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A choral conductor's guide to the Messe de requiem by Alfred Désenclos

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A choral conductor's guide to the Messe de requiem by Alfred Désenclos

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Content A CHORAL CONDUCTOR’S GUIDE TO THE MESSE DE REQUIEM BY
ALFRED DÉSENCLOS
by
Andrew L. Wilson
A Dissertation Presented to the
FACULTY OF THE USC THORNTON SCHOOL OF MUSIC
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirement for the Degree
DOCTOR OF MUSICAL ARTS
(CHORAL MUSIC)
May 2023
Copyright 2023 Andrew L. Wilson
ii
Dedication

I dedicate this dissertation to my parents, Dan and Ellen Wilson. Your unwavering
support and unconditional love have largely underscored my successes. I am truly grateful to you
for removing roadblocks and allowing me to pursue my dream. Thank you with all my heart.

iii
Acknowledgments

I thank my professors at the University of Southern California, Drs. Grases, Sparks, and
Strimple, for mentoring and believing in me. Your teaching and influence will live on through
my students. To my dissertation committee, Dr. Tram Sparks, Dr. Cristian Grases, and Dr. Lisa
Cooper Vest, for guiding me through this arduous but rewarding process. To John Baker for
inspiring me to become a choral director and giving me my first conducting opportunity. To Dr.
Wallace Long for teaching me to pursue musical excellence. To Dr. Paul Klemme for guiding
me through my early career and sharing the podium. To Christophe Corp of the French publisher
La Sinfonie d’Orphée, who provided obscure scores not found in the United States along with
other guidance and correspondence. To Tobias Broeker for his research on the plagiarism
scandal. To Alex Belohlavek for his editing expertise. To Dr. Jill Weisner Bryant for being the
first to suggest I had what it takes to earn a doctorate in my field.

iv
TABLE OF CONTENTS

Dedication ……………………………………………………………………………………......ii

Acknowledgements ………………………………………………………………………......….iii

List of Tables ………………………………………………………………………………….…vi

List of Musical Examples...............................................................................................................vii

Abstract ……………………………………………………………………………..……………ix

Chapter 1:
Introduction …...……………………………………………………………………….….1
Impetus for Study …………………………....………………………………………....…2
Scope of Study ………...…….……...……………………….……………………………3
Structural Outline …………………………………………………………………………3
Movement Timing Comparison ……………...………….………………………………..7
Approach to Harmony …………………………………………………………………….7
Compositions Studied …………...…….…….…...………………………...…………….10
Instrumental Works ……………………………………….……………………………..10
Literature Review ……………………………………………………………..…………12
List of Publishers for Désenclos ..……...........….…….….…….….….…...……………..13

Chapter 2:
Biographical Information ……………………………………………………….….……14
Plagiarism Scandal ………………………………………………………………………16

Chapter 3:
Introït et Kýrie ………………………………………….……….…………………….…20
Conductor Considerations……………………………………….….……………………37

Chapter 4:
Offertoire ……………………………………………………………………………...…41
Conductor Considerations………………………………………….………….…………54

Chapter 5:
Sánctus ……………………………………………………………………….………….56
Conductor Considerations………………………………………….………….…....……68

Chapter 6:
Píe Jésu …………………………………………….……………………………………69
Conductor Considerations………………………….….……..……….…………………75

v
Chapter 7:
Agnus Déi et Communion …………………………………………..…..………………76
Conductor Considerations…………………………………………………….…………85

Chapter 8:
Líbera me, Domine …………………….………………………………....………..……87
Conductor Considerations………………………………………….……………………95

Chapter 9:
In Paradísum ………………………………………………………………………….…98
Conductor Considerations …...………….………………………….………….....….…103

Chapter 10:
Other choral works by Désenclos …………………………………………………...…106
Published by Sinfonie d’Orphée……………………………………………..…………107

Chapter 11: Conclusion ………………………………………………………………..………110

Bibliography ………………………………………………………………………….………..114

Appendix……………………………………………………………………………………….118

vi
List of Tables
Table 1.1 Messe de Requiem, Movement Timings of Recordings…………..…………………..…7
Table 1.2 Output of Instrumental Works……………………………….……...…..……………..11

