Wolfgang Amadeus Mozart

Requiem

Simone Kermes Stphanie Houtzeel Markus Brutscher Arnaud Richard

MusicAeterna & The New Siberian Singers Teodor Currentzis

In memory of Ruslan Y. Efremov

Illustration : Lchelle cleste (Les moines vertueux montent vers le Christ tandis que les diables font tomber les mauvais moines de lchelle). Illustration dun livre denseignement pour les moines, crit au vie sicle par Jean Klimakos. Icne byzantine du xiie sicle, peinture sur bois, 41 x 29,3 cm. Sina, clotre de Sainte Catherine. Illustration de la page douverture : Wolfgang Amadeus Mozart, autographe du Dies Irae.

Wolfgang Amadeus Mozart (1756 1791) Requiem k.626

1 2 3 4 5 6 7 8 9 10 11 12 13 14 I. Introitus Requiem II. Kyrie III. Sequenz Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrimosa IV. Offertorium Domine Jesu Hostias V. Sanctus VI. Benedictus VII. Agnus Dei VIII. Communio Lux Aeterna Simone Kermes soprano Stphanie Houtzeel alto Markus Brutscher tnor Arnaud Richard basse 437 211 140 305 141 453 242 344 309 358 124 456 324 508

The New Siberian Singers, chur de chambre de lOpra de Novosibirsk

sopranos Gana Baryshnikova, Nadezhda Kokareva, Elena Kondratova, Alla Lebedeva, Margarita Mezentseva, Arina Mirsaetova, Valeria Safonova, Lubov Skurikhina, Elena Yurtchenko, Natalia Zarieva altos Ekaterina Bateneva, Maria Klenova, Nina Nikitina, Anna Penkina, Elena Rogoleva, Elena Stolpovskikh, Marina Tenitilova, Ludmila Tukhaeva, Anna Shvedova tnors Dmitry Veselovsky, Alexandre Zverev, Evgeny Myskov, Vasily Novikov, Pavel Palastrov, Evgeny Rymarev, Vladimir Sapozhnikov basses Alexandre Bezrukov, Gennady Vasiliev, Evgeny Ikatov, Sergey Mezentsev, Alexandre Nazemtsev, Vitaly Polonsky, Sergey Tenitilov Vyacheslav Podyelsky, chef de chur

MusicAeterna, orchestre de chambre de lOpra de Novosibirsk

violons 1 Inna Prokopieva, Elena Rais, Ivan Peshkov, Artem Savchenko, Nadezhda Antipova, Afanasy Chupin violons 2 Yulia Gaikolova, Ekaterina Romanova, Liana Erkvanidze, Dina Turbina altos Evgeniya Bauer, Dmitry Parkhomenko Oleg Zubovich, Valeria Svetlosanova violoncelles Alexander Prozorov, Ekaterina Kuzminykh Igor Galkin, Yury Polyakov contrebasses Dmitry Rais, Dilyaver Menametov percussions Sviatoslav Karagedov

trompettes Leonid Guriev, Pavel Kurdakov bassons Flra Pdr, Alexander Golde cors de basset Florian Schle, Sebastian Krzl trombones Matthias Sprinz, Ralf Mller, Christina Hess

Enregistr en fvrier 2010 lOpra de Novossibirsk Prise de son & mixage : Hugues Deschaux Direction artistique & montage : Aline Blondiau Responsable de production : Julien Dubois Mise en page du livret : Anne Lou Bissires Photographies : Julien Dubois

