloists only]

5. Confutatis

			This movement will be conducted in quarter-notes.
1	4	B	Hold this note for its full duration. This also applies to the next several measures, both tenors and basses.
10	3	SA	Hold this note for its full duration.
20	3	SA	Change this quarter-note to an eighth-note followed by an eighth-rest.

6. Lacrimosa

5	1	SATB	Sing these without accents, for full duration, and without crescendo until marked in m.7.
9	1	SATB	Note the sotto voce dynamic marking, i.e. a return to the opening p.
10	4	B	Change this dotted-quarter-note to a quarter-note followed by an eighth-rest.
11	4	B	Crescendo this beat, connecting -get to ex without a break.
12	4	AB	Crescendo this beat, connecting -la to ju- without a break.
13	4	TB	Crescendo this beat, connecting -dus to ho- without a break.
15	1	SATB	Do not pronounce the “h” in huic.
16	4	SATB	Change this dotted-quarter-note to a quarter-note followed by an eighth-rest.
17	4	SATB	There will be a slight rit. The tempo will resume on the downbeat of m.18.
17	4	SATB	Connect -su to Je- without a break.
24	4	B	Change this dotted-quarter-note to a quarter-note followed by an eighth-rest.
25	2	ST	Change this dotted-quarter-note to a quarter-note followed by an eighth-rest.
25	4	A	Change this dotted-quarter-note to a quarter-note followed by an eighth-rest.

IV. Offertorium

1. Domine Jesu

3	2	SATB	Change this eighth-note to a sixteenth-note followed by a sixteenth-rest.
3	4	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
7	4	S	Stay f for the syllable -nis.
11	1	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
15	2	S	Connect -ra to li- without a break.
18	2	S	Connect -ra to li- without a break.
21	1	SATB	This fugal section should be phrased, and not choppy. In the word cadant, the second syllable should always be unaccented.
30	3	B	Add a slight glottal stop to articulate between in and ob-.
30	4	B	Add a slight glottal stop to articulate between ob- and -scu-.
44	4	SATB	Do not pronounce the “h” in Abrahae, here and elsewhere in this section.
61	1	ATB	Hold this note for its full duration.
67	1	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
71	1	SAT	Hold this note for its full duration.
71	1	B	Basses may omit the -jus entirely.
75	1	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.

2. Hostias

3	1	SATB	Do not pronounce the “h” in hostias.
6	3	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
17	3	ATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
47	1	SATB	Move directly from the eh vowel to ah, without an intervening y sound.
47	3	SATB	Connect -as to Do- without a break.
48	3	SATB	Connect -ne to de without a break.
55	4	SATB	Do not pronounce the “h” in Abrahae, here and elsewhere in this section.
72	1	ATB	Hold this note for its full duration.
78	1	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.
82	1	SAT	Hold this note for its full duration.
82	1	B	Basses may omit the -jus entirely.
86	1	SATB	Change this quarter-note to an eighth-note followed by an eighth-rest.

V. Sanctus

			This movement will be conducted in eighth-notes until m.11.
1	3	SATB	Hold this note for its full duration. This also applies to m.2 and m.3.
5	3	SATB	Change this half-note to a dotted-quarter-note followed by an eighth-rest.
8	4	SATB	Add a slight lift after -a.
9	2	SATB	Add a slight lift after -a.
10	4	SATB	Watch for a slight rit.
11	1	SATB	The downbeat will have a slight fermata. Then the downbeat will be repeated in the new tempo.
11	1	SATB	In the word Osanna, pronounce the second letter as “s”, not “z”.
14	1	SATB	In the word excelsis, pronounce the xc as “ks-ch”.
33	3	S	Connect -sis to o- without a break.

VI. Benedictus

54	1	SATB	The tempo will change immediately on the downbeat.
54	1	SATB	See “Sanctus” above (m.11–14) for pronunciation notes on Osanna and excelsis.
59	2	B	Connect -sis to o- without a break.
64	1	T	Connect -sis to o- without a break.
71	3	SA	Connect -sis to o- without a break.
72	1	B	Change this half-note to a quarter-note followed by a quarter-rest.
73	3	T	Connect -sis to o- without a break.

VII. Agnus Dei

10	3	B	The syllable -na is unaccented. Also add a slight lift between -na and do-.
25	3	S	The syllable -na is unaccented. Also add a slight lift between -na and do-.
27	3	S	Connect -is to re- without a break.
27	3	AT	Change this quarter-note to an eighth-note followed by an eighth-rest.
27	3	B	Add a slight lift between -na and do-.
41	1	SAT	Hold this note for its full duration.
41	1	B	Connect -di to do- without a break.
41	3	B	Add a slight lift between -na and do-.

VIII. Communio

			This movement will be conducted in eighth-notes.
10	2	TB	Connect -is to Do- without a break.
10	3	SA	Connect -is to Do- without a break.
13	1	STB	Connect -num to qui- without a break.
13	2	A	Connect -num to qui- without a break.
16	1	SATB	In m.16–24, if you have continuous sixteenth-notes with an intervening comma, ignore the comma and connect the text.
17	4	SATB	Here for A and later for STB, pronounce eis as “eh-ees”, without an intervening “y” sound.
18	2	A	Add a slight lift between -ne and do-.
18	4	A	Add a slight lift between -na and do-.
20	2	S	Add a slight lift between -ne and do-.
20	4	S	Add a slight lift between -na and do-.
25	3	SATB	Here for S and later for ATB, pronounce -tua as “too-a”, not “choo-a”.
31	1	SATB	In m.31 to the end, if you have sixteenth-notes or eighth-notes with an intervening comma, ignore the comma and connect the text.
32	1	SATB	Here for B and later for SAT, pronounce tuis as “too-ees”, without an intervening “w” sound.
38	2	T	Connect -num to in without a break.
42	3	B	Change this quarter-note to an eighth-note followed by an eighth-rest.
68	1	A	Change this quarter-note to an eighth-note followed by an eighth-rest.
69	1	B	Change this quarter-note to an eighth-note followed by an eighth-rest.
70	1	T	Change this quarter-note to an eighth-note followed by an eighth-rest.
72	3	T	Change this quarter-note to an eighth-note followed by an eighth-rest.
73	3	A	Change this quarter-note to an eighth-note followed by an eighth-rest.
78	1	AT	Change this quarter-note to an eighth-note followed by an eighth-rest.
80	3	SATB	Be prepared for this fermata to be especially lengthy.
81	3	SATB	Add a rit. to the downbeat of m.82.