vii
List of Musical Examples
Example 3.1 Messe de Requiem, Introït et Kýrie, mm. 1-5……………......……………………..21
Example 3.2 Messe de Requiem, Introït et Kýrie, mm. 6-9……………………......……………..22
Example 3.3 Messe de Requiem, Introït et Kýrie, mm. 12-13……………….....….……………..22
Example 3.4 Messe de Requiem, Introït et Kýrie, mm. 14-19…………......…....………………..23
Example 3.5 Messe de Requiem, Introït et Kýrie, mm. 20-24……………..........………………..24
Example 3.6 Messe de Requiem, Introït et Kýrie, mm. 25-28………….....….…………………..25
Example 3.7 Messe de Requiem, Introït et Kýrie, mm. 29-33…………......……………………..26
Example 3.8 Messe de Requiem, Introït et Kýrie, mm. 34-37………….......…...………………..27
Example 3.9 Messe de Requiem, Introït et Kýrie, mm. 46-49………….....…….....……………..28
Example 3.10 Messe de Requiem, Introït et Kýrie, mm. 50-53…………….....……...…………..29
Example 3.11 Messe de Requiem, Introït et Kýrie, mm. 54-57……………….....……...………..29
Example 3.12 Messe de Requiem, Introït et Kýrie, mm. 57-61…………….....…………...……..30
Example 3.13 Messe de Requiem, Introït et Kýrie, mm. 61-64………….....………………...…..30
Example 3.14 Messe de Requiem, Introït et Kýrie, mm. 65-74…………....……………………..31
Example 3.15 Messe de Requiem, Introït et Kýrie, mm. 75-78………......……..………………..33
Example 3.16 Messe de Requiem, Introït et Kýrie, mm. 79-84……….........……...……………..34
Example 3.17 Messe de Requiem, Introït et Kýrie, mm. 85-88…………….........…...…………..35
Example 3.18 Messe de Requiem, Introït et Kýrie, mm. 90-92………….........………...………..35
Example 3.19 Messe de Requiem, Introït et Kýrie, mm. 117-122…….........…………….………36
Example 4.1 Messe de Requiem, Offertoire, mm. 1-10……………….........…….………………41
Example 4.2 Messe de Requiem, Offertoire, mm. 11-18…………….........……….……….….…43
Example 4.3 Messe de Requiem, Offertoire, mm. 19-25……………….........…….……….….…44
Example 4.4 Messe de Requiem, Offertoire, mm. 26-29………………….........….……….….…45
Example 4.5 Messe de Requiem, Offertoire, mm. 34-45………………….........….……….….…46
Example 4.6 Messe de Requiem, Offertoire, mm. 46-53…………….........……….……….….…47
Example 4.7 Messe de Requiem, Offertoire, mm. 54-59…………….........……….……….….…48
Example 4.8 Messe de Requiem, Offertoire, mm. 60-71………….........………….……….….…49
Example 4.9 Messe de Requiem, Offertoire, mm. 72-77…………….........……….……….….…50
Example 4.10 Messe de Requiem, Offertoire, mm. 79-86………….........…..……….……….….51
Example 4.11 Messe de Requiem, Offertoire, mm. 87-90……………...........……….……….….52
Example 4.12 Messe de Requiem, Offertoire, mm. 91-96……………...........……….……….….52
Example 4.13 Messe de Requiem, Offertoire, mm. 97-110………….........…..……….…..……..53
Example 5.1 Messe de Requiem, Sánctus, mm. 1-4………………....….......….….…….……….58
Example 5.2 Messe de Requiem, Sánctus, mm. 5-8………………...........…….….…….……….59
Example 5.3 Messe de Requiem, Sánctus, mm. 9-16……………..….........…..….….….……….60
Example 5.4 Messe de Requiem, Sánctus, mm. 18-20……………….......…….....….….…….…61
Example 5.5 Messe de Requiem, Sánctus, mm. 21-24……………..........……......….….…….…61
Example 5.6 Messe de Requiem, Sánctus, mm. 25-27……………….......…….….….…….……62
Example 5.7 Messe de Requiem, Sánctus, mm. 28-36……………...........……….…..…….……63
Example 5.8 Messe de Requiem, Sánctus, mm. 37–38………...…............……….….…….……64
Example 5.9 Messe de Requiem, Sánctus, mm. 39-46……………...........……….…..…….……65
Example 5.10 Messe de Requiem, Sánctus, mm. 47-53…………….......…………..….…….…..66
Example 5.11 Messe de Requiem, Sánctus, mm. 54-61…….......…………………....….…….…67
Example 6.1 Messe de Requiem, Píe Jésu, mm. 1-9………….......…………….….....…….……71
viii
Example 6.2 Messe de Requiem, Píe Jésu, mm. 10-20……………......……….….….…….……72
Example 6.3 Messe de Requiem, Píe Jésu, mm. 21-28………………......…….….….…….……73
Example 6.4 Messe de Requiem, Píe Jésu, mm. 29-39………………......…….….….…….……74
Example 7.1 Messe de Requiem, Agnus Déi et Communion, mm. 1-9………........……..………77
Example 7.2 Messe de Requiem, Agnus Déi et Communion, mm. 10-19………........……..……78
Example 7.3 Messe de Requiem, Agnus Déi et Communion, mm. 21-30…………........…..……79
Example 7.4 Messe de Requiem, Agnus Déi et Communion, mm. 32-36…………........…..……80
Example 7.5 Messe de Requiem, Agnus Déi et Communion, mm. 37-44…………........…..……81
Example 7.6 Messe de Requiem, Agnus Déi et Communion, mm. 45-51…………........…..……82
Example 7.7 Messe de Requiem, Agnus Déi et Communion, mm. 52-56…………........…..……83
Example 7.8 Messe de Requiem, Agnus Déi et Communion, mm. 57-65………........……..……84
Example 7.9 Messe de Requiem, Agnus Déi et Communion, mm. 84-86………........……..……85
Example 8.1 Messe de Requiem, Líbera me, Domine, mm. 1-6………………..........…………..88
Example 8.2 Messe de Requiem, Líbera me, Domine, mm. 7-14……………..........……………89
Example 8.3 Messe de Requiem, Líbera me, Domine, mm. 15-18……………..........…….…….90
Example 8.4 Messe de Requiem, Líbera me, Domine, mm. 19-26……………..........…..………91
Example 8.5 Messe de Requiem, Líbera me, Domine, mm. 27-35……………..........…..………93
Example 8.6 Messe de Requiem, Líbera me, Domine, mm. 43-51……………..........…..………94
Example 9.1 Messe de Requiem, In Paradísum, mm. 1-12……………..........……….........……99
Example 9.2 Messe de Requiem, In Paradísum, mm. 13-16……………..........…….....………101
Example 9.3 Messe de Requiem, In Paradísum, mm. 17-24……………..........…….....………102

