Annotated Bibliography: All Quiet On The Western Front

The final composition of Mozart, The Requiem mass in D Minor, containing “Dies Irae,” is known to be one of his most powerful and commended works. This piece was composed in 1791 while Mozart was, unfortunately, on his death bed. However, he was unable to complete it so it was then passed on to his assistant and later finished by this man. The choral work can be very dark, for it concerns the Day of Wrath, when God will return to this earth and pass judgment on all creatures that remain, either granting them salvation or perpetual damnation to hell. This theme alone provides one with fear, thus it can be assumed that even

After lines 13 and 14, the lines again follow iambic tetrameter, providing a calm tone, which seems appropriate for remembering deceased.

Like the song, he is hopeful and associates this with victory. The persona is portrayed as nervous and worried about being martyred, but after self-affirming through acknowledging that his life is hidden with Christ, that he is bound to God by love; which he metaphorizes to be a strong cord, and that no pain or struggle in this life is worthy to be compared to the reward prepared for him; as shown through the biblical allusion used, he experiences a calm. The victory effectuated by martyrdom was constituted by the incentives he would receive for dying as a martyr: he would acquire a starry crown, his own mansion, an opportunity to walk on golden streets, through gates of pearl and ultimately, the opportunity to meet his Lord, Jesus Christ. The persona gets excited at the thought of these rewards and mentally annunciates “Victory over defeat! Life and death!” and after repeating “Victory over death!”, he verbally exclaims, “Jesus and I have almost met!”, placing the tragic and heart-rending idea of martyrdom in a positive and even desirable light. Simply, the first persona verbally declares that his physical death will only result in his freedom to be with God, (stanza 5 line 5) thereby characterizing not only hope and victory in death but also freedom.

Monteverdi, like other Baroque composers, frequently used word painting. The opening words, "You are dead," repeated and culminating in "You have left me forevermore, never to return, and I remain," are song in a "stretched out," "long and slow" fashion, but as the verse continues, intensity and volume is increased to result in basically an outburst by the words, "ed io rimango," or "and I remain." The free beat and meter of the vocals allows for the singer to illustrate the emotion of the text through the speed in which the words are sung and the intensity of each word. More "traditional" word painting is used in the sense that there is a low tone on "abissi" or "abysses" in order to depict the deepness and descending nature of the underworld. Another strategic low note is placed on "morte" to symbolize death and depression. Very high tones are used on the words "stelle" and "sole"

-Erich Maria Remarque was conceived on 22 June 1898 into a working people family in the German city of Osnabrück to Peter Franz Remark (b. 14 June 1867, Kaiserswerth) and Anna Maria (née Stallknecht; conceived 21 November 1871, Katernberg).

“That hymn is more than a piece of music; it is an event in European history,” says a church historian. But at a more personal level, it also reflects some of

Walking with the crowd of Romans to the coliseum was breathtaking as I took a seat I could hear my heart beating in my ear. When the gladiators commenced the show with s chariot procession completed by trumpets then dismounted and ringed the arena, each gladiator saluting the emperor with the line Ave, imperator, morituri te salutant (Hail, Emperor, those who are about to die salute you). The crowd on the edge of their seats as the two men prepare their weapons I cheer in anticipation with the others. We all know this day will be the last for one of them, they circle each other, knowing they have to think fast to capture his opponent rather than killing him on the spot. The gladiators thrust their swords fighting in the burning sun with the

n All Quiet On The Western Front the book written by Erich Maria Remarque is narrated by Paul Baumer as he and his friends fight in World War 1 as nineteen year old German Soldiers who don’t realize that the have basically lost their lives to the war. Throughout the book multiple themes are presented. The theme WW1 Youth as a Lost Generation showed the most progression from start to finish in All Quiet On The Western Front.

The rhythm of this section also lends a sense of sincerity and anxiety to the words “Christ, have mercy,” while the ascending entrances (tenor, bass, alto, soprano) in measures 73-77 intensify the emotional impact.

of the esteemed Chamber Choir, which toured in Rome and the Vatican in 2014. Since July, I

This choir was arranged with eight singers on the second level standing over the other thirteen singers in the first level mixed within the The second level of eight singers was four men and four women that sung together in pairs throughout the piece. The second movement was SMV 280 Motet performed with a double choir that was placed in a single row in the foreground of the stage. The first choir represented “earth” which was placed by the organ, while the second choir represented “heaven” since it was in the distance. The third and final piece was SMV 281 Nune Dimittis was used to represent the transition of earth to heaven during the burial process. The rearranged choir was split up where eight women and ten men stood on the front level of the stage while two women and one man plus a lute were redirected to the second floor gallery to act as the “heavens” up above. This created a call and answer type movement with the floor choir and balcony choir singing to the audience between in the

Guillaume Machaut’s Notre Dame Mass was composed during the Middle Ages and was “the first polyphonic treatment of the mass ordinary by a known composer” (textbook). Agnus Dei is an acapella that has a polyphonic musical texture and is in triple meter. Machaut’s composition is in Latin, and includes only male vocals. The Agnus Dei has three sections, like a Gregorian chant, that symbolize the Trinity and vary in melody. There is also a usage of dissonance and syncopation as well as hollow-sounding chords throughout this piece. Lyrical repetition throughout the three sections creates a sense of familiarity for the listener.

On November 2, I was delighted to attend “Solemn Mass for the Dead on the Feast of All Souls” at St. James Cathedral. Now I still feel highly honored to hear Maurice Duruflé’s Requiem—one of the most beautiful and greatest musical works of the 20th century. As an international student from China and have no religion belief, it’s totally brand new and unusual experience for me to have this special chance to open my eyes widely to see the magnificent church. This opportunity is of great benefit to me to learn Catholic Church and acquaintance with religious faith.

Schubert’s “Ave Maria!” was not written with religious practices or the Catholic Church in mind. The piece was considered a masterpiece, and, unlike the vast majority of his compositions, it found a publisher before his death. Though not written for liturgical services, the music proved to be inspirational to listeners, particularly Roman Catholics, and a Latin text was substituted to make it suitable for use in church.

“vengeance”, and the “besiege”ing of “your gates ” (in which case he is speaking to the family and society). These are images that are common with battle rather than suicide. He also brings up the fact that “foreign hands” are what took care of the young woman’s body once she died. This also seems to illuminate the image of death on a battlefield. Pope captures this picture beautifully in lines fifty-two to fifty-four, when he writes: