Requiem

2011-2012
HIGHLANDER
Concert Series
Requiem
Maurice Duruflé
Good Friday, April 6
at 12:00 noon
www.highlanderconcerts.org

Funding for this Good Friday service is provided in part by the Jane King Rogers
Choral Endowment, managed by the Texas Presbyterian Foundation, 6100 Colwell
Boulevard, Suite 250, Irving, TX 75039.

April 6, 2012
12:00 p.m.
Please remember to silence your cellular devices.
Welcome and Prayer
The Reverend Dr. Ronald W. Scates
Senior Pastor
Program
O my people, O my church,
What have I done to you,
Or in what way have I offended you?
Answer me.
I led you forth from the land of Egypt
And delivered you by the waters of baptism,
But you have prepared a cross for your Savior.
- from Solemn Reproaches of the Cross
Requiem
I. Introït
II. Kyrie
III. Domine Jesu Christe
IV. Sanctus
V. Pie Jesu
VI. Agnus Dei
VII. Lux aeterna
VIII. Libera me
IX. In Paradisum
Scripture Reading Lamentations 3:1-9, 19-33
Pew Bible, page 873
Benediction
All depart in silence.

Text and Translation
I. Introït
Grant them eternal rest, Lord, and let perpetual light shine upon them.
There shall be singing unto Thee in Zion, and prayers shall go up to Thee in Jerusalem.
Give ear to my supplication.
II.
III.
Kyrie
Lord, have mercy. Christ, have mercy. Lord, have mercy.
Domine Jesu Christe
Lord Jesus Christ! King of glory!
Deliver the souls of all the faithful departed from the pains of hell
and from the deep abyss.
Deliver them from the lion’s mouth, lest the jaws of the pit swallow them,
lest they fall into darkness;
But let Michael, the standard-bearer, lead them into the holy light,
As Thou didst promise to Abraham and his seed forever.
Sacrifice and prayer unto Thee, O Lord, we offer with praises.
Accept these now for the souls of those upon whose behalf we commemorate this day.
Cause them, O Lord, to pass from death to life everlasting,
As Thou didst promise to Abraham and his seed forever.
IV.
Sanctus
Holy, Holy, Holy, Lord God of Hosts! Heaven and earth are full of Thy glory.
Hosanna in the highest!
Blessed is He that comes in the name of the Lord. Hosanna in the highest!
V. Pie Jesu
Merciful Lord Jesus, grant them rest, rest everlasting.
VI.
VII.
Agnus Dei
Lamb of God, Who takes away the sin of the world, Grant them eternal rest.
Lux aeterna
Shine eternal light upon them, Lord, with Your saints for eternity, for You are gracious.
Grant them eternal rest, Lord, and let perpetual light shine upon them
With Your saints for eternity, for You are gracious.
VIII.
Libera me
Deliver me, O Lord, from death eternal, on that dreadful day of terror:
When the heavens and the earth shall quake,
When Thou shalt come to judge the world by fire.
I am seized by trembling, and I fear until the judgment should come,
And I also dread the coming wrath.
O that day, that day of wrath, day of calamity and misery,
Momentous day, and exceedingly bitter,
When Thou shalt come to judge the world by fire.
Eternal rest grant to them, O Lord, and let perpetual light shine upon them.
IX.
In Paradisum
May the angels lead you into paradise; may the martyrs welcome you upon your arrival,
And lead you into the holy city of Jerusalem.
May a choir of angels welcome you, and with once-poor Lazarus of old
May you have eternal rest.