ix
Abstract
A plagiarism scandal in May of 2001, where a fellow Frenchman stole the Requiem,
made a note-for-note copy, and attempted to bill it as the “American Premiere,” brought a
resurgence to The Messe de Requiem of Alfred Désenclos, which deserves credit as a great
French masterwork. It is music that utilizes traditional sacred choral writing combined with ideas
stemming from Claude Debussy and synthesizing and building upon the influence of French
modernists in the pre and post-World War II eras. The harmonic language of this Requiem
reveals itself through quartal harmonies, unprepared modulations, transient key areas, parallel
movement, and pitch/interval collections that move horizontally through chordal planing. Most
notably, pentatonic collections contribute to the overall modality, and major and minor seventh
chords are used non-functionally and plentifully. The author will explore each movement of the
Requiem and offer musical analysis and considerations for the choral conductor, along with the
historical context for each text. A structural outline of the Requiem and a brief overview of
instrumental works are offered, along with other choral works by Désenclos that will be briefly
highlighted. This dissertation was written to aid in score study and preparation for rehearsal and
concertizing but also to increase exposure and awareness of the profound reflection found in the
music of Alfred Désenclos.

1
CHAPTER ONE

Introduction

The Messe de Requiem of Alfred Désenclos deserves credit as a great French
masterwork, to be performed more often in concert, and added to the canon of requiems studied
in choral literature classrooms. It is music that utilizes traditional sacred choral writing combined
with ideas stemming from Claude Debussy (1862-1918) and synthesizing and building upon the
influence of French modernists from the pre and post-World War II eras. After an in-depth
analysis of the score and several listening sessions of existing recordings, the harmonic language
of this Requiem will begin to reveal itself, most notably, the use of pentatonic areas/scales and
major and minor seventh chords used in a non-functional way. Both of these techniques are used
through the horizontal parallel movement of chordal planing.
Pentatonicism is a hallmark of French modernism after Debussy that is derived from his
interest in the gamelan music of Indonesia.
1
Because the pentatonic scale is familiar to most
children at a young age, the pentatonicism featured in the Requiem is more familiar to the ear
and easier to grasp. Knowing this, choristers will be more successful when sight reading,
contributing to enjoyment and performance success. While major and minor seventh chord
colors were prevalent in the 1960s as a nod to the jazz idiom, sevenths, and other chordal
extensions are much more commonplace in the twenty-first century and will be familiar to most
singers. The music, while at times difficult, is still approachable and performable by community
choirs and advanced high school choirs in addition to college choirs and pro-level choirs.
Learning and performing this masterwork will give choristers a mountain-top choral experience.
Diving deep into score study will provide conductors with a new take on the twentieth-century

1
François Lesure and Roy Howat, “(Achille-) Claude Debussy,” in Grove Music Online, (Oxford University Press,
2001).
2
Parisian requiem in a style started by Camille Saint-Saëns (1835-1921), made popular by Gabriel
Fauré (1845-1924), and canonized by Maurice Duruflé (1902-1986).

