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Het requiem spreekt tot de verbeelding. Ontstaan uit de gregoriaanse dodenmis, heeft het requiem heel wat grote componisten geïnspireerd tot het schrijven van prachtige muziek. In "Dies irae" wordt aan de hand van 25 belangrijke werken een overzicht geboden van de geschiedenis van het westerse requiem. Naast bekende werken van Mozart, Verdi, Brahms, Faure en Britten komen ook de oude muziek van onder meer Orlandus Lassus en meer recente werken van componisten als Kurt Weill en Andrew Lloyd Webber aan bod. Na een toegankelijke inleiding over de opbouw en de theologische betekenis van het requiem als 'genre', wordt elk werk steeds gesitueerd in de (muziek)historische context en het oeuvre van de componist.

Requiems --- History and criticism. --- Requiems, Arranged --- Requiems (Mixed voices) --- Funeral music --- Masses --- Requiems. --- requiem; dodenmis; muziekgeschiedenis

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"Few western musical repertories speak more to the imagination than the Requiem mass for the dead. 'The Book of Requiems' presents in-depth essays on the most important works in this tradition, from the origins of the genre up to the present day. Each chapter is devoted to a specific Requiem, and offers both historical information and a detailed work-discussion. Conceived as a multi-volume essay collection by leading experts, 'The Book of Requiems' is an authoritative reference publication intended as a first port of call for musicologists, music theorists, and performers both professional and student. Volume I treats the Requiem's liturgical and chant background, the craft of early Requiem composition, and eight of the earliest composed Requiems, from c. 1450 to c. 1550." --

Requiems --- Mass (Music) --- Masses --- Church music --- Lord's Supper (Liturgy) --- Requiems, Arranged --- Requiems (Mixed voices) --- Funeral music --- History --- History and criticism --- Catholic Church --- Catholic Church. --- Music --- Requiems. --- History. --- Sermisy, Claudin de, --- Richafort, Jean, --- Fevin, Antoine de. --- Escobar, Pedro de, --- Prioris, Johannes, --- Brumel, Antoine, --- La Rue, Pierre de, --- Ockeghem, Johannes, --- Mass, day of death or burial (Pre-Vatican II : Catholic Church) --- Divitis, Antonius, --- Févin, Antoine de. --- Mass on the day of death or burial (Catholic Church) --- Mass on the day of death or burial (Pre-Vatican II: Catholic Church) --- Mass, In die obitus seu depositionis defuncti (Pre-Vatican II: Catholic Church) --- Requiem Mass (Day of death or burial : Pre-Vatican II: Catholic Church) --- Missa pro defunctis (Day of death or burial : Pre-Vatican II: Catholic Church) --- Funeral Mass (Pre-Vatican II: Catholic Church) --- Mass, Burial (Pre-Vatican II: Catholic Church) --- Messe des morts (Pre-Vatican II: Catholic Church) --- Requiem (Pre-Vatican II: Catholic Church) --- Messe des défunts (Pre-Vatican II: Catholic Church) --- Gregorian Requiem Mass (Catholic Church) --- History and criticism. --- Analyses --- Muziekgeschiedenis --- 15e eeuw --- 16e eeuw --- muziekgeschiedenis --- religieuze muziek --- requiem --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Requiem mass - Latin - 15th century --- Requiem mass - Latin - 16th century --- Fevin, Antoine de --- Sacred vocal music

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For the three forces competing for political authority in France during World War II, music became the site of a cultural battle that reflected the war itself. German occupying authorities promoted German music at the expense of French, while the Vichy administration pursued projects of national renewal through culture. Meanwhile, Resistance networks gradually formed to combat German propaganda while eyeing Vichy's efforts with suspicion. In The Musical Legacy of Wartime France, Leslie A. Sprout explores how each of these forces influenced the composition, performance, and reception of five well-known works: the secret Resistance songs of Francis Poulenc and those of Arthur Honegger; Olivier Messiaen's Quartet for the End of Time, composed in a German prisoner of war camp; Maurice Duruflé's Requiem, one of sixty-five pieces commissioned by Vichy between 1940 and 1944; and Igor Stravinsky's Danses concertantes, which was met at its 1945 Paris premiere with protests that prefigured the aesthetic debates of the early Cold War. Sprout examines not only how these pieces were created and disseminated during and just after the war, but also how and why we still associate these pieces with the stories we tell-in textbooks, program notes, liner notes, historical monographs, and biographies-about music, France, and World War II.

Music --- World War, 1939-1945 --- Music. --- Music and war. --- Musik. --- Weltkrieg. --- History and criticism. --- Music and the war. --- World War (1939-1945). --- 1900-1999. --- France. --- Frankreich. --- Music -- France -- 20th century -- History and criticism. --- Music -- Political aspects -- France -- History. --- Nationalism in music. --- World War, 1939-1945 -- Music and the war. --- Music, Dance, Drama & Film --- Music History & Criticism, General --- History and criticism --- Music and the war --- Songs and music --- aesthetic debates. --- arthur honegger. --- ballet. --- beaux arts. --- classical music. --- cultural battle. --- early cold war. --- engaging. --- entertainment industry. --- europe. --- france. --- francis poulenc. --- french history. --- german music. --- german propaganda. --- historical. --- history. --- international music. --- lively. --- maurice durufle. --- music. --- musical legacy. --- olivier messiaen. --- performing arts. --- political authority. --- prisoner of war camp. --- quartet for the end of time. --- requiem. --- resistance songs. --- retrospective. --- revolutionaries. --- secret resistance. --- vichy france. --- vichy. --- world war 2.