Requiescat

Program Notes

Upon my first reading of Oscar Wilde’s poem Requiescat, I was captivated by the raw emotions evoked by Wilde’s imagery, which presented themselves as a scene from an opera: the tenor soloist baring his soul’s torment over the loss of his beloved at her graveside, backed by a chorus of his friends, family, and townsfolk. Indeed, the composition directly reflects the interactions between the hero and the townsfolk that might take place in an opera—the tenor soloist taking the lead, with the chorus supportively echoing the tenor’s grief.

I would still, someday, like to complete the rest of this opera, but for now, we must remain content with this single, beautifully melancholy scene.

Performance Notes

Pervasive flat-side chromaticism (Db, Gb, Ab against a Bb major key signature), long sustained choral phrases on humming, and a slow tempo (quarter = 50) that exposes intonation place Requiescat at Level 3 (Intermediate). The a cappella texture and major/minor ambiguity demand a well-blended ensemble with secure pitch.

Notes for Directors

• The tenor soloist delivers nearly all of Wilde’s text syllabically, while the SATB chorus provides a sustained harmonic backdrop—primarily humming (“Mmm”) with occasional “Ah” and “Oh” exclamations. The chorus sings text only in the “Peace, peace” passage (mm. 58–62).
• The chorus sustains very long phrases on “Mmm” (up to 39 measures continuous). Staggered breathing within sections is essential.
• A brief 3/4 section (mm. 24–31) interrupts the prevailing 2/4.
• The piece ends on F major (the dominant)—an unresolved half-cadence that leaves the mourner’s grief suspended.
• The soprano reaches Ab5 briefly at the “Coffinboard, heavy stone” climax (mm. 49–50). This is the only passage at the extreme of any range.

Rehearsal Resources

The Text

About This Recording

Recorded by the Byrd Ensemble on Stories (2017), directed and produced by Markdavin Obenza.