Impetus for Study

While learning and performing the Désenclos Messe de Requiem in February 2019 with
the Chamber Singers of the University of Southern California, the author became enamored with
the composer's style, approach to composition, and the unique accessibility of his complex-
sounding music. He particularly enjoyed his distinctive harmonic language and how he
incorporated chant elements into his choral writing. It was such a pleasure to sing and perform
that the Désenclos Requiem was added to the list of possible dissertation topics. After
preliminary research, the author found a significant gap in the scholarship of his choral repertoire
and decided, for this and many other reasons, to choose the Désenclos Requiem as the
dissertation focus. The significant gap in scholarship was confirmed by scouring all relevant
databases, including Grove Music Online, extensive keyword and phrase searches in the
University of Southern California library system, and deep-dive Google searches in English,
French, and Spanish.
This dissertation is intended as a conductor's companion featuring biographical
information about the composer and his life, an analysis of the Requiem and other choral works,
and a conductor's guide on how to study and approach these incredible works of twentieth-
century French music.

3
Scope of Study
While a full score orchestration of the requiem is available, which is sometimes preferred
by conductors, the organ vocal score will be referenced throughout this dissertation. In the
interest of accessibility, most conductors will perform the choral organ version.
Regarding harmonic analysis, traditional Roman numerals will be replaced with note and
chord letter names with any extensions. This is because Désenclos does not use dominant-tonic
relationships, standard harmonic functions, or anticipated modulations and uses a series of major
and minor seventh chords or pentatonic chord collections in entire sections. He moves between
key areas freely through planing, and often by a half step or tritone, and to areas that are not
closely related, rendering a pre-twentieth-century harmonic analysis unsuitable for this work.

Requiem Structural Outline

Below is an outline of the notable sections found in the requiem. It is meant to provide a
quick scan of the overall structure and noteworthy elements to aid in understanding or score
memorization. The reader will find it is written in shorthand and is as brief as possible.

