Ct-U ~ B.L.Green Adviser M.Haddock School of Music

REQUIEM MASS FOR CHORUS AND ORCHESTRA; WITH A MONOGRAPH

ON THE HISTORY, REGULATION, AND CONTENT OF THE MISSA PRO DEFUNCTIS,

DOCUMENT

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Musical Arts in the Graduate

School of the Ohio State University

Marshall Paul Onofrio, B.S., B.M., M.M., M.M. ***** The Ohio State University

1987

Dissertation Committee: Approved by

M.H. Barnes ]),~ /l/L~ ct-U ~ B.L.Green Adviser M.Haddock School of Music

ACKNOWLEDGMENTS

As with any document of this nature, acknowledgment of the assistance received from several sources is in order. My parents, in whose memory the Requiem Mass is composed, first instilled in me an appreciation for music and its emotional power. Dr. Marshall Barnes has served as my academic advisor, teacher, and friend. His many words of support and encouragement have helped me significantly. Dr. Burdette Green and Mr. Marshall Haddock, members of the Reading Committee, have given valuable assistance in creating a format that presents the various aspects of the Requiem clearly and concisely. Two liturgical specialists provided the needed expertise in the area of the reformed rites of the Church and the Requiem liturgy in particular. Sr. Rita Fisher, I.H.M., Diocesan Liturgy Consultant for the Diocese of Columbus, Ohio answered several questions regarding the modern Mass and the latest text options. The Reverend Joseph Fete, Assistant Professor of Liturgy at the Pontifical College Josephinum and Director of the Office of Liturgy for the Diocese of Columbus provided valuable counsel at the outset of this project, and gave needed advice concerning the hierarchy of ruling documents and liturgical forms. The staff of the Wehrle Library at the Josephinum gave much energy and assistance in locating required documents and volumes. Finally, my wife Susan has provided countless words and actions of encouragement and support, without which this study would have foundered.

Excerpts from the General Introduction and from the English translation of the Order of Christian Funerals. ©1985, International Committee on English in the Liturgy, Inc. All rights reserved. Used with permission.

11 VITA

September 20, 1955 Born -- New Haven, CT

1977 B.Science, University of Connecticut, Storrs, CT

1978 B.Music, University of Connecticut Applied Trumpet

1978, 1979 Brass Faculty, Illinois Summer Youth Music, Champaign, IL

1979 M.Music, University of Illinois, Urbana, IL, Applied Trumpet

1979-1983 Assistant Professor of Music, Midland College, Fremont, NE

1982 M.Music, University of Nebraska, Lincoln, NE, Composition

1983-1986 Assistant Professor of Music, Muskingum College, New Concord, OH

1983-1987 Assistant Conductor, Southeastern Ohio Symphony Orchestra, New Concord, OH

1985-1987 Graduate Associate, Ohio State University, Columbus, OH

1987. Music Coordinator, Governor's Summer Institute in the Arts, Columbus, OH

iii TABLE OF CONTENTS

ACKNOWLEDGMENTS ii

VITA 111

LIST OFTABLES vi

PART ONE

INSTRUMENTATION/NOTES TO THE CONDUCTOR Vll

MOVEMENT PAGE

PRELUDF/INTROIT 1

KYRIE 15

SANCTUS 25

AGNUS DEI 47

PART TWO

INTRODUCTION 1

CHAPTER PAGE

I. THE DEVELOPMENT OF AN ORGANIZED CATHOLIC FUNERAL LITURGY and THE REQUIEM MASS--TO 1969 4

Sources 4 Liturgical Format 11 Funeral Liturgy 15 Codification of the Sung Requiem Mass 20

iv II. A SUMMARY OF THE DOCUMENTS REGULA TING THE REQUIEM MASS, SACRED MUSIC, AND THE USE OF INSTRUMENTS 31

Introduction 31 The Requiem Mass 35 Sacred Music 43 Reforms, The Use of Instruments 52 Major Documents on Music 59 Conclusions 68

III. THE REQUIEM SINCE THE SECOND VATICAN COUNCIL 71

Introduction 71 The Rite of Funerals 73 Mass Sections Currently Available for Musical Settings 78 The Five Divisions of the Mass 83 The Requiem Mass--1987 88 Conclusion 102

APPENDICES

A. l. Glossary 108 A.2. Chronological List of Popes: 1823-1987 110 B. Major Documents on Music 111 C. Alternate Texts for the Requiem 135 D. Excerpts: Rite of Funerals, Order of Christian Funerals 142 E. Additional Documents Pertaining to Chapter II 151

BIBLIOGRAPHY 153

v LIST OF TABLES

TABLES PAGE

1. Chronology of Developments: The Funeral Ritual!The Requiem Mass 30

2. The Requiem Mass: Portions That May Be Set 107

vi INSTRUMENT ATI ON

Flute 1,2 Horn 1,2 Oboe 1,2 C Trumpet 1,2 B Clarinet 1,2 Trombone 1,2,3 Bassoon 1,2

Timpani/Snare Drum Percussion I: Bells, Chimes, Snare Drum, Bongos (with Rattan sticks) Percussion II: Medium Suspended Cymbal, Crash Cymbals, Gong, Snare Drum

Violin 1,2 Viola Cello Bass

NOTES TO THE CONDUCTOR

Duration: ca. 45 minutes.

In the absence of a bass trombone, Tuba may substitute for Trombone 3.

Concerning the Agnus Dei: 1) All instrumental passages enclosed in brackets and marked with* are to be used only when absolutely necessary. \Vhenever possible, these passages should be sung unaccompanied. 2) If the Agnus Dei is used as a portion of a celebrated funeral mass, it should end at the first double bar, measure 74. If used in a concert situation, go on to the next measure without pause, ending at the double bar in measure 88.

vii