Program Notes for all male voices, as the religious authorities at the time disapproved of the use of women in a liturgical setting. As his compositional career remains one of the most colossal and began to slow down, Cherubini was appointed director of the Paris influential figures in western music. While his works and innovations Conservatoire. The young depicted the old composer shaped future generations, Beethoven drew inspiration from his as crotchety and attested to his seemingly perpetual irritability. Adding predecessors and contemporaries alike. Though often depicted to, or at least confirming this was , who stated that as brooding and vexed, those who personally knew the great Cherubini did, in fact, maintain an even temper; he was always angry. composer spoke of how the opposite was true, even in spite of his During his life, he received several of ’s highest honors for his health problems, hearing loss, and explosive temper. One particular work as a composer. Cherubini died in 1842, and is buried in the Pere contemporary that Beethoven greatly admired was the Florentine-born Lachaise Cemetery, near the grave of his friend and fellow composer, Luigi Cherubini. Frederic . Born in 1760, Cherubini began music lessons The was first performed on January 21, 1817 in the Royal at the age of six with his father, Bartolomeo, Burial Abbey of Saint Denis for a mass in memory of Louis XVI, who who was given the honorific maestro al cembalo was executed on that date in 1794. Some unusual, or at least non- (master of the ), meaning he lead traditional, aspects of the work are that it does not include soloists, an ensemble from the keyboard. The young and its movements are not treated as individual components, but Cherubini, who was considered a child prodigy, function together in the same manner as an entire mass. It also displays produced several religious works by the age of Cherubini’s full range of compositional abilities, including soft and thirteen. In 1780, he was awarded a scholarship contemplative moments to dramatic outbursts. The Requiem’s Dies to study music in and , and his Irae is viewed as its most distinctive ‘movement.’ It is a 19-verse poem, first operatic works were produced in 1783. which alternates between graphic images of judgment day and pleas Desiring to expand his compositional vocabulary, for mercy. Musically, it is the work’s most dramatic, opening with a Cherubini traveled to London in 1785 where he undertook a position as trumpet fanfare and the crash of a gong. The choral voices, which composer for King George III. That same year he made his first visit to enter in canon, build to the movement’s climax. Instead of giving some France, where, in 1788, he would eventually settle and spend the rest of of the softer text to individual soloists, as is often the case in Requiem his life. This journey spawned a much more creative spirit in Cherubini’s Masses, Cherubini employs long solo lines to the voice parts of the music. His , though well-received by the public, often saw fewer choir. While some of these less-than-traditional elements—at least for performances than he desired. With the onslaught of the French 1816—set the work apart and showcase Cherubini’s own artistic flair, Revolution—a particularly damning occurrence for Cherubini, who was other movements fit perfectly into the canon of Requiem masses and known to move in aristocratic circles—he sought appointments outside the time period. Elements of Mozart and Beethoven can be found in of the upper class. appointed Cherubini as his director of the work, as well as traditional melodic devices employed in liturgical music in for a period, though the two did not have an agreeable music, those that echo back to the Renaissance, relationship. After undertaking and leaving government positions, and those that were on the cusp of what would Cherubini turned again to . become the Romantic era. His Requiem in C minor was written in 1816, commemorating the Stating that the musical evolution into the execution of King Louis XVI, and was a great success. It is this work Romantic era exists in Beethoven’s music might that Beethoven so greatly admired, stating that if he were to write a be somewhat heavy-handed, but his Symphony Requiem, Cherubini’s would be his model. (Though Cherubini did not No. 3 in E-flat Major is widely viewed as a piece return the compliment, calling Beethoven an “unlicked bear” and that that marks the turning point from Classical Beethoven’s music made him sneeze.) In 1836, Cherubini re-composed to Romantic. Composed between 1802 and the work, changing the key to D minor and re-writing the chorus part 1804, the symphony is the best example of 12 13 Beethoven’s initial exploration into expanding the boundaries of and Romantic Era. The transitions between keys are also emotionally musical form and harmony. charged. The piece’s title, which ultimately ended up being Eroica, The expansion of form begins almost immediately in the first underwent several iterations, including “Bonaparte,” and “Written for movement. Although it is written in typical sonata form, Beethoven Bonaparte.” Beethoven originally dedicated the work to Napoleon, adds to