The Choir:

Soprano 1
Debbie Crane
Deanna Cusano*
Mabel Ellis
Kay Harrington
Karen Johnson
Kathryn Kidd
Dorcas McCall*

The Orchestra:

Soprano 2
Sarah Cuozzo
Lia Deligiannides
PJ Enzmann
Elisabeth Halberstadt
Sandra Halberstadt

Carol Horner
Ellen Mangano
Janine Owen
Lori Ozuna
Marie Thomas
Alto 1
Danielle Bodley
Jen Calverley
Ruth Hepp
Myung Kwak
Kristin Neprud
Alto 2
Janet Creech

Rachel Kurihara (Flute)

Ben Fox (Oboe)
Elise Hsuing (Bassoon)
Nathan Halberstadt (Horn)
Bennet Keyes (Percussion)
Mark Fairweather (Timpani)
Elizabeth Markey (Harp)
Nathan Skinner (Organ)
Paul Halberstadt (Violin, viola)
Joshua Halberstadt (Violin)
Jane Xie (Violin)
Eleanor Markey (Violin, viola)
Richard Hsuing (Violin)
Abby Scott (Violin)
Jamie Brown (Violin)
Dorcas McCall (Viola)
Tristan Wolff (Viola)
Elliot Park (Viola)
John Egan (Viola)
Darcy Montaldi (Viola)
Darcy Foreman (Viola)
David Hurtado (Cello)
Andrew Laven (Cello)
Steven Laven (Cello)
Dylan Rader (Double bass)
Conor Rader (Double bass)
Adam Kurihara (Conductor)
Drew Halberstadt (Conductor, horn)

indicates solo in Faur * indicates solo in Forrest

Sarah Detweiler
Maureen Klautky
Alison Mitchell
Sydney Moody
Tenor 1
Eric Andersen*
Jim Hepp
David Kwak
Scott Turner
Tenor 2
Doran Abel
Royce Abel
Alton Moody

Bass 1
Ken Keyes
Adam Kurihara
DJ Matsko
David Owen
Bill Shultz
Bass 2
David Brown
Bruce Borland
Seth Cheney
John Halberstadt
David Jenkins
Dave Smith

Requiem
Choral/Orchestral sacred music
by Faur & Forrest

Thoughts On Faures Requiem

It has been said that fear and death
is not expressed in the Requiem,
so someone called it (an irony),
a lullaby of death.
No despair, no fear of death
for Calvarys resolution
destined for heavens homea child of rag and blossom.
No despair, no fear in life
in Jesus realm, no loss
for even in this dark refrain
no pain, a cradle song,
a lullaby of death.
Kay Harrington 2016

Saturday, May 21st 2016 - 7:00pm

Westgate Church, Weston
Sunday, May 22nd 2016 - 5:45pm
Trinitarian Congregational Church

Texts and Translations

Program
Requiem in D Minor, Op. 48 (1893 version)
1. Introit and Kyrie
3. Sanctus
4. Pie Jesu
5. Agnus Dei
6. Libera Me
7. In Paradisum
Requiem for the Living (2013)
1. Introit and Kyrie
2. Vanitas Vanitatum
3. Agnus Dei
4. Sanctus
5. Lux Aeterna

Gabriel Faur (1845-1924)

1. Introit - Kyrie (Choir)

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Exaudi orationem meam,
ad te omnis caro veniet.
Kyrie eleison. Christe eleison. Kyrie eleison.
2. Vanitas Vanitatum (Choir)
Vanitas vanitatum, omnia vanitas!
Pie Jesu Domine, dona eis requiem.
Lacrimosa,
et locutus est, pereat dies in qua natus sum.

Dan Forrest (b. 1978)

3. Agnus Dei (Soprano solo)

Agnus Dei, qui tollis peccata mundi,
miserere nobis, dona eis requiem.
(Choir, and solo)
Agnus Dei, qui tollis peccata mundi,
dona nobis pacem, miserere nobis,
dona eis requiem.

The audience is invited to stand and join us in singing the final song
Joyful, Joyful We Adore Thee
Hymn #20 (Saturday)
Hymn #1 (Sunday)

Henry J. van Dyke (1907)

L.V. Beethoven (1824)

4. Sanctus (Choir)
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis!
5. Lux Aeterna (Soprano solo, and choir)
Lux aeterna luceat eis, Domine:
Cum sanctis tuis in aeternum: quia pius es.
Et lux perpetua luceat eis.
(Tenor Solo) Come unto me,
all ye who labor and are heavy laden,
and I will give you rest.

please silence cell phones

(Choir, and soprano solo)

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Dona nobis pacem.

