‘Requiem Quilt – 2009…’

This morning, we are offering the third of our now-famous ‘Requiem Quilts,’ services with one superb and vivid movement from each of five larger works, woven together in an effort to highlight the intense drama of Palm Sunday and the outlines of the Passion narrative. This year: Grimmett, Poulenc, Beethoven, Duruflé and Scarlatti…

John Grimmett (b. 1988), our U of H student and resident composer/trombonist, wrote this simple and effective ‘Kyrie’ on commission for today’s service. It incorporates two improvised cadenzas for Julia Fox, in the hopes that she sings a high note or two…

French modernist composer Francis Poulenc (1899-1963) wrote his ‘Gloria’ on commission from the Koussevitsky Foundation and was premiered in Boston on January 20, 1961 by the Boston Symphony Orchestra and Chorus. ‘Domine Deus’ is the penultimate and fifth movement, and is typical of Poulenc’s refreshing, stark, original sound. Solo soprano and chorus trade colorful, ‘terraced’ interjections, while the orchestra [heard here in transcription, at sight, by Matthew Dirst] ties it all together.

The ‘Missa Solemnis’ of Ludwig van Beethoven (1770-1827) is, along with Bach’s ‘B Minor Mass,’ the very best of the best of Mass settings of all time. Unmatched in sonority and scope, this setting of the ‘Benedictus’ uses solo violin [a representation, commonly thought, of the Holy Spirit…], solo quartet and chorus to extend the lines of thought to extreme and delightful lengths. Sit back and enjoy – this section takes about 12 or 13 minutes… Think about the poise that comes into life when we ‘walk in the Name of the Lord…’ And thanks to our fine soloists for learning this extremely difficult music…

The final movement of the ‘Requiem’ of Maurice Duruflé (1902-1986) intones plainsong with light sopranos and then uses the full chorus, divided into seven parts, to bring a mystical and satisfying conclusion to the piece. Note the final, ‘wrong’ note – a single pitch that points to eternity…

Countertenor Gerrod Pagenkopf is back in Houston this week from his new home in Boston and offers the perfect conclusion to our worship, from Alessandro Scarlatti’s (1660-1725) grueling, colorful and arresting ‘Stabat Mater dolorosa…’ …the hymn of Mary, Mother of Jesus, at the foot of the cross…

-Keith Weber