Mythes et ralits du Requiem de Mozart

Si le Requiem de Mozart est lune des uvres les plus admires de la musique occidentale, il a aussi beaucoup aliment les fantasmes et les erreurs. Il faut dire que ce mystrieux homme en noir, venu commander Wolfgang une messe des morts, avait de quoi impressionner un compositeur dj trs affaibli et intriguer la postrit : un tel messager de la mort nannonait-il pas la fin du compositeur ? Le clbre film de Milo Forman, Amadeus, rajoute une pince de pathos dans la scne de pure fiction (mais dune grande force cinmatographique !), o Mozart, sentant sa fin approcher, dicte le Confutatis de son Requiem Salieri. Revenons aux faits. Si Mozart na jamais dict sa dernire uvre, il na pas vu non plus la mort frapper sa porte. Il a seulement t perturb par les visites successives et insistantes de lintendant du comte Walsegg, venu le prier dcrire un Requiem que son matre entendait donner la mmoire de son pouse dfunte. Sil y a quelque chose de troublant dans cette histoire, ce nest pas la personnalit de lmissaire, mais bien les intentions, honntes ou non, du comte Walsegg luimme. Pourquoi avait-il entour de secret cette commande et, surtout, pourquoi ne voulait-il pas que lon fasse une copie du manuscrit avant de le livrer ? Simple dsir de garder lanonymat sur le compositeur jusquau jour de la cration, ou volont de sapproprier un jour la partition et de sen dclarer lauteur ? Une chose est sre : Walsegg a frapp la bonne porte. Mozart est un compositeur clbre qui vient dtre nomm vice-matre de chapelle de la Cathdrale de Vienne, le 9 mai prcdent. Ce titre honorifique montre aussi que Wolfgang, quoique franc-maon, na jamais cess dcrire pour lglise catholique.

Sa mort subite en dcembre 1791, lge de 35 ans, laisse le Requiem aux mains de sa famille et de celui qui sera charg de le complter. Car cest bien dans un tat dextrme puisement que Mozart sattelle cette partition. Rduit une situation financire difficile, il doit, pour sen sortir, accepter toutes les commandes, aggravant sa fatigue et ce quon appellerait aujourdhui son stress . Des trois dernires, deux sont acheves temps : La Clmence de Titus, crite en trois semaines et cre Prague le 6 septembre prcdent, et La Flte enchante, encore en cours de reprsentations au moment o il disparat. Seul le Requiem demeure incomplet, faute de temps (ou par apprhension dachever ce quil pouvait considrer comme sa propre messe funbre !). Et pourtant, quelle perfection dans les pages quil nous laisse (environ la moiti de luvre), quel testament musical dune force et dune luminosit sans pareilles ! Ds les premires mesures, une respiration haletante se met en place, partage entre la mlodie sombre des bassons et cors de basset, et la rponse syncope des cordes. Inspiration, expiration : nous ne serons partiellement librs de ce spasme grandissant quavec lentre des churs. Tour tour, chacune des voix voque le repos ternel, Requiem aeternam, tandis que lorchestre poursuit inlassablement cette lente pulsation de la vie, plus forte encore que la mort voque dans le texte. Mme lhymne de louange radieux du soprano soliste (Te decet hymnus) nest quune parenthse avant la reprise de langoissant et haletant ensemble choral. Tout sapaise sur les dernires paroles de lIntrot, juste avant la fugue magistrale du Kyrie : tout au long du morceau, un sujet vhment et descendant (sur les mots Kyrie eleison), repris tour tour par chaque voix, soppose un contre-sujet qui droule une cascade ascendante de doubles-croches (sur Christe eleison).

