Charles Dutoit Conductor Tatiana Pavlovskaya Soprano John Mark Ainsley Tenor Matthias Goerne Baritone Chicago Symphony Chorus Du

Home , Agnus Dei (Barber), Benjamin Luxon, John Aler, John Mark Ainsley, Meredith Davies, Peter Pears

Program

One Hundred Twenty-Third Season Chicago Symphony Orchestra Riccardo Muti Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, November 14, 2013, at 8:00 Friday, November 15, 2013, at 8:00 Saturday, November 16, 2013, at 8:00

Charles Dutoit Conductor Tatiana Pavlovskaya Soprano John Mark Ainsley Tenor Matthias Goerne Baritone Chicago Symphony Chorus Duain Wolfe Chorus Director Chicago Children’s Chorus Josephine Lee Artistic Director Britten War Requiem, Op. 66 Requiem aeternum Dies irae Offertorium Sanctus Agnus Dei Libera me

There will be no intermission.

Performed in honor of the one hundredth anniversary of the composer’s birth on November 22, 1913.

The appearance of the Chicago Symphony Chorus this season is underwritten in part with a generous gift from Jim and Kay Mabie. Saturday’s concert is endowed in part by the League of the Chicago Symphony Orchestra Association. The Chicago Symphony Orchestra is grateful to 93XRT, Redeye, The Onion, and Metromix for their generous support as media sponsors of the Classic Encounter Series.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommeNTS by Phillip Huscher

Benjamin Britten Born November 22, 1913, Lowestoft, Sussex, England. Died December 4, 1976, Aldeburgh, England. War Requiem, op. 66

Roger Burney died aboard original church had been bombed to rubble the French submarine during nightly air raids in mid-November 1940), Surcouf in February 1942. these four young men brought immediacy to David Gill was killed in the vast and unmanageable subject of war. As action in the Mediterra- the War Requiem took shape, they personalized nean. Michael Halliday the tragedy of battle and helped him never to was declared missing in lose sight of individual private lives against the action in 1944. Piers background of world history. It is these four Dunkerley was wounded names, unfamiliar to all but their families and and taken prisoner during friends, that Britten put on the dedication page the Normandy landings in 1944; he was released of his War Requiem. at the war’s end, returned to civilian life, and It was another dead soldier, the victim of an planned to marry, but killed himself on earlier world war, who gave voice to Britten’s June 7, 1959. lifelong pacifi st views and provided much of the Photographs of these four men were found in text for the Coventry requiem. Wilfred Owen an envelope among Benjamin Britten’s belong- died in action on November 4, 1918, while ings after his death. Th ey all knew the composer, leading his troops across the Sambre Canal none of them especially well, but to Britten they in northeast France, exactly one week before were the faces of the dead—hauntingly familiar the Armistice. (His parents didn’t receive the victims of war. As he sat down to write a requiem telegram of their son’s death until November 11, mass for the rebuilt cathedral in Coventry (the the news bringing them face to face with grief

ComPoSeD Symphony Chorus (Margaret Hillis, (accompanied by organ), a full orches- 1961–62 director) and Glen ellyn Children’s tra, and a chamber orchestra. The main Chorus (Doreen Rao, director); Leonard orchestra consists of three fl utes and FirST PerFormaNCe Slatkin conducting the orchestra piccolo, two oboes and english horn, May 30, 1962; Saint Michael’s and chamber orchestra, Doreen Rao three clarinets, e-fl at clarinet and bass Cathedral, Coventry, england conducting the children’s chorus clarinet, two bassoons and contrabas- soon, six horns, four trumpets, three FirST CSo PerFormaNCeS moST reCeNT trombones and tuba, piano, organ, June 27, 1972, Ravinia Festival. CSo PerFormaNCeS timpani, snare drums, tenor drum, bass Phyllis Curtin, Robert Tear, and John May 9, 10 & 11, 2002, Orchestra drum, tambourine, triangle, cymbals, Shirley-Quirk as soloists; Chicago Hall. Olga Guriakowa, ian Bostridge, castanets, whip, chinese blocks, Symphony Chorus (Margaret Hillis, and Andreas Schmidt as soloists; gong, bells, vibraphone, glockenspiel, director), Northwestern university Chicago Symphony Chorus (Duain antique cymbals, and strings. The Chorus and Concert Choir (Margaret wolfe, director) and The American chamber orchestra consists of fl ute Hillis, director), and Glen ellyn Boychoir (Vincent Metallo, director); and piccolo, oboe and english horn, Children’s Theatre Chorus (Doreen Rao, Mstislav Rostropovich conducting the clarinet, bassoon, horn, timpani, snare director); istván Kertész conducting orchestra, Duain wolfe conducting the drum, bass drum, cymbal, gong, harp, the orchestra, György Fischer conduct- chamber orchestra, Vincent Metallo two violins, viola, cello, and bass. ing the chamber orchestra, Margaret conducting the children’s chorus Hillis conducting the children’s chorus aPProXimaTe iNSTrumeNTaTioN PerFormaNCe Time February 13, 14 & 16, 1986, Orchestra soprano, tenor, and baritone soloists; 77 minutes Hall. Margaret Marshall, John Aler, and a mixed chorus, children’s chorus Benjamin Luxon as soloists; Chicago