Program Notes
Everyone who has come to love Duruflé’s music has wished he wrote more. Indeed, is there
any other major composer who has published only thirteen works? Of course, it is because
the quality of each and every one of these pieces is so good that his place in music history
is assured.
According to Mme. Duruflé, the reason he wrote so few works was a combination of his
exceptionally self-critical personality (he kept re-writing and revising his works for years
after they were completed) and his jobs which kept him busy. (When they played joint
organ recitals, she would play all the virtuoso pieces because he was too busy to practice
much.) One wonders also if he was discouraged to continue composing since his style would
be viewed progressively as “conservative.” For as the decades passed by and a multitude of
more modern musical styles came and went, Duruflé continued to compose true to his own
personal style, which just happened to be more representative of the first decades of the
century than the mid and later ones.
It is wonderful to see in Duruflé music signs of the many musical influences of his formative
years. He absorbed into his artistic being: the styles of Tournemire and Vierne; the elegant,
Classical French school represented by Gabriel Fauré; the Impressionist school of Debussy,
Ravel and others; and the world of the Church - the physical, spiritual, emotional ambiance
of the buildings and the liturgies therein - and its music - the polyphonic Renaissance choral
repertory, and, above all, the Gregorian chants. All these wonderful influences came together
to form the musical style of Maurice Duruflé.
Duruflé’s complete works consist of six organ pieces, the Andante et Scherzo and Trois
Danses for orchestra, a chamber piece, and four choral compositions: the Quatre Motets,
Notre Père, Messe ‘cum jubilo,’ and the Requiem.
REQUIEM, Op. 9
Duruflé’s masterpiece, the Requiem, began as an unfinished organ suite based on the
plainchants for the Mass for the Dead. Through the encouragement of Marcel Dupré and
Durand publishers, he transformed it into his Requiem. Completed in 1947, it was dedicated
to the memory of the composer’s father.
Of the Requiem Duruflé wrote, “This Requiem is entirely composed on the Gregorian
themes of the Mass for the Dead. Sometimes the musical text was completely respected,
the orchestral part intervening only to support or comment on it, sometimes I was simply
inspired by it or left it completely, for example in certain developments suggested by the
Latin text, notably in the Domine Jesu Christe, the Sanctus, and the Libera. As a general
rule, I have above all sought to enter into the particular style of the Gregorian Themes.
“Therefore, I have done my best to reconcile, as far as possible, the Gregorian rhythm, that
which has been fixed by the Benedictines of Solesmes, with the demands of modern meters.
The strictness of barline structure, with its strong beats and weak beats returning at regular
intervals, is in effect difficult to make compatible with the variety and suppleness of the
Gregorian line where there is only a succession of impetus (rising) and falling. The strong
beats had to lose their dominant character to take the same degree of intensity as the weak
beats, in such a manner that the rhythmic Gregorian accent of the stressed Latin syllables
could be placed freely on whichever beat of our modern meter.
“As to the musical form of each of the pieces composing this Requiem, it was generally
inspired by the same form set forth by the liturgy. The organ has only an episodic role (in
the original orchestration). It intervenes, not to support the choirs, but only to underline
certain accents or momentarily disguise the orchestral sonorities that sound too human. It
represents the idea of tranquility, faith, and hope.
“This Requiem is not an ethereal work which sings detached from worldly anxiety. It reflects,
in the unchangeable form of the Christian prayer, the anguish of man facing the mystery of
his last ending. It is often dramatic, or filled with resignation, or hope, or terror, like the same
words of the scripture used in the liturgy.

“This Mass consists of the nine parts of the Mass for the Dead: Introit, Kyrie, Domine Jesu
Christe, Sanctus, Pie Jesu, Agnus Dei, Lux aeterna, Libera me, and finally In Paradisum,
the ultimate response of faith to all the questions, by the flight of the soul toward Paradise.”
Duruflé scored three different accompaniments of this work: 1) the original version for large
orchestra, 2) a version for solo organ accompaniment, and 3) a second orchestral version
(three trumpets, timpani, harp, strings, and a major organ part). It is this final version that
we have chosen for this performance.
-by Dennis Keene
Featured Performers
Claire Shackleton, a rising mezzo-soprano, is gaining recognition
for her colorful tone and magnetic stage presence. As a 2011-
2012 Kentucky Opera Studio Artist, Claire made her role debuts
as Cherubino in Le Nozze di Figaro, Mercedes in Carmen, and
created the role of Tamara in Ben Moore’s Enemies, a Love
Story. In the 2012-2013 season, Claire looks forward to singing
principal roles with Austin Lyric Opera, Kentucky Opera, Santa Fe
Concert Association, and Pine Mountain Music Festival. In past
seasons Claire has appeared with New Orleans Opera Association,
Glimmerglass Opera, Des Moines Metro Opera, CCM Opera,
and Loyola Opera. Claire was recently awarded Third Place in the
Shreveport Opera Singer of the Year Competition and is a three-time Regional Finalist in the
Metropolitan Opera National Council Auditions.
Will Hughes is a recent graduate of Wheaton College where
he received a Bachelor of Music degree in voice performance
and studied under Dr. Gerard Sundberg. While at Wheaton
he sang various solos for the Wheaton College Concert Choir
and performed in Gilbert and Sullivan’s Patience (Bunthorne),
Humperdinck’s Hansel and Gretel (Peter the broom-maker), and
scenes from Mozart’s Cosí fan Tutte and Die Zauberflöte. He also
had the privilege of winning the Ben Heppner Prize as well as
singing during the Baccalaureate service during Commencement.
He is in the midst of a year off from school where he is applying
to graduate school for further voice studies, studying voice in
Dallas with Jared Schwartz, and enjoying his time singing for the HPPC Chancel Choir and
Chorale as well as teaching private voice lessons.
Upcoming Event
Michael Shake, Organ
Sunday, May 6 at 7:00 p.m. in the sanctuary
Highland Park Presbyterian’s Organist and Associate Director of Music, Michael
Shake, performs a dynamic program of organ masterworks and transcriptions to
demonstrate the many sonorities of the church’s celebrated Casavant Frères organ.
For more information, visit www.highlanderconcerts.org