Cette mcanique parfaite semble semballer dans une course folle jusqu limpressionnante apothose finale. Nous voici prts entrer de plain-pied dans le clbrissime Dies Irae (Jour de colre que ce jour-l) voquant linstant redout du Jugement dernier. Les voix sont dsormais parallles pour scander le texte avec une force inoue, tandis que lorchestre se dchane dans les trmolos des cordes et le fracas des trompettes et timbales. La tonalit de r mineur revt aussi une forte charge symbolique pour Mozart : elle soutient dans ses uvres les moments tragiques, ceux o lhomme se trouve confront au divin et au questionnement sur la vie et la mort (cest, par exemple, la tonalit de la mort de Don Juan). La squence du Tuba mirum est une succession de brefs pisodes, depuis lnigmatique air de basse avec trombone jusquau quatuor final traduisant les angoisses de celui qui redoute le Jugement dernier. Cet ensemble prpare la vision grandiose du Dieu de majest qui surgit, fortissimo, dans le Rex tremendae. Aprs avoir ouvert par une triple et solennelle acclamation du mot Rex, Mozart fait alterner deux pisodes essentiels : un double canon dune indicible force, soutenu par le rythme point incessant des cordes, pour voquer le Roi de puissance, et la frle imploration des pcheurs sur les mots Salva me. Un climat nouveau sest ainsi install, crant une habile transition avec le superbe Recordare confi aux quatre solistes. Mozart, sentant ses forces diminuer, jugeait de la plus haute importance dachever ce quatuor avant de mourir. Il compte parmi les plus belles pages vocales du compositeur et souvre dans un univers de douceur et de calme par les paroles de lalto et de la basse, Recordare Jesu pie (Souvenezvous, doux Jsus), aussitt reprises par le soprano et le tnor. Ici lhomme prend conscience du sacrifice du Christ, supplie et gmit, mais sa prire semble planer au-dessus de ce monde, lui permettant de retrouver le calme et lapaisement.

10

Brisant soudain cette accalmie, un souffle de tragdie surgit avec les premiers mots du Confutatis : exacerbation des parties de cordes, ponctues de coups secs de timbales, agitation du chur masculin, auquel rpond par deux fois lhumble Voca me des femmes. Tout sapaise enfin pour nous mener en douceur vers linstant de grce. Le Lacrimosa est dabord lune des plus belles dplorations musicales de lHistoire, avec sa sublime et plaintive mlodie, ponctue par les rythmes syncops des cordes. Entre berceuse et sanglots, Mozart nous offre ici une vision familire, presque amicale, de la mort. Mais cette page nous meut aussi par son inachvement. Le manuscrit montre les huit premires mesures peu prs compltes et, dans la neuvime, lesquisse de la partie de soprano. Ensuite, plus rien ; la page est blanche. Mozart nira pas plus loin dans ce quil nommait lui-mme son chant funbre . La partition en serait reste l si Constance, sa veuve, navait demand Franz Xaver Sssmayr de la complter, lui qui connaissait bien le style du matre pour lavoir assist dans la composition des rcitatifs de La Clmence de Titus. Sans doute aid dautres plumes, il poursuit le Lacrimosa, ajoute les parties dorchestre manquantes des prcdents numros, et complte ou invente les numros suivants, non sans tenir compte des indications de dernire heure du matre ou des notes prises par Constance. Il faut lui rendre grce de navoir pas trahi Mozart, au point quaujourdhui nous coutons ce Requiem dune seule traite, sans nous rendre compte quil est luvre de deux personnages, ni avoir souffrir dune seconde partie vraiment infrieure la premire. Le dynamique Domine Jesu avec sa puissante fugue (Quam olim Abrahae) revient des procds stylistiques dj utiliss dans la premire partie de luvre. Sssmayr complte ici la pense de Mozart, de mme que lorsquil oppose ce vhment Offertoire un Hostias baign dune douce lumire. Le Sanctus suit

11

les conventions de toute messe du temps avec sa triple proclamation initiale en majeur, son allure solennelle, sa fugue sur lHosanna et la reposante parenthse du Benedictus. Pour lAgnus Dei, bnficiant peut-tre dindications laisses par son matre, le disciple revient vers les premires messes mozartiennes en privilgiant une vision tragique et doloriste de lAgneau sacrifi. Et cest encore un bon choix que celui des dernires pages : prfrant rester fidle lesprit de luvre plutt que de hasarder une conclusion trop personnelle, Sssmayr termine avec le matriau dj employ par Mozart dans son Introt et son Kyrie, non sans lamnager quelque peu. Ainsi la boucle est boucle, et cest encore le souffle de Mozart qui, par-del sa mort, semble animer les dernires pages. Luniversalit du Requiem nest plus prouver, pas plus que son succs auprs des mlomanes du monde entier. Mozart y sublime le regard de tout homme face la mort : un regard parfois angoiss ou baign de larmes, mais aussi un regard desprance et damour. De cette musique, dune force et dune transparence inoues, ressort, selon les mots de Marie-Aude Roux, ce mlange de renoncement et dnergie, cette acceptation du silence qui refuse cependant de se taire, ce sursaut de flamme qui ne veut pas steindre .