2 while the rest of England cheered the end of those from the mass for the dead—the juxtaposi- World War I.) In later years, Owen slowly gained tion of the ancient Latin service with these more acclaim for the terse and moving verses he wrote recent reports from the battlefield underlining in the trenches and on the battlefield. Britten the confrontation of public and private, and of knew him as the greatest of the First World past with present, giving the War Requiem its War poets. He owned a volume of Owen’s work, unsettling power. Before he sketched any of the and, in 1958, when the BBC radio program music, Britten wrote out his libretto in an old Personal Choice asked him for his favorite poems, school exercise book, with the mass text on the he included Owen’s “Strange Meeting,” the left page and the Owen poems facing on the text he would ultimately use at the end of the right, arrows carefully showing just how they War Requiem. That same year, Britten was were to dovetail. approached by He set to work, declining three new com- a member of missions and postponing work on Curlew River the Coventry so that he could concentrate on the Coventry Cathedral mass. In the two decades since Britten’s “other” Festival, requiem, the purely instrumental Sinfonia da which wanted Requiem, events had moved from bloody combat to commission to the sobering reality of devastated cities, heart- him to write a broken families, and mass graves. And 1961, large work to the year Britten devoted to the War Requiem, consecrate the was marred by the building of the Berlin new cathedral Wall, an ominous escalation of U. S. action in nearing Vietnam, and the incident of the Bay of Pigs. completion Owen’s poems, “full of the hate of destruction,” next to the and Britten’s new score, with its call for peace, ruins of couldn’t have been more timely. the ancient In February 1961, Britten wrote to Dietrich building. Fischer-Dieskau, asking him to sing the baritone By the time solos. Britten’s partner, Peter Pears, had already Poet Wilfred Owen Britten began agreed to take the tenor part. Britten’s scheme to compose was carefully drawn: these two soloists, accom- the score for panied by a chamber orchestra, would sing the Coventry in the summer of 1960, many deeply Owen texts as “a kind of commentary on the personal strands had come together—the loss mass.” The Latin text itself would be given to of four friends, his interest in the war poetry of full chorus and orchestra, along with a soprano Wilfred Owen, his own staunch pacifist beliefs, solo and boys’ choir (performed by a children’s the unshakable memory of visiting the concen- choir at these performances). It’s a blueprint tration camp at Belsen with Yehudi Menuhin shrewdly designed to point out the individual in 1945 before playing a recital for the victims’ amidst the crowd, to acknowledge personal grief families, his shock at the death of Gandhi in while preaching pacifism. That summer, when 1948, and a long-held desire to write a significant Rostropovich and his wife, Galina Vishnevskaya, large-scale choral piece. Almost inevitably, this came to the Aldeburgh Festival, Britten found great public work also became one of his most his soprano. Vishnevskaya gave a recital in private statements. Britten rarely referred to the Aldeburgh only days after Rostropovich played requiem in his letters during the many months the premiere of the new cello sonata Britten had when he was hard at work on it, as if it were too written for him. The night Vishnevskaya sang, personal to mention. Britten told her that he wanted to write the War In his copy of Owen’s book, Britten marked Requiem soprano solo for her. She was the final nine poems he intended to set to music as part link in his plan to bring together representa- of the requiem. Almost from the start, Britten tives of three nations devastated by the war: an knew he wanted to weave Owen’s texts in with English tenor, a German baritone, and a Russian