1. Introït et Kýrie
a. Introït
i. Stats
1. 49 measures
2. Molto Moderato
3. Key signature two sharps
4. 4/4
ii. M. 1-2 Organ introduction
1. Pentatonic chords beginning on the fifth scale degree
2. First note is an A
3. First chord is a Bm
a. Together they are a Bm7
4. First scale begins on a D but is a G pentatonic scale that begins on the 5th scale
degree.
iii. Choral Entrance
1. M. 3-12 Requiem aeternam
a. Repeats Introït M. 38
b. Repeats Agnus Déi M. 66
c. Repeats Líbera me M. 60
4
d. First chord the choir sings is a Bm7/D, also known as D pentatonic
chord area
e. A series of pentatonic area chords follow
iv. M. 14-26 Te decet hymnus Deus in Sion
1. Mixed meter
2. Quasi Gregoriano
a. Tenors begin chant
b. Altos take over, then soprano, and then bass
v. M. 27-37 Exaudi
1. Mixed meter
2. Moderato
3. M. 27 Sopranos and Altos enter overlapping the end of the bass part. Followed
by the tenors
4. Triplets in the organ
5. M. 31 Exaudi orationem meam SATB all in
a. Hear my prayer, but forte?
vi. M. 38 Requiem
1. Tempo 1
a. Requiem aeternam
i. Material from the opening
ii. First 8 bars are the same as beginning
1. Only time last two measures differ from the 4
entrances of this music and text
b. Kýrie
i. Stats
1. 72 measures
2. Non troppo lento
3. Mostly 4/4 with a few 2/4 measures
4. 3 sharps
ii. M. 49-53 D pentatonic organ intro
1. Then jumps a tritone to A#m7 (while showing three sharps)
iii. Kýrie
1. M. 54-57 Kýrie eleison (mostly unaccompanied)
2. M. 57-60 organ transition
3. M. 61-64 Kýrie eleison (mostly unaccompanied)
4. M. 43-65 organ transition
5. M. 66-74 Kýrie eleison (accompanied)
a. Staggered entrances SAT, then B 6 measures later
iv. Christe
1. M. 75-78 Christe eleison
2. M. 79-84 Christe eleison with Christe repeated
3. M. 85-92 Christe eleison with eleison tag
v. Kýrie
1. M.92-95 organ transition (restatement)
2. M. 96-99 Kýrie eleison (restatement)
3. M. 99-102 organ transition (restatement)
4. M. 103-106 Kýrie eleison (restatement)
5. M. 106-107 organ transition (restatement)
6. M. 108-116 Kýrie eleison (restatement)
7. M. 117-122 different eleison tag used as closing material
c. No repeat of “Requiem Aeternam” (Gradual)
d. No Absolve Domine (Tract)
e. No Dies Irae (Sequence) Liturgical Poem
i. Except for Píe Jésu used as a separate movement is the final couplet of the text Dies Irae
text
2. Offertoire
5
a. Stats
i. 110 measures
ii. Moderato
iii. Mixed meter
iv. No sharps or flats
b. M. 1-10 Organ introduction (longest intro in requiem)
c. M. 11 Choral entrance
i. M. 11-18 1 flat, Dm, choral entrance Domine Jesu Christe
ii. M. 19-29 libera animas
d. M. 30-33 6 sharps, organ interlude
e. M. 34-57 Líbera eas, Paired duets SA and TB, offset by one measure
i. M. 54 Sanctam begins section below that is repeated later with different text. It is the end
of a text section instead of the beginning of a new one.
f. M. 58-70 Quamolim Abrahae promisisti
g. M. 72-78 SATB solos Hostias et preces tibi (mostly unaccompanied)
h. M. 79-86 1 flat, Tu suscipe pro animabus illis (different text, music repeats from m. 11-18)
i. M. 87-90 Fac eas, Domine, de morte
j. M. 91-94 Vitam (same music different text, from M. 54-71)
k. M. 95-107 6 sharps, Quamolim Abrahae promissisti (restatement of music with same text)
l. M. 105-110 organ outro
3. Sánctus
a. Stats
i. 61 measures
ii. 4/4
iii. Non troppo lento
iv. No sharps or flats
b. M. 1-2 organ intro
c. M. 3-17 Choral entrance Sánctus, sanctus, sanctus
d. M. 18-27 Dominus Deus Sabaoth; Pleni sunt caeli et terra gloria tua
e. M. 28-36 Hosanna in excelsis
f. M. 37-48 Benedictus qui venit in nomine Domini
g. M. 49-58 Hosana in excelsis (restatement with longer runway as the only change)
h. M. 59-61 organ outro
4. Píe Jésu
a. Stats
i. 39 measures
ii. Andante
iii. Mixed meter
iv. 2 sharps B minor
b. M. 1 organ intro
c. M. 2–5 alto solo
d. M. 5-9 choral response
e. M. 10-15 Alto and tenor solos
f. M. 16-20 choral response
g. M. 21-28 SATB solos
h. M. 29-39 Choral response with Sempiternam
5. Agnus Déi et Communion
a. Agnus Déi
i. Stats
1. 51 measures
2. 4 flats
3. Moderato
4. 3/4
ii. M. 1-9 Organ introduction
iii. M. 10-14 Tenor chant solo
iv. M. 15-21 Choral response
6
v. M. 21-25 Alto chant solo
vi. M. 26-31 Choral response
vii. M. 32-36 Soprano chant solo
viii. M. 37-44 choral response with Sempiternam
ix. M. 45-51 Organ transition ending with Hemiola
b. Communion
i. Stats
1. 35 measures
2. 4 sharps
3. Molto calmo
4. Mixed meter 4, 3, 2
ii. M. 52-56 Lux aeterna
iii. M. 57-60 Cum sanctis
iv. M. 61-65 Quia pius es
v. M. 66-75 (2 sharps) Requiem aeternam (restatement of introit material)
vi. M. 77-86 (4 sharps) restatement of Cum sanctis and Quia pius es
6. Líbera me, Domine
a. Stats
i. 94 measures
ii. Moderato
iii. Mixed meter
iv. Key signature No # or b
b. Section 1
i. M 1-6 organ introduction 3/4
ii. M 7 choral entrance in Bbm 5 flats (unison) 4/4
1. M. 7-14 Líbera me Domine
2. M. 15-18 Quando caeli movendi sunt et terra
3. M. 19-26 Dum veneris judicare
a. Triplets in organ represent fire
c. Section 2
i. 3 part divisi in both SA and TB 3/4 and Common
1. M. 27-36 Tremens factus sum ego
ii. Repeated section out of order of the text (Jeffers)
1. M. 37-40 Quando Caeli
iii. New Material
1. Different than the more common Dies irae from the Sequence in the Requiem
Mass, which is not a stand alone movement in this requiem. Only part of it used
is the Píe Jésu text.
2. M. 42-51 Mixed meter; Dies ila, dies irae, calamaitatis et miseriae, dies magna
et amara valde. Dum veneris judicare saeculum per ignem.
iv. Repeated section (although part of the Dies irae above)
1. M. 52-59 Dum veneris
v. Repeated section from the Introït opening
1. M. 60-70 Requiem aeternam
d. Section 3
i. Transition
1. M. 70-74 organ
ii. Restatement of beginning material
1. M. 75-82 Líbera me
2. M. 83-86 Quando Caeli
3. M. 87-94 Dum veneris
7. In Paradísum
a. Stats
i. 24 measures
ii. Andante
iii. 4/4
7
iv. 4 sharps
b. 1 measure organ intro
i. G# octaves
c. Choral entrance
i. M. 2-14 In Paradísum
d. Climax
i. M. 15-20 Chorus Angelorum
e. Closing material
i. M. 21-24 Habeas requiem
ii. Ending in E major