Patrick Barbier

13

15

Mozarts Requiem

Mozarts Requiem is one of the most admired works in Western music, and one that has given rise to many fantasies and false beliefs. The arrival of a mysterious man in grey requesting the composition of a mass for the dead was enough not only to unsettle a composer who was ailing and extremely weak, but also to intrigue posterity: a messenger of death betokening the end? Milo Formans famous film Amadeus spices with pathos the purely fictional scenebut one that is cinematographically remarkably effectivein which Mozart, feeling his end approaching, dictates the Confutatis to Salieri. Let us keep to the facts. Mozart did not dictate his final work, nor did he see Death knocking at his door. He was simply perturbed by the successive visits and the insistency of Count Walseggs steward, sent to ask him to write a requiem mass, which his master intended to be performed in memory of his wife. If there is something disturbing about the story, it lies not so much in the figure of the messenger as in the intentions, honest or otherwise, of the count: why did he shroud the commission in such secrecy and, more importantly, why did he forbid a copy of the manuscript to be made before it was handed over? Did he simply want to keep the identity of the composer a secret until after the first performance, or did he mean to pass the composition off as his own? One thing is certain: Count Walsegg came to the right place. Mozart was a famous composer, who had recently been appointed to the position of Kapellmeister designate at St Stephens Cathedral, Vienna (9May 1791)an honorary title showing that, although he was a Freemason, he had never stopped writing for the Catholic Church.

16

Mozarts sudden death in December 1791, at the age of thirty-five, left the Requiem in the hands of his family, and of the man who was to complete it. When Mozart came to tackle the score, he was indeed in a state of extreme exhaustion. A difficult financial situation meant that, in order to make ends meet, he had to accept every commission that came along, which aggravated his fatigue and stress. Of the last three commissions he received, two were ready on time: La Clemenza di Tito, written in three weeks and premired in Prague on 6September, and Die Zauberflte, finished towards the end of September, first performed on 30th, and still running when he died. Only the Requiem remained unfinished, through lack of time (or fear that he was writing it for his own funeral!) Yet what perfection there is in the music Mozart left (about half of the work), and what a wonderful musical testament, unmatched in its strength and brightness! From the opening bars a panting respiration is set up, shared between the sombre melody of the bassoons and basset-horns and the syncopated response of the strings; inspiration, expiration, until the entrance of the choirs relieves us, at least partly, of this spasm. Each voice in turn evokes eternal rest (Requiem aeternam), while the orchestra continues to present this slow pulse of life, stronger still than the death spoken of in the text. Even the radiant hymn of praise sung by the soprano solo (Te decet hymnus) is only a parenthesis, before the agonising panting of the choral ensemble resumes. On the last words of the Introit everything becomes calm before the masterly fugue of the Kyrie: throughout this second movement the vehement descending subject (on the words Kyrie eleison), taken up by each of the voices in turn, contrasts with the ascending semiquavers of the countersubject (on Christe eleison). This perfect mechanism then seems to race to the impressive final apotheosis. We now