3 ‘Cathedral’ and Reconciliation with W. Germany . . . was too much for them,” Britten said. “How can you, a Soviet woman,” the minister of culture asked Vishnevskaya, “stand next to a German and an Englishman and perform a political work?” Heather Harper stepped in, learning the role just ten days before the performance. [Galina Vishnevskaya, who later recorded the War Requiem with Pears, Fischer-Dieskau, and Britten conducting the London Symphony Orchestra and Chorus, died last December.] Five days before the May 30 premiere, the critic William Mann wrote in The Times that the War Requiem was Britten’s masterpiece, a verdict that, though premature, proved A rehearsal for the War Requiem in Coventry Cathedral in 1962. Peter accurate. The performance itself, Pears stands far right. Seated to his right is Dietrich Fischer-Dieskau. despite the patchy rehearsals and the In the foreground, Meredith Davies stands on the podium and the new cathedral’s “lunatic” acoustics, composer is to his right. was stunning. Fischer-Dieskau was moved to tears. “The first performance soprano—a symbolic casting that is replicated in created an atmosphere of such intensity,” he our Chicago Symphony performances this week. wrote in his autobiography, “that by the end I was During the summer, Christopher Isherwood completely undone; I did not know where to hide sent Britten a book containing a photograph my face. Dead friends and past suffering arose of Wilfred Owen. “I am delighted to have in my mind.” The newspapers printed a uniform it,” Britten wrote. “I am so involved with him chorus of praise—Stravinsky quipped that to at the moment, and I wanted to see what he criticize the work would be “as if one had failed looked like: I might have guessed, it’s just what to stand up for ‘God Save the Queen’ ”—but I expected, really.” That same summer, William Peter Schaffer, later the playwright of Amadeus, Plomer, a friend of Britten, tracked down Owen’s came closest to the mark when he wrote that the brother Harold, but the composer decided not to work was so profound and moving that it “makes visit him, no doubt fearing that it might some- criticism impertinent.” how disturb the affinity he felt for the poetry During composition, Britten deviated very itself. By August, Britten told his publisher, little from the scheme he had first written out Boosey & Hawkes, that he had completed “the in his exercise book: the six parts of the Latin first large chunk” of the War Requiem (the title text interwoven with nine poems by Owen—one he had finally settled on), but two months later in each part, except for the Dies irae, which he said it “is always with me.” It was finished at includes four. The intent, as in the great Passions last in January, while Britten and Pears were in by Bach, is of text combined with commentary, Greece. “I was completely absorbed in this piece, although the effect—particularly in Britten’s as really never before,” he wrote to a friend. assured mix of opera and oratorio—is closer to In the spring, Britten heard from Rostropovich Verdi’s grand nineteenth-century requiem. and Vishnevskaya, who had received the score Britten divides his cast of characters into dis- and were both “mad” about the work. But a few tinct groups: two soldiers, sung by the tenor and weeks later, Britten lost his soprano: the Soviet baritone soloists and accompanied by a chamber authorities refused to allow Vishnevskaya to orchestra; the celebrants of the mass, which participate in the premiere—“the combination of include the soprano soloist, a full chorus, and

4 orchestra; and, from afar, a boys’ choir accom- Young.” Here, for the first time, the mass and the panied by organ. The scene shifts seamlessly commentary share the same music, underlining from one group to another—cutting back and the connections between these texts. (In the forth from the church to the battlefield. Only in background, the children’s serene “Hostias” adds the last pages of the final Libera me do all the another layer to this complex scene.) The fugue performers come together. returns, now hushed and furtive, transformed by Requiem aeternam. As the orchestra begins the shift of tone in Owen’s poem. a solemn processional, interspersed with the Sanctus. Britten begins with the soprano, chorus’s chanting, bells toll on F-sharp and C, in full operatic mode and accompanied by notes as distantly related as any, lending the clanging bells and chimes, followed by a stun- music a sense of unease from the start. From ning crescendo of choral chanting, an explosive afar, the children sing the “Te decet hymnus.” “Hosanna,” and a gently rocking “Benedictus.” Our sense of music from different spheres is The baritone closes the movement in a dramatic, quickly emphasized by the first of the Owen volatile rendering of Owen’s “The End.” settings, “Anthem for Doomed Youth,” sung by Angus Dei. A single span of music, alternat- the tenor, accompanied by just a small circle of ing the tenor’s high, quiet intoning of Owen’s “At instruments. From the first line by Owen, “What a Calvary near the Ancre” (smoothly flowing, passing-bells for these who die as cattle?”, it’s even with five sixteenth notes to each measure) clear that the role of these inserted poems is not and the chorus’s simple scales, up and down only to add a parallel modern-day text in the B minor and C major. It ends with the tenor language of the composer, but also to question, singing in Latin for the only time: “Dona nobis to criticize, and to accuse. pacem” (Grant us peace). Dies irae. The longest section of the piece Libera me. A funeral march introduces a begins with snatches of military fanfares, evoking large chorus of desolation and despair. The war. The key, G minor, and the brass volleys at soprano enters (her dramatic stammering recalls “Tuba mirum” recall the Day of Judgment from Verdi’s setting of “Tremens factus sum ego”) Verdi’s Requiem. The baritone sings Owen’s and the music builds to a chilling outcry. Slowly, “Bugles sang,” as fanfares still echo in the dis- Britten clears the scene for the stark realism of tance. The soprano, the last of the participants to Owen’s “Strange Meeting,” the poem he had sing, enters with the imperious phrases of “Liber long loved—a harrowing encounter between two scriptus.” The mood changes abruptly for Owen’s enemy soldiers. With their last words, “Let us bitter poem, “The Next War,” which brings tenor sleep now,” Britten weaves together all the per- and baritone together in a duet of chilling gaiety. formers in a slowly enveloping web of music. For a The rest of the Dies irae is a swift unfolding of moment, he suggests a sense of universal under- vivid scenes: the chorus’s solemn “Recordare” standing. But then the bells intone their anxious (with its violent “Confutatis” conclusion); a harmony, and the voices of the two soldiers can setting for baritone of Owen’s “Sonnet: On still be heard, before the chorus calls for peace. It’s Seeing a Piece of Our Heavy Artillery Brought a strangely uncertain ending, and we are reminded Into Action”; the chorus’s shouts of “Dies irae” of the words by Owen that Britten chose not to followed by the soprano’s anguished cries of set, but to place instead as an epigraph to his score: “Lacrimosa.” Britten then clears the air for the tenor’s pleading “Move him into the sun”— My subject is War, and the pity of War. almost a dramatic reading rather than a musical The poetry is in the pity . . . setting of Owen’s poem “Futility”—intercut with All a poet can do today is warn . . . the soprano’s fading phrases. The bells return at Phillip Huscher is the program annotator for the Chicago the end with their uneasy F-sharp and C sonority. Symphony Orchestra. Offertorium. The movement begins with the For more on Britten, please see “On this island,” a per- children in prayer. Their music is quickly followed sonal reflection on the composer by Gerard McBurney, by a big fugue for full chorus at “Quam olim which begins on page 4. Abrahae” that moves imperceptibly into a setting Supertitle system courtesy of DIGITAL TECH SERVICES, of Owen’s “The Parable of the Old Man and the LLC, Portsmouth, VA

5 War Requiem

REQUIEM AETERNAM

Chorus

Requiem aeternam dona eis, Domine: Eternal rest grant to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them. Children’s Chorus

Te decet hymnus Deus in Sion; To you we owe our hymn of praise, O God, in et tibi reddetur votum in Jerusalem: Sion; to you must vows be fulfilled in Jerusalem. exaudi orationem meam, ad te omnis caro veniet. Hear my prayer; to you all flesh must come. Tenor

What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries for them from prayers or bells, Nor any voice of mourning save the choirs,— The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires. What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of good-byes. The pallor of girls’ brows shall be their pall; Their flowers the tenderness of silent minds, And each slow dusk a drawing-down of blinds. Chorus

Kyrie eleison. Lord, have mercy on us. Christe eleison. Christ, have mercy on us. Kyrie eleison. Lord, have mercy on us.