Movement Timings of Requiem Recordings

Below is a table of the movement timings from existing recordings of the Requiem to aid
in score study to determine tempi and provide a comparison with timings found in the full score.

Table 1.1 Messe de Requiem, Movement Timings of Recordings
Movement Timings of
Requiem Recordings
USC
Chamber
Singers
King’s
College
London
Les
Eléments
Vlaams
Radiokoor
Timings
from full
score
Introït et Kýrie 6:29 8:45 6:46 7:33 6:20
Offertoire 5:41 6:17 5:30 6:00 5:20
Sánctus 3:59 4:11 3:27 3:57 3:50
Píe Jésu 2:30 2:56 2:38 2:39 2:45
Agnus Déi et
Communion
4:25 5:56 5:00 5:20 5:00
Líbera me, Domine 4:44 5:23 5:12 5:13 5:55
In Paradísum 1:59 2:58 2:03 2:13 1:55

Approach to Harmony

“Désenclos seemed to have preferred writing music that expressed that which was deeply
felt as opposed to that which was clearly stated.”
2
-Jean-Marie Londeix

2
James C. Umble, Jean-Marie Londeix, Gingras Michèle, and Corbé Hervé, Jean-Marie Londeix: Master of the
Modern Saxophone (Roncorp publications, 2000).
8
Désenclos is equally adept at writing in an accessible sacred style as he is with twentieth-
century compositional techniques. His choral music fits the mold of traditional sacred writing
while at the same time synthesizing compositional techniques influenced by Deubussy and other
French modernists in the twentieth century. His instrumental works feature a much stronger
sense of serialism (and other ideas from the Second Viennese School), distinctly different from
his choral music. He first composed sacred music at the Paris Conservatory and further
developed this style while serving as choirmaster at Notre Dame de Lorette.
3
This sacred tonal
modern synthesis style can be found in his Messe de Requiem (1963) and his two most famous
motets, “Salve Regina” and “Nos Autem,” both written in 1958.
His instrumental writing follows popular trends among twentieth-century scholar-
performers. It utilizes modern techniques like disjunct melodies that favor dissonance, harmonic
choices that do not rely on dominant-tonic relationships, major and minor seventh chords that
allude to jazz voicings, textures that quickly alternate from sparse to full in the space of only a
few measures, and tone colors that push the instruments to explore a broader palette. His most
important instrumental works are Pygmalion délivré (1942), for which he won the Grand Prix de
Rome, Incantation, thrène et danse (1953), Symphonie (1953), Prélude, cadence et finale (1956),
and Quatuor pour saxophones (1964). He also wrote scores for the movies Le Voile Bleu (1942)
and Bel Amour (1951).
In the Messe de Requiem, Désenclos combines traditional and modern compositional
techniques, including the use of pentatonic scales/collections, quartal harmonies, stacked triads,
added note chords and extensions beyond sevenths, freely used accidentals,
4
transient key