17

come to the famous Dies Irae (Day of wrath), first movement of the Sequence, evoking the dreaded moment of the Last Judgement. The voices, now parallel, express the text with incredible force, while the orchestra rages (tremolos from the strings, din of trumpets and timpani). For Mozart Dminor was highly symbolical: it was the key he used to support the tragic moments in his worksthose in which man is faced with the divine and with questions about life and death. The death of Don Giovanni, for example, is in that key. The fourth movement (second of the Sequence), Tuba mirum, consists of a series of short episodes, beginning with an enigmatic bass aria with trombone and ending with a quartet; these convey the anxieties of one who fears the Last Judgement. It paves the way for the grandiose vision of the God of majesty, rising fortissimo in the next movement, Rex tremendae. After the solemn threefold invocation, Rex, Mozart alternates two essential episodes: a double canon of inexpressible force, supported by a constant dotted rhythm from the strings, to evoke Rex tremendae majestatis (the King of tremendous majesty), and the sinners simple entreaty on the words Salva me (Save me). The tone has now become quiet and muted, providing a perfect transition to the superb Recordare (movement 6), assigned to the soloists. Feeling his strength draining away, Mozart felt that it was imperative for him to complete this quartet before he died. It is one of the most beautiful vocal pieces he ever wrote, opening onto a world of sweetness and calm with the words Recordare, Jesu pie (Remember, kind Jesus) sung first by the alto and bass, then immediately taken up by the soprano and tenor. Here man becomes aware of Christs sacrifice; he pleads and moans, but his prayer seems to rise above this world, enabling him to find peace and reassurance.

18

Suddenly interrupting that moment of quiet, a suggestion of tragedy emerges with the first words of the Confutatis: intensification of the string parts, sharp punctuations from the timpani, agitation of the male chorus, answered twice by the humble Voca me from the womens voices. At last everything becomes calm, taking us gently towards the moment of grace. Movement 8 (last of the Sequence), Lacrimosa, is one of the most beautiful lamentations ever written, with its wonderfully plaintive melody punctuated by syncopated rhythms from the strings. With its soothing, lullaby quality and its sobs, the Lacrimosa presents a vision of death that is familiar, almost friendly. But the piece is also moving because we know that it was left unfinished. The manuscript shows the first eight bars more or less complete, then in the ninth a sketch of the soprano part. After that, nothing: the page is blank. Mozart was to take what he called his funeral lament no further. The score would have been left at that had not Mozarts widow, Constanze, asked one of his pupils to complete it. , Franz Xaver Sssmayr knew Mozarts style from having assisted him in composing the recitatives for La Clemenza di Tito. Probably with the help of other composers, he took up the Lacrimosa where Mozart had left off, added the missing orchestral parts in the earlier movements, and completed or created the following ones, aided by Mozarts last-minute instructions or the notes Constanze had made. We must be grateful to Sssmayr for not having betrayed Mozart, which means that we can listen to the Requiem from beginning to end without being disturbed by parts that are obviously of inferior quality or too clearly the work of another hand. In the Offertory the dynamic Domine Jesu, with its strong fugue (Quam olim Abrahae), returns to stylistic devices that have already been used in the first part of the work. Here Sssmayr completed Mozarts idea, as he did in contrasting

19

with its vehemence a Hostias bathed in soft light. The Sanctus follows the conventions of any mass of that time: initial triple proclamation in major, solemn pace, fugue on the Hosanna, and Benedictus forming a restful parenthesis. For the Agnus Dei, for which Mozart may have left instructions, he returned to his teachers early masses, favouring a doleful, tragic vision of the sacrificed Lamb of God. Finally, rather than risking too personal a conclusion, Sssmayr preferred to remain true to the spirit of the work, which ends with material Mozart had already used in the Introit and Kyrie, adjusted slightly by his pupil for the different text. Thus we come full circle, with Mozarts inspiration still felt in the two movements of the final Communion. The universality of the Requiem and its worldwide appeal to music lovers are undeniable. In this work Mozart sublimates mans view of death: a view that is sometimes anxious or tearful, but also full of hope and love. This music of amazing strength and transparency expresses a mixture of renunciation and energy, acceptance and refusal, and conveys the idea that life is stronger than death.