Forrest - Requiem for the Living

Rest eternal grant to them, O Lord,

and let perpetual light shine upon them.
Hear my prayer, for unto Thee all flesh shall come.
Lord have mercy; Christ have mercy;
Lord have mercy.
Vanity of vanities, all is vanity!
(Ecclesiastes 1:2)
Merciful Lord Jesus, grant them rest.
Full of tears,
(from the Dies Irae)
he said, Let the day perish wherein I was born.
(from Job 3:2-3)

Lamb of God,
who takes away the sins of the world,
have mercy on us; grant them rest.
Lamb of God,
who takes away the sins of the world,
grant us peace; have mercy on us; grant them rest.
Holy, Holy, Holy, Lord God of Hosts.
Heaven and earth are full of Thy glory.
Hosanna in the highest!

May light eternal shine upon them, O Lord,

in the company of Thy saints forever:
for Thou art merciful.
Let perpetual light shine on them.
Come unto me,
(Matthew 11:28)
all ye who labor and are heavy laden,
and I will give you rest.
Rest eternal grant to them, O Lord,
and let perpetual light shine upon them.
Grant us peace.

Texts and Translations

About the Music

Faur - Requiem in D Minor, Op. 48

Requiem aeternam dona eis Domine
et lux perpetua luceat eis.
Te decet hymnus, Deus in Sion
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam, ad te omnis caro veniet.
Kyrie eleison, Christe eleison, Kyrie eleison.

Faurs Requiem in D Minor, Op. 48

Rest eternal give them, Lord,
and let light always shine on them.
It is right to hymn you, God, in Sion
and to you will be made a vow in Jerusalem.
Hear my prayer, to you all flesh will come.
Lord have mercy, Christ have mercy, lord have
mercy.

Sanctus, Sanctus, Sanctus

Dominus Deus Sabaoth
pleni sunt coeli et terra gloria tua
hosanna in excelsis.

Holy, holy, holy,

Lord God of hosts
full are the heavens and earth with your glory
hosanna in the highest.

Pie Jesu, Domine, dona eis requiem

dona eis requiem sempiternam requiem

Merciful Jesus, Lord, give them rest

give them rest, eternal rest.

Agnus Dei,
qui tollis peccata mundi
dona eis requiem.
Lux aeterna luceat eis, Domine
Cum sanctis tuis in aeternum,
quia pius es
Requiem aeternam dona eis Domine,
et lux perpetua luceat eis

Lamb of God,
who takes away the sins of the world,
give them rest.
Let light eternal shine on them, lord,
with your saints for eternity,
for you are merciful.
give them eternal rest, lord,
and let light always shine on them.

Libera me, Domine, de morte aeterna

in die illa tremenda
quando coeli movendi sunt et terra
dum veneris judicare saeculum per ignem
Tremens factus sum ego et timeo
dum discussio venerit atque ventura ira
Dies illa, dies irae, calamitatis et miseriae
dies illa, dies magna et amara valde.
Requiem aeternam

Free me, lord, from death eternal

on that day of dread
when the heavens will be shaken and the earth
while you come to judge the world with fire.
I am made to shake, and am afraid
awaiting the trial and the coming anger.
That day, day of anger, of calamity and misery,
that day, the day of great and exceeding bitterness.
Rest eternal...

In Paradisum deducant Angeli

in tuo adventu suscipiant te Martyres
et perducant te in civitatem sanctam Jerusalem
Chorus Angelorum te suscipiat
et cum Lazaro quondam paupere
aeternam habeas requiem.

Into paradise may angels draw them,

on your arrival, may the martyrs receive you
and lead you into the holy city Jerusalem.
May the chorus of angels receive you,
and with Lazarus, once a beggar,
may you have eternal rest.