3
“Alfred Désenclos (1912-1971),” La Sinfonie dOrphée. (2017, January 12). Retrieved April 1, 2022, from
https://lasinfoniedorphee.com (Written by Frédéric Désenclos)
4
Désenclos will freely use enharmonic notes within the same measure, phrase, or instrument. For example, in m. 3
of the Sánctus there is an Eb in the tenor line and a D# one beat later in the alto line.
9
centers, and parallel chord movement. These modern techniques all contribute to his unique
harmonic language.
Désenclos frequently uses the pentatonic collections horizontally and vertically,
particularly to begin sections or movements and is featured in distinct sections through planing.
He also stacks chords vertically within the pentatonic scale, sometimes dividing notes between
the choir and organ. While these extrapolations sometimes appear clearly as the pentatonic scale,
they sometimes manifest as two chords stacked together, quartal harmonies, seventh chords, or
combinations thereof, depending on the analysis method and contextual clues.
Arguments can be made for any of these recognized techniques in most analysis
situations. Désenclos also uses the pentatonic scale within whole measures. Sometimes, spanning
multiple beats between voices and organ, the pentatonic scale may appear in fragments across an
entire measure of music. Because of the varied implementations of the pentatonic scale
collections, alternative methods of harmonic analysis are useful for analyzing this music.
Despite using key signatures in the Requiem, Désenclos modulates freely without
preparation and explores harmonic areas unrelated to the key signature. He will do this for a few
measures or an entire section of music. For example, in the introduction to the Kýrie section at
m. 50, the key signature changes from Bmin to Amaj, but the first chord after this change is an
A#min7 chord, a half step above the expected tonic of the new key. Simultaneously, a B
pentatonic melody is played by the organ. Before the choral entrance, he eventually lands on
F#min, which justifies the Amaj key signature. Désenclos, like the jazz idiom that influenced
him, moves beyond traditional harmonic expectations before returning or not returning to the
expected tonality.
10
Combining the old and the new results in a synthesis of compositional styles. His concept
of harmony is untethered from the original key center of each movement and moves freely
between different key areas or pitch collections using one of his hallmarks largely influenced by
Debussy: parallel motion between chords. This planing motion orients the listener toward
horizontal movement rather than to vertical harmonies. Together with other twentieth-century
composers, Désenclos uses accidentals freely and sometimes uses the enharmonic spelling of
notes within the same measure, which indicates he is thinking in terms of pitch and interval
collections that are not bound by a key.

Compositions Studied

The Messe de Requiem (1963), scored for mixed choir with divisi, soloists, and organ or
orchestra, is musically analyzed, with insights for score study including potential problem areas
for the choir and soloists, ideas for working with an organist, and vocology considerations. This
dissertation refers to the organ choral score.
Additionally, other pieces will be briefly reviewed. His “Pater Noster,” set for unison
choir and organ, and his five motets for four voices. These include unaccompanied settings of
“Salve Regina” and “Nos Autem;” and settings with organ titled “O Salutaris,” “Sánctus,” and
“Agnus Déi.” The latter two are separate from the requiem and are stand-alone motets.

Instrumental Works

Désenclos is known more for his instrumental music, such as for saxophone and brass,
and there is no existing scholarship on his choral music. His instrumental music is quite different
from his choral music. While some composers write in one style or similar styles, his
instrumental music tends to look forward in the twentieth century toward modern composition
11
techniques. In contrast, his choral music is steeped in the traditions of the past and, especially in
the requiem, features a chant influence. The reinvestment in chant is evidence of the influence of
the Schola Cantorum de Paris.
5

The output of Désenclos consists of works for solo voice and mixed choir with organ,
including motets and a requiem. He also composed instrumental works for which he is most
well-known.

Table 1.2 Output of Instrumental Works

Suite brève for piano
Préambule, complainte et finale for horn and piano
Plainchant et Allegretto for trombone and piano
Suite brève dans le goût classique for euphonium and piano
Fantaisie for harp
Prélude, cadence et finale for alto saxophone and piano
Psylle for flute and piano
Quator for saxophones
Bucoliques (3 pieces for flute and piano)
Cantilene et divertissments for horn and piano
Trois voeux à un nouveau-né for string trio
D’un troubadour for clarinet and piano
Humble suite au Cantique des créatures
Incantation, thrène et danse for trumpet and piano
Aria et rondo for double bass and piano
Quintette for piano and strings

5
Glenn Watkins, “Church, State, and Schola.” In Proof through the Night: Music and the Great War, 1st ed.
(University of California Press, 2003), 157-69.
12
3 Pieces for violin and piano
Vitrail (3 symphonic pieces for chamber orchestra)
Prelude and fugue for organ
Pygmalion déliveré for orchestra
Symphonie
Douze Leçons d’harmonie (12 harmony lessons for students)

Literature Review

There are currently no dissertations on the choral music of Désenclos. There are no books
about his life or music. There are very few journal articles on his life and music. The existing
articles mostly report on the plagiarism scandal, when a fellow Frenchman tried to pass off the
requiem note-for-note as his own work and tried to portray it as the American premiere.
Interestingly there was far more written in the press about the scandal than about the life or
music of Désenclos, emphasizing the need for exposure to his choral music.
Each dissertation in existence deals primarily with saxophone, brass, or other
instrumental works, none extrapolating on brief mentions of his choral or vocal music. These
documents are a limited source of information on biographical details, in addition to material
with which to make comparison and contrast to his choral music.
Other published sources are recital accounts, album liner notes from the four existing
recordings, and brief concert reviews. While the liner notes are very valuable, most of the
information in these various media is not substantial, thorough, or complete regarding the choral
music of Désenclos.