DIES IRAE

Chorus

6 Tuba mirum spargens sonum The trumpet will send its wondrous sound Per sepulchra regionum into the earth’s sepulchres Coget omnes ante thronum. and gather all before the throne. Mors stupebit et natura, Death and nature will be astounded, Cum resurget creatura when all creation rises again Judicanti responsura. to answer to judgment. Baritone

Bugles sang, saddening the evening air, And bugles answered, sorrowful to hear. Voices of boys were by the river-side. Sleep mothered them; and left the twilight sad. The shadow of the morrow weighed on men. Voices of old despondency resigned, Bowed by the shadow of the morrow, slept. Soprano and Chorus

Liber scriptus proferetur, A book will be brought forth, In quo totum continetur, in which all is written, Unde mundus judicetur. by which the world will be judged. Judex ergo cum sedebit, When the judge takes his place, Quidquid latet, apparebit: what is hidden will be revealed, Nil inultum remanebit. nothing will remain unavenged. Quid sum miser tunc dicturus? What shall a wretch like me say? Quem patronum rogaturus? Who shall intercede for me, Cum vix justus sit securus? when even the just ones need mercy? Rex tremendae majestatis, King of tremendous majesty, Qui salvandos salvas gratis, who freely saves the worthy ones, Salva me, fons pietatis. save me, source of mercy. Tenor and Baritone

Out there, we’ve walked quite friendly up to Death; Sat down and eaten with him, cool and bland,— Pardoned his spilling mess-tins in our hand. We’ve sniffed the green thick odour of his breath,— Our eyes wept, but our courage didn’t writhe. He’s spat at us with bullets and he’s coughed Shrapnel. We chorussed when he sang aloft; We whistled while he shaved us with his scythe. Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier’s paid to kick against his powers. We laughed, knowing that better men would come, And greater wars; when each proud fighter brags He wars on Death—for Life; not men—for flags.

(Please turn the page quietly.) 7 Chorus

Recordare, Jesu pie, Remember, sweet Jesus, Quod sum causa tuae viae: that my salvation caused your suffering; Ne me perdas illa die. do not forsake me on that day. Quaerens me, sedisti lassus: Faint and weary you have sought me, Redemisti crucem passus: redeemed me, suffering on the cross; Tantus labor non sit cassus. may such great effort not be in vain. Ingemisco, tamquam reus: I groan as one who is guilty: Culpa rubet vultus meus: owning my shame with a red face; Supplicanti parce, Deus. suppliant before you, Lord. Qui Mariam absolvisti, You, who absolved Mary, Et latronem exaudisti, and listened to the thief, Mihi quoque spem dedisti. give me hope, too. Inter oves locum praesta, Give me a place with the sheep, Et ab haedis me sequestra, and separate me from the goats; Statuens in parte dextra. lead me to your right hand. Confutatis maledictis, When the accused are confounded Flammis acribus addictis, and doomed to flames of woe, Voca me cum benedictis. call me among the blessed. Oro supplex et acclinis, My prayers are unworthy, Cor contritum quasi cinis: but, good Lord, have mercy, Gere curam mei finis. and rescue me from eternal fire. Baritone

Be slowly lifted up, thou long black arm, Great gun towering toward Heaven, about to curse; Reach at that arrogance which needs thy harm, And beat it down before its sins grow worse; But when thy spell be cast complete and whole, May God curse thee, and cut thee from our soul! Chorus and Soprano

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla, when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl. Quantus tremor est futurus, There will be great trembling Quando judex est venturus, when the judge descends from heaven Cuncta stricte discussurus! to scrutinize all things. Lacrimosa dies illa, Full of tears and dread that day Qua resurget ex favilla, when the dead arise Judicandus homo reus: to be judged for their lives: Huic ergo parce, Deus. therefore, God, spare us.

8 Tenor

Move him into the sun— Gently its touch awoke him once, At home, whispering of fields unsown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. Think how it wakes the seeds,— Woke, once, the clays of a cold star. Are limbs, so dear-achieved, are sides, Full-nerved—still warm—too hard to stir? Was it for this the clay grew tall? —O what made fatuous sunbeams toil To break earth’s sleep at all? Chorus

Pie Jesu Domine, Lord, sweet Jesus, dona eis requiem. Amen. grant them rest. Amen.

