Grove's dictionary of music and musicians

06 REPORTS
effective use of repetition in the Fugato (piano
solo) from Liszt's' Todtentanz'(Danse Macabre),
- Vivace,
But there need be no difficulty in playing this
on a well-regulated and checked single escapement.
"With a double escapement the nicety of
checking is not so much required. a. j. h.
EEPOETS (the word seems not to be used
in the singular), an old English and Scottish
term for points of imitation. From the eight
examples in the Scottish Psalter of 1635 (reprinted
in the Rev. Neil Livingston's edition,
1864) it would seem that the term was used
in a more general sense, of a setting of certain
tunes in which the parts moved in a kind of
free polyphony, not in strictly imitative style.
In Parcell's revision of the treatise which
appears in the third part of Playford's Introduction
to the Skill of Musick (twelfth edition,
1694), the term ig mentioned but not explained,
further than as being synonymous with ' imitation':
'The second is ImUaiion ov Beporls,
which needs no Example.' (See Sammelb&nde
of the Int. Mus. Ges. vi. p. 562.) m.
REPRISE, repetition ; a term which is occasionally
applied to any repetition in music, but
is most conveniently confined to the recurrence
of the first subject of a movement after the
conclusion of the working out or Dmchfiihrung,
[In Couperin, Eameau, and other French composers,
the term is used of a short refrain at
the end of a movement, which was probably
intended to be played over more than twice,
as sometimes it contains the ordinary marks
of repetition within the passage covered by
the word.] o.
REQUIEM (Lat. Missa pro Defundis ; Ital.
Messa per i Defunti ; Fr. Messe des Marts ;
Germ. Todtenmesse). A solemn Mass, sung
annually^ in CommemoratidH of the Faithful
Departed, on All Souls' Day (Nov. 2)
; and,
with a less general intention, at funeral services,
on the anniversaries of the decease of particular
persons, and on such other occasions as may be
dictated by feelings of public respect or individual
piety.
The Requiem takes its name ' from the first
word of the Introit—
' Requiem aeternam dona
eia, Domine.' When set to music, it naturally
arranges itself in nine principal sections :
(1)
'
The Introit— Requiem aeternam ' ; (2) the
' Kyrie ' ; (3) the Gradual, and Tract—
' Requiem
aeternam,' and 'Absolve, Domine'; (4) The
Sequence or Prose—
' Dies irae '
; (5) The Offertorium—
' Domine Jesu Christi ' ; (6) the Sanc-
I That iB to uy. Its name an a special Haaa. The Music o( the
ordinary Polyphonic Haaa always bears the name of the Canto lermo
on which It Is lonsded.
REQUIEM
tus ' ; (7) the Benedictus ' ' ; (8) the Agnus
'
Dei' ; and (9) the Communio— 'Lux aeterna.'
To these are sometimes added (10) the Responsorium,
Libera me,' which, though not ' an
integral portion of the Mass, immediately follows
it, on all solemn occasions ; and (11) the Lectio
Taedet animam meam,' of which we possess
—
'
at least one example of great historical interest.
The Plain-song Melodies adapted to tlie nine
divisions of the mass will be foimd in the
Gradual, together with that proper for the
Responsorium. The Lectio, which really belongs
to a diflerent Service, has no proper Melody,
but is sung to the ordinary Tonus '
Lectionis.'
[See Inflexion.] The entire series of Melodies
is of rare beauty, and produces so solemn an
effect, when sung in unison by a large body
of grave equal voices, that most of the gi'eat
polyphonic composers have employed its phrases
more freely than usual, in their Requiem Masses,
either as Canti fermi, or in the form of unisonous
passages interposed between the harmonised
portions of the work. Compositions of this
kind are not very numerous ; but moat of the
examples we possess must be classed among the
most perfect productions of their respective
authors.
Palestrina's ' Missa pro Defunctis,' for five
voices, first printed at Rome in 1591, in the
form of a supplement to the Third Edition of
his First Book of Masses,' was reproduced '
in
1841 by Alfieri, in the first volume of his
' Raccolta di Musica Sacra ; '
again, by L^fage ^
in a valuable 8vo volume, entitled 'Cinq Messes
de Palestrina' ; and by the Prince de la Moskowa
in the 9th volume of his collection [see vol. iii.
p. 271], and has since been included by Messrs.
Breitkopf & Hartel, of Leipzig, in their complete
edition. This beautiful work is, unhappily,
very incomplete, consisting only of the ' Kyrie,'
the ' Offertorium,' the ' Sanctus,' the ' Benedictus,'
and the 'Agnus Dei.' We must not,
however, suppose that the composer left his
work unfinished. It was clearly his intention
that the remaining movements should be sung,
in accordance with a custom still common at
Roman funerals, in unisonous plain-song ; and,
as a fitting conclusion to the whole, he has left
us two settings of the Libera me,' '
in both of
which the Gregorian melody is treated with an
indescribable intensity of pathos.^ One of
these is preserved in MS. among the archives
of the Pontifical Chapel, and the other, among
those of the Lateran Basilica. After a carelul
comparison of the two, Baini arrived at the
conclusion that that belonging to the Sistine
Chapel must have been composed very nearly
at the same time as, and probably as an adjunct
to, the five printed movements, which are also
founded, more or less closely, upon the original
Canti fermi, and so constructed as to bring their
* Paris. Launer et Clc; London, Schott & Co.
' Bee Alfieri, Raccolta di Muaica Sacra, torn, vil.