Requiem : Vocal score

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This important contemporary Requiem demonstrates Gabriel Jackson's gift for writing mesmerising choral music on a large scale. Combining sections of the traditional Requiem text with poems from other cultures and traditions, Jackson here has created a work which embraces a wide-ranging perspective on human mortality. Each movement is given a different character and musical style, and the result is a unique, sublime work which cannot fail to impress. Vocal scores are available on sale and on hire/rental.
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Product details

  • Sheet music | 72 pages
  • 215.9 x 292.1 x 10.16mm | 226.8g
  • Oxford University Press
  • Oxford, United Kingdom
  • English
  • 0193364875
  • 9780193364875
  • 1,239,139

About Gabriel Jackson

Gabriel Jackson was born in Bermuda. After three years as a chorister at Canterbury Cathedral he studied composition at the Royal College of Music. Jackson's music has been commissioned, performed and broadcast worldwide, and his works have been presented at many festivals including Aldeburgh, Cheltenham, Spitalfields, and the BBC Proms. His liturgical pieces are in the repertoires of many of Britain's cathedral and collegiate choirs, and his choral works in general
have been recorded by some of the world's leading choirs including Polyphony, The Vasari Singers, The State Choir of Latvia, and Merton College Choir, Oxford. He is currently the Associate Composer to the BBC Singers, who have premiered and broadcast a number of recent commissions. Over recent years
Jackson's music has been equally focussed on instrumental works. Commissions include works for organist Michael Bonaventure, Red Note Ensemble, and the Lunar Sax Quartet.
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Table of contents

Requiem Aeternam I; Epitaph; Requiem Aeternam II; Autumn wind of eve; Sanctus & Benedictus; Peace, my heart; Lux aeterna
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Review quote

Soft, consolatory, warmly glowing: that's the atmosphere created by Gabriel Jackson in the opening movement of his Requiem. 'Radiantly optimistic' is Jackson's own way of describing the work, reflecting a belief that death is 'the gateway to a better world'. * Terry Blain, BBC Music Magazine, December 2012 * Jackson's setting is deeply affecting, notable for vocal effects that acknowledge, without a trace of artifice, the origin of the words. Humour rarely surfaces in Requiem settings, but Jackson's music often surprises, and his treatment of an elliptical Japanese poem will surely provoke a smile . . . Jackson's Requiem is a masterpiece in my view, and the performance from the Vasari Singers and Jeremy Backhouse is beyond praise. * William Hedley, International Record Review, October 2012 * Jackson's skillful manipulation of color and texture make him one of our most interesting composers and this Requiem is very strong. The traditional Latin sections (he doesnt set the Die irae) flirt with older music, but their simple melodies and occasional use of drones voiced in daring textures is classic Jackson, familiar but absolutely unique. The interpolations are stunners. Epitaph with its stuttering rhythms, Autumn and its
whispering effects and the breathtaking Peace, my heart (as lovely a piece of English choral writing you will ever hear in the post-Howells era) are all strong enough to stand on their own. * * Prominent among his British contemporaries by reason of a prolific output and engaging style, Gabriel Jackson is now enjoying much attention by some of the nation's finest choirs. Jackson is a master at turning a memorable phrase; a motif or pattern grasps the listener and is immediately appealing. His Requiem does not disappoint in this regard, especially in its hypnotic conclusion. This work is an intriguing blend of the traditional movements of the Latin Mass for
the Dead with sources far beyond the conventional canon. What unites these diverse texts is their shared view of death, not as the end, but 'the gateway to a better world'. As such, this is a substantilal composition that would well serve an unaccompanied choir eager to present a major work that
embraces a wide range of beliefs. * Philip Barnes, Choral Journal, June 2014 *
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