OFFERTORIUM

Children’s Chorus

Domine Jesu Christe, Rex gloriae, libera animas O Lord Jesus Christ, King of Glory, deliver the omnium fidelium defunctorum de poenis inferni, souls of all the faithful departed from the pains et de profondo lacu: libera eas de ore leonis, ne of hell and from the bottomless pit; deliver them absorbeat eas tartarus, ne cadant in obscurum: from the lion’s mouth, that hell swallow them not up, that they fall not into darkness, Chorus

Sed signifer sanctus Michael repraesentet eas in but let the holy standard-bearer Michael bring lucem sanctam: quam olim Abrahae promisisti, them into that holy light which you promised of et semini ejus. old to Abraham and to his seed. Baritone and Tenor

So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretched forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold,

(Please turn the page quietly.) 9 A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son,— And half the seed of Europe, one by one. Children’s Chorus

Hostias et preces tibi, Domine, laudis offerimus: We offer you, O Lord, sacrifices and prayers of tu suscipe pro animabus illis, quarum hodie praise; receive them on behalf of those souls we memoriam facimus: fac eas, Domine, de morte commemorate this day. Grant them, O Lord, to transire ad vitam. pass from death to life.

SANCTUS

Chorus and Soprano

Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of Lord. Hosanna in excelsis. Hosanna in the highest. Baritone

After the blast of lightning from the East, The flourish of loud clouds, the Chariot Throne; After the drums of Time have rolled and ceased, And by the bronze west long retreat is blown, Shall life renew these bodies? Of a truth All death will He annul, all tears assuage?— Fill the void veins of Life again with youth, And wash, with an immortal water, Age? When I do ask white Age he saith not so: “My head hangs weighed with snow.” And when I hearken to the Earth, she saith: “My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the sea, be dried.”

AGNUS DEI

Tenor

One ever hangs where shelled roads part. In this war He too lost a limb, But His disciples hide apart; And now the Soldiers bear with Him.

10 Chorus

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world: dona eis requiem. grant them rest.

Tenor

Near Golgotha strolls many a priest, And in their faces there is pride That they were flesh-marked by the Beast By whom the gentle Christ’s denied. Chorus

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world: dona eis requiem. grant them rest. Tenor

The scribes on all the people shove And bawl allegiance to the state, But they who love the greater love Lay down their life; they do not hate. Chorus

Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world: dona eis requiem sempiternam. grant them eternal rest. Tenor

Dona nobis pacem. Grant us peace.

LIBERA ME

Chorus and Soprano

Libera me, Domine, de morte aeterna, Deliver me, O Lord, from everlasting death in die illa tremenda: on that day of terror: Quando coeli movendi sunt et terra: When the heavens and the earth will be shaken. Dum veneris judicare saeculum per ignem. As you come to judge the world by fire. Tremens factus sum ego, et timeo, I am in fear and trembling at the judgment and dum discussio venerit, atque ventura ira. the wrath that is to come. Quando coeli movendi sunt et terra. When the heavens and the earth will be shaken. Dies illa, dies irae, That day will be a day of wrath, calamitatis et miseriae, of misery, and of ruin: dies magna et amara valde. a day of grandeur and great horror. Libera me, Domine . . . Deliver me, O Lord . . .

(Please turn the page quietly.) 11 Tenor

It seemed that out of battle I escaped Down some profound dull tunnel, long since scooped Through granites which titanic wars had groined. Yet also there encumbered sleepers groaned, Too fast in thought or death to be bestirred. Then, as I probed them, one sprang up, and stared With piteous recognition in fixed eyes, Lifting distressful hands as if to bless. And no guns thumped, or down the flues made moan. “Strange friend,” I said, “here is no cause to mourn.” Baritone

“None,” said the other, “save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world. For by my glee might many men have laughed, And of my weeping something had been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Miss we the march of this retreating world Into vain citadels that are not walled. Then, when much blood had clogged their chariot-wheels I would go up and wash them from sweet wells, Even from wells we sunk too deep for war, Even the sweetest wells that ever were. I am the enemy you killed, my friend. I knew you in this dark; for so you frowned Yesterday through me as you jabbed and killed. I parried; but my hands were loath and cold.” Tenor and Baritone

“Let us sleep now . . .” Children’s Chorus, Chorus, and Soprano

In paradisum deducant te angeli: in tuo adventu May the angels lead you into paradise: may the suscipiant te martyres, et perducant te in martyrs receive you at your coming, and bring civitatem sanctam Jerusalem. you into the holy city Jerusalem. Chorus angelorum te suscipiat, et cum Lazaro May the choir of angels receive you, and with quondam paupere aeternam habeas requiem. Lazarus, once poor, may you have eternal rest. Requiem aeternam dona eis, Domine; et lux Eternal rest give to them, O Lord: perpetua luceat eis. and let perpetual light shine upon them. Requiescant in pace. Amen. May they rest in peace. Amen.