И.С.Бах - Реквием Ре-Минор - текст песни, слова, перевод, видео

<< Requiem >> Mozart - the last creation, << Swan Song >> the Great Composer - belongs to the greatest monuments of world culture. << Requiem >> is a mourning, memorial mass, executed on a traditional cult Latin text (adopted in the Catholic service). It consists of several traditional sections, among which, in addition to the usual parts of any mass (<< Kyrie Eleison >> -<< Lord have mercy >>, << Sanctus>> -<< Holy >>, << Agnus dei >>> - << Lamb of God >>), the parts belonging only to the mourning mass are mandatory: << Requiem aeternam >> (<< Eternal peace >>), << Dies Irae >> and << Tuba mirum >> (<< Day Anger >> And << A wonderful pipe >>, where the Last Judgment of the Lord is depicted), << lacrimosa >> (<< tearful >>).

Despite the cult text, “Requiem >> Mozart is far from the liturgical cult. By means of musical expressiveness, Mozart embodies the deepest world of human experiences - mental confusion, peaceful peace, depth of grief and suffering. The whole work is imbued with high humanism, a passionate love for a person, an ardent sympathy for his suffering.

As already mentioned, the “Requiem” was completed by the student and close friend of Mozart Zyusmeier on the sketches and sketches of the composer, as well as on the basis that Mozart himself played him. In any case, we can definitely say that Zyusmeier did not write a single tact of his own music, but carefully preserved and masterfully processed what was composed by Mozart. This can be seen at least from the following: Mozart, leaving a significant part of the “Requiem >> in the sketches, did not write the end of the work, and Zyusmayer instead of composing his own music (although he was a talented composer), he repeatedly repeated the music of the first part along with Double fugue, thus creating a musical framing.

Of the twelve numbers << Requiem >> nine are written for the choir and three (<< Tuba mirnum >>, << Recordare >> and << BeneDictus >>) for the quartet of soloists.

Deep grief is characteristic of the first part (<< Requiem aeternam >>- << Eternal peace >>), which begins with a polyphonic presentation of the topic first in the orchestra, and then in the choir. The tragic-freezing mood is aggravated by the tonality of Reinor:

Some enlightenment is introduced in the words << et lux perpetua luceat eis >> (<< Yes, it shines the eternal light >>), which corresponds to the content of the text, as well as at the time of the Supreme Solo. This enlightenment is created by a change in tonality (instead of RE minora-C-Bemol Major).

The second half of the first part is a double fugue in the words << Kyrie Eleison >>. In this fugue, as in other polyphonic episodes << Requiem >>, Mozart develops on a new stylistic basis the tradition of Bakhu and Gendelev Polyphony. Both topics of the fugue, contrasting with each other, and therefore standing out reliefly, sound at the same time (the second enters the second tact of the first topic)