Requiem - Faith United Methodist Church

Excerpts from Requiem
by John Rutter
Movements used in worship today, with translations of the Latin text.
Requiem Aeternam
Requiem æternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus
Deus in Sion:
et tibi reddetur votum in Ierusalem,
exaudi orationem meam,
ad te omnis caro veniet.
Kyrie, eleison.
Christe, eleison.
Kyrie, eleison.
Grant them eternal rest, O Lord,
and may light perpetual shine upon them.
It is fitting that a hymn
should be raised unto Thee in Zion
and a vow paid to Thee in Jerusalem;
give ear to my prayer, O Lord,
unto Thee all flesh shall come at last.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
Pie Jesu
Pie Jesu Domine,
dona eis requiem,
requiem æternam
Lux aeterna
Blessed Lord Jesus,
grant them rest,
rest eternal.
(The first part of this movement is in English.)
Lux æterna luceat eis, Domine:
Cum sanctis tuis in æternum,
quia pius es.
Requiem æternam dona eis Domine,
et lux perpetua luceat eis.
Let eternal light shine upon them, O Lord;
with Thy saints in eternity,
For Thou art merciful.
Grant them eternal rest, O Lord,
and may light perpetual shine upon them.
Sanctus
Sanctus, Sanctus, Sanctus, Dominus
Dominus Deus Sabaoth.
Pleni sunt caeli et terra Gloria tua.
Hosanna in excelsis.
Benedictus qui venit
in nomine Domini.
Hosanna in excelsis.
Holy, holy, holy, Lord
God of power and might.
heaven and earth are full of your glory,
Hosanna in the highest.
Blessed is he who comes
in the name of the Lord.
Hosanna in the highest.
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Notes on the Work
John Rutter (b. 1946) wrote this setting of Requiem in 1985, in memory of his father. The first
performance was given in Dallas, Texas in October 1985, and what was conceived as a personal
memorial has gone on to become one of John Rutter’s most often-performed choral works.
Unlike the dramatic, large-scale Requiems of Berlioz and Verdi, Rutter’s setting belongs in the
smaller-scale, more devotional, tradition of Fauré and Duruflé. As with Fauré and Duruflé, the
Latin text of the missa pro defunctis is not set in its entirety, the chosen portions being those
which underline a theme of light and consolation emerging out of darkness and despair; and as
with more than one twentieth-century Requiem, vernacular texts – poetry in English – are
interwoven with the traditional Latin. The first (Requiem Aeternam and Kyrie) and last (Lux
Aeterna) movements are prayers to God the Father; the Pie Jesu is a prayer to Christ the Son; and
the central Sanctus is an affirmation of divine glory.
The occasion of a Requiem is one for reflection and looking back. Like a number of composers in
their Requiem settings, Rutter pays homage to his predecessors – influences including Fauré,
Mahler, Howells and Gershwin can be detected, along with the use of Gregorian chant at two key
points in the work. But out of these disparate elements a synthesis emerges which has been
widely recognized as the composer’s own.
Notes by LOUISE LUEGNER (edited) are © Collegium Records and used by permission. Notes taken from
http://www.johnrutter.com/programme-notes/, accessed October 31, 2016.
Welcome, Michelle Fegeas, Soprano!
Michelle Fegeas is a third year DMA Vocal Performance student at George Mason University, in
the studio of Prof. Patricia Miller. A native of Warrenton, Virginia, she received a Bachelor of
Music degree in Vocal Performance from the University of South Carolina, and a Master of Music
degree in Vocal Performance with a Concentration in Music History and Literature from the
University of Florida. Operatic roles include The Princess in L’Enfant et les Sortilèges (Maurice
Ravel), Belinda in Dido and Aeneas (Henry Purcell), Adele in Die Fledermaus (Johann Strauss), and
Barbarina in Le Nozze di Figaro (Wolfgang Amadeus Mozart). Active in concert work and sacred
music as well, in 2015 she helped present a new composition by Douglas Pew at Fairfax United
Methodist Church. Finally, she has developed a passion for outreach programs, after participating
in a production of Seymour Barab’s Little Red Riding Hood. She hopes to perform in more of these
programs in the future.
Would You Like to Sing with All of our Choirs on November 20?
You are cordially invited to join the Chancel Choir and our Children and Youth for Raymond Wise’s
gospel arrangement, “I’ve Got a Robe.” We will sing it in worship on Sunday, November 20, at
10:00 a.m. We will open Chancel Choir practice with it on Thursday, November 10 and 17, from
8:00 to 8:30 p.m. in the Sanctuary. You can also learn it with our Children and Youth after 10
a.m. worship (11:00 to 11:30 a.m.) on Sunday, November 6 and 13, in the Sanctuary.
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