n my work as a church musician I have played

music at dozens of funerals. Some of these
services, not all, are undergirded with a deep sense
of joy. Despite the very real grief, there is comfort,
solace and joy in sharing stories, singing together,
crying together, and hearing the truth of the
gospel straight from the holy scriptures. I can feel a
palpable joy in the room, even if I dont personally
know the deceased, because the family and friends
truly believe the words from 1 Corinthians 15:
Death has been swallowed up in victory.
Where, O death, is your victory?
Where, O death, is your sting?
When Faurs Requiem in D Minor Op. 48 was first
introduced to 19th century France, it was critiqued
for lacking the fear and terror of death. Someone
called it a lullaby of death, Faur remarked to his
biographer Louis Aguettant in 1902, But that is
how I feel death: as a happy deliverance, a yearning
for the happiness of the beyond, rather than as a
painful crossing.
Consider the Sanctus. Faur pairs the quintessential
heavenly instrument, the harp, with undulating
violas, setting the scene of the throne room of heaven.
The text, Sanctus, Sanctus, Sanctus, Dominus Deus
Sabaoth / Holy, Holy, Holy, Lord, God of Hosts,
taken from Isaiah 6, is the song of the seraphim in
the throne room that the prophet Isaiah sees. As
the choir is singing, flip to this chapter of the Bible.
When we sing, we are echoing and joining in this
heavenly worship. The song is picked up again at the
end of the Bible in Revelation 4:8. With the elders
placing their crowns before the throne, we place all
our best things, all our human achievements, and lay
before the throne of God as an act of worship. The
fortissimo cry of the Tenors and Basses Hosanna

in Excelsis! / Hosanna in the highest heaven! (see

Matthew 21:9 and Psalm 118:26) points to Jesus as
Lord sitting on the throne. Faur paired this with
accented strings and jubilant horn calls, bringing
this movement to its most triumphant conclusion.
In the penultimate movement, Libera Me, we
hear humanitys cry for deliverance. The opening
Baritone solo (sung by Dominick Matsko) reflects
the personal turn in the text, Deliver me, O Lord,
from death eternal on that fearful day The
pulsing bass notes create an ecstatic energy as the
soloist cries out this prayer for mercy. The horns
announce the entrance of the Dies Irae sequence,
a portion of the original text that points to the
judgement day of wrath, calamity and misery, but
Faur does not dwell long on this in fear as many
composers did (consider Verdi, Mozart, or Britten)
but allows the choir to respond with their own cry, a
stirring reprise of Libera Me in unison accompanied
by the full string contingent.
We end with the peaceful deliverance of the In
Paradisum. The staccato flutes of the organ and harp
remind us that there is a way to escape the day of
wrath because true rest and deliverance from death
can be found through faith in Jesus. His death and
resurrection show that death is not the final word
for those who trust in Him, but rather eternal life
and light, lux perpetua!
Melt the clouds of sin and sadness;
Drive the dark of doubt away;
Giver of immortal gladness,
Fill us with the light of day!
- Adam Kurihara (2016)

About the Music

Dan Forrest on his Requiem For The Living:

verall, the work is a prayer for rest (Requiem)

for the living, as much as for the deceased. Its a
grant US rest, even more than a grant THEM rest.
The whole work is tied together motivically by the
opening three notes that you hear- they form the basis
of all the development in the first movement, the
pitch material of the accompaniment figure in the
second movement (alluding to the traditional Dies Irae
plainchant, even though Im not using the Dies Irae
text), the opening of the fourth movement (obviously)
where the descent goes one note farther, and starts to
find a destination/goal/rest if you will), the recap
moments throughout the fifth movement, and then,
in one last gesture, the final three notes of the entire
work are those three pitches, now ascending (instead of
descending), as if reaching the heavens.
The first movement pours out the grief of the Requiem
and Kyrie prayers, facing grief head-on and grappling with
the sorrow that is common to all human existence.
The second movement bitterly portrays the problem of
pain that we all wrestle with, and which causes a crisis
of faith for many people. It expounds on the vanity of
vanities, all is vanity refrain from Ecclesiastes, with no
small amount of anger and bitterness and rage against
the machine. The middle section quotes Job, who is
the best biblical example we have of the problem of
pain, and even he says, in his darkest moment, it would
have been better if I hadnt been born.
The third movement is the Agnus Dei, out of its
traditional order, because at that point in the narrative,
I need to see the Lamb of God, who died to redeem
mankind from all fallenness- this vanity and pain and
sorrow and destruction.
Its only after recognizing the Lamb of God that we can
then turn, in this narrative, to the Sanctus. It becomes
a response to the Agnus Dei, instead of prelude to it as
in the normal liturgical order. Interestingly, I see the