the lengths and transitions of themes, and introduces musical who he believed embodied the notion of an anti-monarchy, until he tensions that do not immediately resolve very early in the work. It crowned himself emperor. The dedication was scratched out of the also includes more modulations than audiences would have expected title page so violently that it left a hole in the paper. So as not to lose at the onset of a work. The second movement is where some of the patronage for the work, the symphony was re-dedicated to Prince expansion is most noticeable. It is a funeral march, but not written in Joseph Franz Maximillian Lobkowitz, the nobleman who commissioned the simple A-B-A form. Instead, it is much larger and developed to the it. Ultimately, the dedication was not given to anyone specific for the point where the theme has its own rondo form. Development within work’s publication in 1806, and was presented as “Heroic Symphony, form, as it might be viewed, also exists within what one would expect composed to celebrate the memory of a great man.” to be a predictable march. The final movement contains the most The initial performances of the symphony seem to add to its dramatic writing of the piece, which, at the time of its premiere, was dramatic inception. It was performed privately in Prince Lobkowitz’s the thickest orchestration written in a symphony. This movement is Bohemian estates before its public debut in 1805. At its premiere, the a set of ten variations on a theme and a fugue, instead of functioning key of the piece was announced as D-sharp major (which would include solely as a closing gesture. Each of the variations transitions in what 9 sharps, as opposed to the 3 flats in E-flat major). Initial reviews were was at the time an unexpected manner to the next, and they are all mixed, if nothing else. Some immediately saw it as a masterpiece and tied together at its end, where musical tensions are finally released. a work of genius; others felt it had no artistic merit and went on far Furthermore, the movement’s bombastic nature likely produced more too long. There were also those who fell in between the two opposing sound than any symphony before it, which audience members would sides and felt it did have beautiful qualities, but its duration simply have viewed as a cacophony of instruments jockeying to be heard. exhausted all who were present. One of the attendees is said to have With its jarring twists and turns, appearance of possessing no end, offered to pay more for the work to stop. In defense of audience and revolutionary treatment of forms, Eroica paved the way for future members, no symphony written up until this point lasted as long as composers to expand upon, and even recreate musical ideas in new and Eroica, which was half again the length of any they would have heard— exciting forms. its first movement alone is as long as symphonies by both Haydn and Mozart. With the expansion of form and need for a larger orchestra also came the requirement of more virtuosic playing. Beethoven’s use of dissonance and his transitions from one section to another were also foreign to his audience’s ears. Additionally, the increased emphasis on the finale (as opposed to the first movement) seemed to upend the work’s structure. Eroica’s finale does not just serve as the ending; rather it acts as the work’s culmination, where tensions from its previous movements are finally released. The work also displays a much greater emotional range than its predecessors. Beethoven had been living in Vienna for over a decade when the work was completed, and the full range of political upheavals in that part of Europe seem to manifest themselves in the symphony. This emotional charge in music is the element that is viewed as the transition between the Classical Period

14 15 Requiem Text and Translation Nil inultum remanebit. Nothing will remain unavenged. 1. Introitus et 1. Introitus et Kyrie Requiem aeternam dona eis, Grant them eternal rest, Quid sum miser tunc dicturus? What then shall I plead in my anguish? Domine; O Lord, Quem patronum rogaturus, What advocate entreat to speak for me, et lux perpetua luceat eis. and may perpetual light shine on them. Cum vix justus sit securus? When the just are not acquitted? Te decet hymnus, Deus, in Sion, Thou, O God, art praised in Sion, et tibi reddetur and unto Thee shall the vow be Rex tremendae majestatis, King of awful majesty, votum in Jerusalem. performed in Jerusalem. Qui salvandos salvas gratis, Who freely savest the redeemed, Salva me, fons pietatis. Save me, O fount of goodness. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. unto Thee shall all flesh come. Recordare, Jesu pie, Remember, blessed Jesus, Quod sum causa tuae viae, That I am the cause of Thy pilgrimage. Kyrie eleison. Lord, have mercy upon us. Ne me perdas illa die. Do not forsake me on that day. Christe eleison. Christ, have mercy upon us. Kyrie eleison. Lord, have mercy upon us. Quaerens me sedisti lassus; Seeking me, Thou didst sit down Redemisti crucem passus; weary. Thou didst redeem me, 2. Graduale 2. Graduale Tantus labor non sit cassus. suffering death on the cross. Requiem aeternam dona eis, Grant them eternal rest, Juste judex ultionis, Let no such toil be in vain. Domine; O Lord, et lux perpetua luceat eis. and may perpetual light shine on them. Donum fac remissionis Just and avenging Judge, Ante diem rationis. Grant remission In memoria aeterna erit justus, A just man will be remembered forever, Before the day of reckoning. ab auditione mala non timebit. and need fear no evil from judgment. Ingemisco tanquam reus: I lament for I am guilty 3. Sequentia (Dies Irae) 3. Sequentia (Dies Irae) Culpa rubet vultus meus: And I blush for my wrongdoing. Dies irae, dies illa, Day of wrath, that day Supplicanti parce, Deus. Spare a suppliant, O God. Solvet saeclum in favilla, Will dissolve the earth in ashes, Teste David cum sibylla. As David and the Sibyl bear witness. Qui Mariam absolvisti, Thou who didst absolve Mary Et latronem exaudisti, And hearken to the thief, Quantus tremor est futurus, What dread there will be Mihi quoque spem dedisti. To me also hast given hope. Quando judex est venturus, When the judge shall come Cuncta stricte discussurus. To judge all things strictly. Preces meae non sunt dignae, My prayers are not worthy, Sed tu, bonus, fac benigne, But Thou, O good one, in Thy mercy Tuba mira spargens sonum A trumpet, spreading a wondrous sound Ne perenni cremer igne. Do not send me to everlasting fire. Per sepulchra regionum, Through the graves of all lands, Coget omnes ante thronum. Will drive mankind before the throne. Inter oves locum praesta, Place me among Thy sheep Et ab hoedis me sequestra, And separate me from the goats, Mors stupebit et natura, Death and Nature shall be astonished Statuens in parte dextra. Setting me on Thy right hand. Cum resurget creatura, When all creation rises again Judicanti responsura. To answer to the Judge. Confutatis maledictis When the cursed are all banished Flammis acribus addictis, And given over to the bitter flames, Liber scriptus proferetur, A book, written in, will be brought forth Voca me cum benedictis. Summon me among the blessed. In quo totum continetur, In which is contained everything that is, Unde mundus judicetur. Out of which the world shall be judged. Oro supplex et acclinis, I pray in supplication on my knees. Judex ergo cum sedebit, When therefore the judge takes his seat Cor contritum quasi cinis, My heart contrite as the dust, Quidquid latet apparebit, Whatever is hidden will reveal itself. 16 17 Gere curam mei finis. Grant me grace at my departing. 6. Pie Jesu 6. Pie Jesu Pie Jesu, Domine, Holy Jesus, Lord, Lacrymosa dies illa, Day of bitter lamentation dona eis requiem sempiternam. grant them eternal rest. Qua resurget ex favilla When rises from the dust Judicandus homo reus. Guilty man to be judged. 7. Agnus Dei 7. Agnus Dei Agnus Dei, qui tollis peccata mundi, Lamb of God, who takest away the Huic ergo parce, Deus, Then, Lord, pity this Thy servant, dona eis requiem. sins of the world, grant them rest. Pie Jesu Domine, Blessed Lord Jesus, Dona eis requiem! Grant them peace. Agnus Dei, qui tollis peccata mundi, Lamb of God, who takest away the Amen! Amen. dona eis requiem sempiternam. sins of the world, grant them everlasting rest. 4. Offertorium 4. Offertorium O Domine, Jesu Christe, Rex gloriae, O Lord, Jesus Christ, King of glory, Lux aeterna luceat eis, Domine, cum Let eternal rest shine upon them, Lord, libera animas omnium fidelium deliver the souls of all the faithful sanctis tuis in aeternum, with your saints for ever, defunctorum de poenis inferni et de departed from the pains of hell and quia pius es. for you are holy. profundo lacu. from the bottomless pit. Libera eas de ore leonis, Deliver them from the mouth of the Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord and ne absorbeat eas tartarus, ne cadant lion, that they may not be swallowed et lux perpetua luceat eis. let perpetual light shine upon them. in obscurum; up by hell and perish in its darkness; sed signifer Michael but let holy Michael Thy standard repraesentet eas in lucem sanctam. bearer lead them into the holy light. Quam olim Abrahae promisisti As Thou didst promise of old et semini eius. to Abraham and his seed.

Hostias et preces tibi, Domine, We offer unto Thee, O Lord, laudis offerimus. this sacrifice of prayer and praise. Tu suscipe pro animabus illis, Receive it for those souls quarum hodie memoriam facimus. whom today we commemorate. Fac eas, Domine, de morte Grant them, O Lord, to pass from transire ad vitam. death into life everlasting. Quam olim Abrahae promisisti As Thou didst promise of old et semini eius. to Abraham and his seed. CERTIFIED PUBLIC ACCOUNTANTS & CONSULTANTS 5. Sanctus 5. Sanctus Sanctus, sanctus, sanctus, Holy, holy, holy, CERTIFIEDBusiness & PUBLIC Individual ACCOUNTANTS Tax Consulting | Financial & R eportingCONSULTANT & Analysis S Dominus Deus sabaoth. Lord God of Hosts. Tax Preparation | General Business Counseling | Strategic Tax Planning Pleni sunt coeli et terra gloria tua. Heaven and earth are full of Thy Business & Individual Tax Consulting | Financial Reporting & Analysis Hosanna in excelsis. glory. Hosanna in the highest. Tax Preparation | General Business Counseling | Strategic Tax Planning

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