Patrick Barbier Translation: Mary Pardoe

21

23
Introitus 1. Requiem aeternam Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis. Te decet hymnus, Deus, in Sion, Et tibi reddetur votum in Jerusalem. Exaudi orationem meam, Ad te omnis caro veniet. Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis. Introitus 1. Requiem aeternam Le repos ternel, donne-leur Seigneur, Et que la lumire ternelle brille sur eux. Toi est due la louange, Dieu, dans Sion, Et on accomplit les vux quon te fait dans Jrusalem. Exauce ma prire : Que tout tre de chair vienne Toi. Le repos ternel, donne-leur Seigneur, Et que la lumire ternelle brille sur eux. Kyrie 2. Kyrie Seigneur, aie piti. Christ, aie piti Seigneur, aie piti. Sequentia 3. Dies irae Jour de colre, ce jour-l Qui rduira le monde en cendres, Comme lannoncent David et la Sibylle. Combien grand sera leffroi, Quand le Juge sera sur le point dapparatre, Qui tranchera avec rigueur ! Introitus 1. Requiem aeternam Grant them eternal rest, O Lord, And may perpetual light shine upon them. Thou, O God, art praised in Sion, And unto thee shall the vow be performed in Jerusalem. Hear my prayer, unto thee shall all flesh come. Grant them eternal rest, O Lord, And may perpetual light shine upon them.

Kyrie 2. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison. Sequentia 3. Dies irae Dies irae, dies illa Solvet saeclum in favilla, Teste David cum Sibylla.

Kyrie 2. Kyrie Lord have mercy upon us. Christ have mercy upon us. Lord have mercy upon us. Sequentia 3. Dies irae Day of wrath, that day Will dissolve the earth in ashes As David and the Sibyl bear witness.

Quantus tremor est futurus Quando judex est venturus Cuncta stricte discussurus.

What dread there will be When the Judge shall come To judge all things strictly.

24
4. Tuba mirum Tuba mirum spargens sonum Per sepulcra regionum Coget omnes ante thronum. Mors stupebit et natura Cum resurget creatura Judicanti responsura. Liber scriptus proferetur In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit Quidquid latet apparebit, Nil inultum remanebit. Quid sum miser tunc dicturus, Quem patronum rogaturus, Cum vix justus sit securus? 4. Tuba mirum La trompette clatante rpandant sa sonorit Parmi les tombeaux de lunivers, Rassemblera tous les hommes devant le trne. La mort et la nature stonneront, Quand la crtaure ressuscitera, Pour rendre compte au Juge. Le livre sera apport, Dans lequel sera consign Tout ce sur quoi le monde sera jug. Quand le Juge aura pris place, Tout ce qui est cach apparatra, Rien ne restera impuni. Que dirai-je alors, malheureux que je suis ? Quel protecteur invoquerai-je Quand le juste mme ne sera pas sans crainte ? 5. Rex tremendae Roi de majest redoutable, Qui ne sauvez les lus que par la grce, Sauvez-moi, source damour. 6. Recordare Souviens-toi, doux Jesus, Que je suis la cause de ta venue sur terre ; Ne me laisse pas aller ma perte ce jour. 4. Tuba mirum A trumpet, spreading a wondrous sound Through the graves of all lands, Will drive mankind before the throne. Death and Nature shall be astonished When all creation rises again To answer to the Judge. A book, written in, will be brought forth In which is contained everything that is, Out of which the world shall be judged. When therefore the Judge takes his seat Whatever is hidden will reveal itself. Nothing will remain unavenged. What then shall I say, wretch that I am, What advocate entreat to speak for me, When even the righteous may hardly be secure? 5. Rex tremendae King of awful majesty, Who freely savest the redeemed, Save me, O fount of goodness. 6. Recordare Remember, blessed Jesus, That I am the cause of thy pilgrimage, Do not forsake me on that day.

5. Rex tremendae Rex tremendae majestatis, Qui salvandos salvas gratis, Salve me, fons pietatis. 6. Recordare Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas illa die.