phrase heaven and earth are full of Thy glory as not

merely a worship moment, but actually a part of the
Divine answer to the problem of pain. Looking to Job
again, Gods answer to the problem of pain is literally,
Look at my works of creation- see my transcendent
power and majesty and of course Job is then humbled
by the realization. So my vocal score includes a quote
of Job 38 at the top of this movement- where God says
to Job Where were you when I laid the foundations
of the earth...when the stars sang together for joy? As
you can see, then, this movement depicts the wonder of
the heavens and earth (pleni sunt caeli et terra gloria tua)
as a Divine answer to the problem of pain. My setting
of the Sanctus text is literally a depiction of Gods
wondrous glory in three different places: the universe
(inspired by that Ultra Deep Field picture from the
Hubble Telescope), earth as viewed from the orbiting
International Space Station (there are fantastic videos
on Youtube where you can see the lights of cities (and
nations!) at night, territorial boundaries, rivers, the
northern lights, thunderstorms, and all sorts of things),
and finally, mankind, Gods wondrous image-bearers,
who demonstrate his glory even more directly than all
the rest of the wonders of the heavens. There are three
sections to the piece which are inspired by these three
thoughts- an ethereal section for the Hubble image, a
warmer section that starts to come down to earth
with more motion that eventually grows very majestic,
and then a bustling energetic final section, coming right
down into the middle of a city, teeming with the life
and energy of a metropolis full of these image-bearers
who are an even more wondrous part of creation than
the heavens themselves.
The final movement is simply an arrival at rest and
peace, not just in the realization of the eternal light
which God offers those who seek him, but even here
and now, for us, the living, on earth- our Requiem, our
Rest, is found in Christ. I purposely quoted Come
unto me all ye who labor and are heavy laden, and I
will give you....REST, because its the answer to the

Introits prayer for rest. The answer to that prayer is

already given, there, in Matthew 11- Christ is our rest.
I purposely, then, lined up the English word rest
with the return of the Latin word Requiem in this
final movement- you can see it in the score, or hear it
in the performance when the tenor solo ends and the
choir begins again, Requiem aeternam.
Musically, a major work like this allowed me to
work out ideas on a much larger scale than I can
in, say, a typical 3-4 minute choral anthem. The
first movement allowed me to unfold one ideas
possibilities, developing it slowly over a much
longer span, gradually adding texture and register
and counterpoint until the grief just boils over. The
second movement, because of the subject matter,
was a great opportunity to write something stern or
even a bit nasty, instead of sicky-sweet or sappy.
By the time I was done, it contained octatonicism,
unexpected rhythmic figures, even big tone clusters
for the organ pedals. Even though I didnt use the
Dies Irae text, here, I still alluded to the famous Dies
Irae chant, musically, all throughout the orchestral
accompaniment figures. The third movement was
actually very difficult to write even though it sounds
simple and direct- it took a long time to get all the
musical ideas to feel inevitable, proportionate, and
properly paced as they unfold over time. The fourth
movement allowed me to experiment with some
polymeter, with those perceived groupings of 3 in the
harp and percussion while the choir floats over top
of them in their own meter; I also had to carefully
manage the huge buildup of energy throughout,
that culminates in the explosion of energy in the
final section. And of course the fifth movement just
needed to pull everything together, tie up loose ends
motivically, and usher us off into eternal rest. At the
risk of stating what many may have already observed,
the final three notes in the orchestra are the metamotive, scale degrees 3-2-1, now inverted into 1-2,.3
(!) where the 3 is major instead of minor. This is the
final answer to our prayers for rest, musically speakingweve found it. The door opens, finally, so to speak.
The work was written over a period of probably 16
months or so, from early 2012 through mid-2013.

Frankly, most of my effort was spent discarding ideas

that were bad, or mediocre, or clichd, or decent, or
even pretty good, in the hopes of only using ideas
that were really, truly inspired. Its a daunting task to set
these ancient texts in a modern setting. I tried to write
something appropriate to their gravity, and something
that would make a lasting impression for some time to
come. I hope the end result does, indeed, profoundly
affect the listeners- and performers as well.
-Dan Forrest (2013)

About the Gospel

What is the Christian message?

The gospel is the most important news you
will ever hear. It is the message of Jesus Christ,
the only hope for broken, sinful people living
in a broken and sinful world. The word gospel means good news, specifically the news
of what God has graciously done to establish
his kingdom and deal with our sin through the
life, death, and resurrection of his eternal Son,
Jesus Christ.
The gospel is the heartbeat of the Bibles story.
It begins with God and creation. God created
everything there iseverything we see and dont
see. He made it all and that means it all belongs
to him. He is both the Creator and the King,
which means he has the right to decide how
life should be lived on his earth. The crowning
touch of his creation was humanity, whom he
made to be like him and to know, love, and
serve him as his children and as his royal representatives. Thats what we were made forto
know, love, serve God, making much of him and enjoying his presence forever.
Read more at
www.westgate-church.org/the-gospel