A cantata in fifteen movements by Ian Assersohn. For two soloists, SATB choir with optional upper voice and lower voice children's choirs, and small orchestra. The piece lasts about 70 minutes. Commissioned by Leatherhead Choral Society and Epsom Male Voice Choir to mark the centenary of the Battle Of The Somme and first performed in November 2016.

Since time immemorial, the response of the living to death has been to commemorate the life of the departed through ceremonies and rituals. For nearly two millennia, the Christian quest for eternal peace has been expressed in a poetic-musical structure known as the requiem. Traditional requiem texts, among them the anonymous medieval Latin poem Dies Irae ('Day of Wrath'), have inspired an untold number of composers in different ages and serving different religions, Western and Eastern. This book, the first comprehensive survey of requiem music for nearly half a century, provides a great deal of diverse and detailed information that will be of use to the professional musician, the musical scholar, the choral conductor, the theologian and liturgist, and the general reader. The main body of the guide is a description of some 250 requiems. Each entry includes a concise biography of the composer and a description of the composition. Details of voicing, orchestration, editions, and discography are given. An extensive bibliography includes dictionaries, encyclopedias, prayer books, monographs, and articles. An appendix lists more than 1700 requiems not discussed within the main text.

Organ and piano duet teams will appreciate Billie Nastelin's skillful arrangement of the beautiful "How Lovely Is Thy Dwelling Place" from the Brahms Requiem. Each player has opportunities with both melody and accompaniment, and congregations and audiences will request this over and over. Two copies of the music are included. Also arranged for organ/piano duet by Nastelin: "And the Glory of the Lord," from Messiah (GOPD9901),

This newly edited version of Mozart's Requiem (K.626) matches up this piano vocal score with a new set of orchestra parts (available separately). Previous versions of this work by other publishers are traditionally littered with mistakes and wrong notes / instructions / inconsistent dynamics, which have been fixed in this edition, including the addition of rehearsal marks which correspond with the conductor score and orchestra parts. Mozart's 1791 work (completed by Süssmayr in 1792) comprises fourteen movements in eight sections: I. Introitus: Requiem aeternam (Chorus and solo Soprano), II. Kyrie (Chorus), III. Sequenz: 1. Dies irae (Chorus), 2. Tuba mirum (four soloists: Soprano, Alto, Tenor and Bass), 3. Rex tremendae (Chorus), 4. Recordare (Chorus), 5. Confutatis (Chorus), 6. Lacrimosa (Chorus), IV. Offertorium: 1. Domine Jesu (Chorus with Soprano, Alto, Tenor and Bass soloists), 2. Hostias (Chorus), V. Sanctus (Chorus), VI. Benedictus (Soprano, Alto, Tenor and Bass soloists with Chorus), VII. Agnus Dei (Chorus) and VIII. Communio: Lux aeterna (Soprano solo with Chorus). It has become one of the most popular works for choirs throughout the world, and notably features the ever popular choral piece, 'Lacrimosa'. This is frequently a major study work at conservatoires and universities. This new edition is for chorus, soloists and piano.

"'When was the score of the Requiem completed?' is a question that everyone has asked; . . .but Wolff goes on to ask: 'Where do the technical and stylistic premises for the Requiem lie, and to what extent could these be taken into account after Mozart's death?' This question is rich in implications, central to the uniqueness of the work, and virtually undiscussed in the Mozart literature."—Thomas Bauman, co-author of Mozart's Operas