25
Quaerens me sedisti lassus, Redemisti crucem passus, Tantus labor non sit cassus. Juste judex ultionis Donum fac remissionis Ante diem rationis. Ingemisco tamquam reus, Culpa rubet vultus meus, Supplicanti parce, Deus. Qui Mariam absolvisti Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sunt dignae, Sed tu bonus fac benigne, Ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. En me cherchant, tu tes assis puis ; Tu mas rachet par le supplice de la croix ; Que tant de souffrance ne soit pas inutile. Juste Juge de la punition, Fais-moi don du pardon Avant le jour du compte ( rendre). Je gmis comme un coupable ; La faute rougit mon visage ; Celui qui implore, pargne-le, Dieu. Toi qui as absous Marie Et exauc le larron, moi aussi tu as donn lesprance. Mes prires ne sont pas dignes, Mais Toi, bon, fais avec bienveillance, Que je ne brle pas au feu ternel. Accorde-moi une place parmi les brebis, Et des boucs spare-moi, En me plaant ta droite. 7. Confutatis Aprs avoir confondu les maudits, Les avoir conduits au feu ternel, Appellez-moi avec les bnis. Je prie, suppliant et prostern, Le cur broy comme cendre : Prends soin de ma fin. Seeking me thou didst sit down weary, Thou didst redeem me, suffering death on the cross. Let not such toil be in vain. Just and avenging Judge, Grant remission Before the day of reckoning. I groan like a guilty man. Guilt reddens my face. Spare a suppliant, O God. Thou who didst absolve Mary Magdalene And didst hearken to the thief, To me also hast thou given hope. My prayers are not worthy, But thou in thy merciful goodness grant That I burn not in everlasting fire. Place me among thy sheep And separate me from the goats, Setting me on thy right hand. 7. Confutatis When the accursed have been confounded And given over to the bitter flames, Call me with the blessed. I pray in supplication upon my knees. My heart contrite as the dust, Safeguard my fate.

7. Confutatis Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis, Gere curam mei finis.

26
8. Lacrimosa Lacrimosa dies illa Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus, Pie Jesu Domine, Dona eis requiem. Offertorium 9. Domine Jesu Domine, Jesu Christe, Rex gloriae, Libera animas omnium fidelium Defunctorum de poenis inferni, Et de profundo lacu: Libera eas de ore leonis, Ne absorbeat eas tartarus Ne cadant in obscurum, Sed signifer sanctus Michael Repraesentet eas in lucem sanctam, Quam olim Abrahae promisisti Et semini ejus. 8. Lacrimosa Jour de larmes, celui-l, Quand renatra de ses cendres L homme coupable pour tre jug. pargne-le donc, Dieu, Seigneur Jsus misricordieux ! Donne-leur le repos ! Offertorium 9. Domine Jesu Seigneur Jsus Christ, Roi de Gloire, Dlivre les mes de tous les fidles Dfunts des peines de lenfer Et du gouffre profond ; Dlivre-les de la gueule du lion ; Que labme ne les engloutisse pas Et quelles ne diparaissent pas dans les tnbres, Mais que Saint Michel les conduise Vers la sainte lumire Quautrefois vous avez promise Abraham et sa postrit. 10. Hostias Ces hosties et ces prires de louange Que nous toffrons, Seigneur : Reois-les pour ces mes, Dont nous rappellons aujourdhui le souvenir. Fais-les passer, Seigneur, De la mort la vie. Ainsi quautrefois vous avez promis Abraham et sa postrit. 8. Lacrimosa Mournful that day When from the dust shall rise Guilty man to be judged. Therefore spare him, O God. Merciful Lord Jesus, Grant them rest. Offertorium 9. Domine Jesu Lord Jesus Christ, King of glory, Deliver the souls of all the faithful Departed from the pains of hell And from the bottomless pit. Deliver them from the lions mouth. Neither let them fall into darkness Nor the black abyss swallow them up. Let St. Michael, thy standard-bearer, Lead them into the holy light, Which once thou didst promise To Abraham and his seed.

