CROATIAN GLAGOLITIC REQUIEM

Year composed

Scored for

Duration

Availibility

About

1996

2 Fl.Picc.2.2.2. / 4. 3. 3. 1. / Timp.3 Perc. Hp.Org. / strings

60 minutes

Hire

Based on old Glagolitic texts. Premiered in Zadar, Donat Musical Evenings, on JUL 27 1996, N. Manuilenko, soprano, M. Klasić, alto, J. Lotrič, tenor, J. Lešaja, barytone, Croatian RTV Symphony Orch. and Choir with the author himself conducting. Revised version: Zagreb, APR 15 1999, N. Manuilenko, soprano, M. Juniku, alto, J. Lotrič, tenor, J. Lešaja, barytone, Croatian RTV Symphony Orch. and Choir, cond.: Tonči Bilić

Requiem Boze Kripki
00:00 / 04:55
Requiem Na znamenonosac Sv Mihovil
00:00 / 01:40

Programme notes

Original: Hrvatski glagoljaški rekvijem

The adjective Croatian in the title is a distinction towards other Glagolitic cultures. It is also a tribute to all the hard life of the islanders, for centuries, in Dalmatia.

From my early youth on the island of Silba, I have been listening to the magical resonance of Glagolitic rituals hidden deep inside me. The CROATIAN GLAGOLITIC REQUIEM or MASS FOR THE DEAD is the fruit of my deep need to bring them into real sounds. My first articulated attempt was the creation of an incidental music based on a Middle age inspired theater play which has been performed in the Dubrovnik Summer Festival in 1968. That was the musical basis for the piece CROSS GIVE US MERCY finished in the late 80-ties.  Such musical foundations can be heard in some of my other pieces like KANCONIJER  for voices and instruments  (verses by renaissance and baroque poets from the Dubrovnik region).

The title of the piece refers to the intentional blending of Glagolitic melisma from the entire Croatian Mediterranean circle (from Pazin to Kotor...) with the architecture of form of the Latin Requiem and its unique arch of dramatic composition. Including all the other influences that our coastal region has so fruitfully absorbed...

This piece draws from the many echoes of musical styles found in the depths of the unconscious, with no intention of quoting or rewriting within the familiar patterns of ancient musical traditions. It relates to the layers that are detached from the conventions of traditional practice.

Uncommon richness and diversity can be found in the Croatian musical heritage from the archetypal times to the contemporary music. I firmly believe that there should be no renouncing or neglect towards any part of this precious legacy. It would mean disrespect to our ancestors and something our children would never forgive us.

The creation of this „Mass for the Dead“ can be experienced as a dream of a Croatian requiem, a vision that embraces the past in the present.

 Finally: the architecture of this piece is made of 6 basic parts that guide the proceeding of the ritual, with the characteristic movements: REQUIEM, KYRIE ELEISON, DIES IRAE, TUBA MIRUM, PIE JESU, LACRIMOSA, SED SIGNIFER SANCTUS MICHAEL, SANCTUS, OSANNA, AGNUS DEI, SALVA ME

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