Product Description
Arranged standard brass quintet
Mozart's textual inspiration is apparent in the Tuba mirum ("Hark, the trumpet") movement, which is introduced with a sequence of three notes in arpeggio, played in B major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata, the only point in all the work at which a solo cadence occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On the text Cum vix justus sit securus ("When only barely may the just one be secure"), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the "strong" (1st and 3rd), then on the "weak" (2nd and 4th) beats, with the violins and continuo responding each time; this "interruption" (which one may interpret as the interruption preceding the Last Judgment) is heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence.
My arrangement gives the trombone part to the horn, and the vocal entries are given to the trombone, horn and two trumpets.
. Section III of the requiem is titled Sequenz (sequentia or sequence).
It is made up of the following pieces I have arrangements of all of them, for varying types of ensemble
* Dies irae * Tuba mirum * Rex tremendae * Recordare * Confutatis * Lacrymosa.
I have also arranged Mozarts Motet Ave Verum Corpus K618
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