HIGHLAND PARK CHANCEL CHOIR
Soprano
Anne Blauser
Nancy Bronson
Renée Cameron
Linda Davis
Sarah Dragseth
Lisa Hancock
Katie Harper
Niki Hobbs
Laf Ikel
Sharon Johnson
Toby Jordan
Kristen Lassiter
Beth Lopez
Julie Marx
Judy McDonald
Kelli Miller
Marti Oden
Misty Quinn
Billye Shaffer
Susan Spivey
Sylvia Venable
Natalie Waters
Becky Zieman
Dr. George Gregory Hobbs, director
Alto
Judy Becker
Sue Carlson
Holly Crews
Karen Gast
Bonnie Grisz
Rachelle Hale
Janis Knott
Carlen Long
Gay Munselle
Jane Rogers
Cheryl Sanders
Claire Shackleton
Ann Smith
Lee Waters
Tenor
Jimmy Averitt
Bev Bowen
Chad Harper
Edwin Harrison
Jack Hosterman
Brock Johnson
Peter Tiggelaar
Barry Wahrmund
Paul Willey
Bass
Morten Beyer
Kevin Bittick
Ben Brown
Larry Carlson
David Faulkner
Walter Gast
Rome Guillermo
Brian Hamm
Doug Hatter
Will Hughes
Ron Johnson
Will Jordan
Bill Seay
Tony Watson
David Witherspoon
Orchestra
Violin I
Jing Wang, concertmaster
Ordabek Duissen
Kristin Van Cleve
Beth Rudy
Lisa Shields
Inga Kroll
Violin II
Adriana DeCosta, principal
Martha Walvoord
Norman Stone
Rosalyn Story
Jina Lee
Viola
Liesl-Ann DeVilliers, principal
Donna Hall
Colin Garner
Jenny Sweetman
Bass
Patrick Moulds, principal
Michael Lelevich
Trumpet
Rick Bogard, principal
Oscar Garcia-Montoya
Keith Johnson
Timpani
Deborah Mashburn
Harp
Alison Read
Organ
Michael L. Shake
Cello
Mitch Maxwell, principal
Eric Forman
Vilma Miranda

Patrons
The Highlander Concert Series Board gratefully acknowledges the following Patrons:
Director's Circle
In memory of Sid Davis
Roger Fullington
Mr. and Mrs. Walter E. Gast
Dr. and Mrs. David G. Godfrey
John and Janis Knott
Mr. and Mrs. Preston Peak
Jan and Trevor Rees-Jones
Partner
Anonymous
Norma Bedell
Bev and Gail Bowen
Leah and Jerry Fullinwider
Janet and Edwin Harrison
Howard and Cele Johnsen
Jeanne R. Johnson
Toby and Will Jordan
D. Radcliff Osborn
Susan and Henry Paulsen
Mr. and Mrs. J. Christopher Quinn
Sustaining Member
In memory of Anne Washburne Hillier
Paul Hillier
Ron and Sharon Johnson
The Reverend Dr. and Mrs. John McCoy
Mary Pettey
Lee and Bill Schilling
Mr. and Mrs. Ben H. Sparkman
Supporting Member
Morten Beyer
Gloria and John Hammack
In honor of Ashley and Lindsay Howie
Drs. Charlotte Kroeker and Robert C. Mann
Judy and Joe McDonald
Jean Oliver
Patsy and Bud Porter
Wanda and Thomas Roy
Marcy and Stephen Sands
Carolyn and Bill Seay
Don Tidwell
Mr. and Mrs. Anthony Watson
Mr. and Mrs. Lin C. Wetterau, Jr.
Associate Member
Mr. and Mrs. Brantley Booe
Michael and Carolyn Harris
Joan Hughes
Craig and Ruth Millis
Ted and Gay Munselle
Walter and Carleen Smith
Mark and Bettie Story
Paul and Diane Willey
Friend
Anonymous
Henry Crittenden
Tish and Mike Drinkwater
Helen Garrott
In honor of Esther Gebhardt
Niki and Greg Hobbs
Bob and Laf Ikel
Karen and David Konker
Nancy and Sam Miller
In honor of Dr. J. Dwight Pentecost
Mr. and Mrs. Vann Phillips
Judge and Mrs. Gordon H. Rowe, Jr.
Ann S. Smith
Elliott Snyder
Fen and Sharman Vesecky
Marcellene and John Wilson
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The Highlander Concert Series is dependent upon the generous support of our
Patrons and donations from audience members. A box is located in the narthex
to receive your donation tonight. Please consider becoming a Patron of the Series,
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Thank you also to additional patrons whose names did not reach us before this
program was printed.