10. Hostias Hostias et preces, tibi, Domine, laudis offerimus; Tu suscipe pro animabus illis, Quarum hodie memoriam facimus: Fac eas, Domine, De morte transire ad vitam Quam olim Abrahae promisisti Et semini ejus.

10. Hostias We offer unto thee, O Lord, This sacrifice of prayer and praise. Receive it for those souls Whom today we commemorate. Allow them, O Lord, To cross from death into the life Which once thou didst promise To Abraham and his seed.

27
Sanctus 11. Sanctus Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Sanctus 11. Sanctus Saint, saint, saint, Le Seigneur, Dieu des armes. Les cieux et la terre sont rempli de ta gloire. Hosanna au plus haut des cieux. Benedictus 12. Benedictus Bni soit celui qui vient au nom du Seigneur ! Hosanna au plus haut des cieux ! Agnus Dei 13. Agnus Dei Agneau de Dieu, qui enlves les pchs du monde, Donne-leur le repos. Agneau de Dieu, qui enlves les pchs du monde, Donne-leur le ternel. Sanctus 11. Sanctus Holy, holy, holy, Lord God of Sabaoth Heaven and earth are full of thy glory. Hosanna in the highest. Benedictus 12. Benedictus Blessed is he who cometh in the name of The Lord! Hosanna in the highest! Agnus Dei 13. Agnus Dei Lamb of God, who takest away the sins Of the world, grant them rest. Lamb of God, who takest away the sins of the world, grant them everlasting rest. Communio 14. Lux aeterna May eternal light shine upon them, O Lord, With thy saints for ever, Because thou art merciful.

Benedictus 12. Benedictus Benedictus qui venit in nomine Domini. Hosanna in excelsis. Agnus Dei 13. Agnus Dei Agnus Dei, qui tollis peccata mundi, Dona eis requiem. Agnus Dei, qui tollis peccata mundi, Dona eis requiem sempiternam.

Communio 14. Lux aeterna Lux aeterna luceat eis, Domine, Cum sanctis tuis in aeternum, Quia pius es.

Communio 14. Lux aeterna Que la lumire ternelle luise pour eux, Seigneur, En compagnie de tes saints, durant lternit, Parce que tu es bon.

28
15. Requiem aeternam Requiem aeternam dona eis, Domine, Et lux perpetua luceat eis, Cum santis tuis in aeternum, Quia pius es. 15. Requiem aeternam Le repos ternel donne-leur, Seigneur, Et que la lumire ternelle brille sur eux, En compagnie de tes saints, durant lternit, Parce que tu es bon. 15. Requiem aeternam Grant the dead eternal rest, O Lord, And may perpetual light shine upon them, With thy saints for ever, Because thou art merciful.

29

35

Alpha 178

This is an

Production

The labels of the Outhere Group:

Outhere is an independent musical production and publishing company whose discs are published under the catalogues on, Alpha, Fuga Libera, Outnote, Phi, Rame, Ricercar and Zig-Zag Territoires. Each catalogue has its own well defined identity. Our discs and our digital products cover a repertoire ranging from ancient and classical to contemporary, jazz and world music. Our aim is to serve the music by a relentless pursuit of the highest artistic standards for each single production, not only for the recording, but also in the editorial work, texts and graphical presentation. We like to uncover new repertoire or to bring a strong personal touch to each performance of known works. We work with established artists but also invest in the development of young talent. The acclaim of our labels with the public and the press is based on our relentless commitment to quality. Outhere produces more than 100 CDs per year, distributed in over 40 countries. Outhere is located in Brussels and Paris.

Full catalogue available here

Full catalogue available here

At the cutting edge of contemporary and medieval music

The most acclaimed and elegant Baroque label

Full catalogue available here

Full catalogue available here

30 years of discovery of ancient and baroque repertoires with star performers

A new look at modern jazz

Full catalogue available here

Gems, simply gems

Philippe Herreweghes own label

Full catalogue available here

Full catalogue available here

From Bach to the future

Discovering new French talents

Here are some recent releases

Click here for more info