13
List of Publishers to Locate the Music of Désenclos
Durand et Fils,
6
La Sinfonie d’Orphée, and Alphonse Leduc are the three publishers in
France who print and distribute the compositions of Alfred Désenclos. The United States
Distributor is Boosey and Hawkes. Hal Leonard and Presto Music are additional sources.

6
Please note that in the organ vocal score, the death date of Désenclos is incorrect and should be listed as 1971. It is
correct in the full score.
14
CHAPTER TWO

Biographical Information

From Le Portel (Pas-de-Calais), France, a town on the northern coast of France on the
English Channel, Alfred Désenclos (1912-1971) was a pianist, organist, composer, and educator
in the twentieth century.
1
Désenclos was born on February 7th, 1912,
2
to a family of modest
means. The seventh of ten children, he delayed his music education and worked as an industrial
designer in the textile industry to support his family. While working, he attended the Roubaix
Conservatory from 1929 to 1932, winning awards in piano, organ, and composition (specifically
in fugue). He studied music theory with Francis Bousquet (1890-1942), the 1923 Grand Prix de
Rome winner.
3

In 1932 he enrolled full-time at the Paris Conservatory, where he studied composition
with Henri Büsser (1872-1973), who was himself a student of César Franck (1822-1890).
4

Debussy chose Büsser to conduct his opera, Pelléas et Mélisande, after the original conductor
who premiered the work in 1902. And later, Büsser was hired as a consultant for the 1940
production to ensure the details, which Debussy closely monitored, were communicated in the
production effectively. The lineage from Debussy to Désenclos through Büsser
5
provides
evidence of the influence of Debussy (pentatonicism, planing, and use of non-functional

1
“Alfred Désenclos (1912-1971),” La Sinfonie dOrphée. (2017, January 12). Retrieved April 1, 2022, from
https://lasinfoniedorphee.com (Written by Frédéric Désenclos)
2
Some sources list the birthday of Désenclos as July, 7th 1912, but this is due to a misread of the European format
of listing birthdays. 7-2-1912 would read as July 7th in the United States but his birthday is in fact February 7th.
3
September Dawn Russell, “Pitch Organization and Form in Alfred Désenclos's Two Saxophone Works” ProQuest
Dissertations Publishing, 2010.
4
September Dawn Russell, “Pitch Organization and Form in Alfred Désenclos's Two Saxophone Works” ProQuest
Dissertations Publishing, 2010.
5
Jane F. Fulcher, Renegotiating French Identity : Musical Culture and Creativity in France During Vichy and the
German Occupation, (New York, NY: Oxford University Press, 2018).
15
extended harmonies)
6
found throughout the Requiem. To his list of achievements, Désenclos
won the prestigious Grand Prix de Rome for his cantata Pygmalion délivré in 1942.
7
With this
achievement, he joined a list of French masters, including Hector Berlioz (1803-1869) in 1830,
Charles Gounod (1818-1893) in 1839, Georges Bizet (1838-1875) in 1857, Jules Massenet
(1842-1912) in 1863, Claude Debussy in 1884, and Lili Boulanger (1893-1918) in 1913. Because
of World War II, he would not take residency at the Villa Medici in Rome,
8
but between 1942
and 1946, as part of the prize, Désenclos received a stipend and made several trips to Rome,
Italy, to create new works.
9

A self-described romantic, “his commitment to traditional techniques of composition and
the spirit of romanticism stood at odds with the post-war rise of serialism as the dominant
ideology in European new music.”
10
In addition to the influence of Debussy, Désenclos also
shows the influence of neo-traditionalist modernisms that characterized the French musical field
of the interwar period, which he brought with him into the post-World War II era.
His success led to an appointment as director at the Roubaix Conservatory from 1943 to
1950, resigning after seven years to dedicate himself fully to composition. While a student at the
Paris Conservatory, Désenclos served as choirmaster at the Church of Notre Dame de Lorette in
Paris, France. Later in life, he returned to sacred music and composed his two most famous
motets, “Salve Regina” and “Nos Autem” in 1958 and the Messe de Requiem in 1963. His final

6
Richard Taruskin, “Getting Rid of Glue,” in Music in the Early Twentieth Century: The Oxford History of Western
Music, (New York: Oxford University Press, 2009).
7
David Gilbert, "Prix de Rome," in Grove Music Online, (Oxford University Press, 2001).
8
Emily Adell Britton, “Jean Devémy and the Paris Conservatory Morceaux de Concours for Horn, 1938–1969”
ProQuest Dissertations Publishing, 2014.
9
Andrew Stewart, Liner notes for Elegy: Toby Hughes. Toby Hughes and Benjamin Powell. (Champs Hill Records,
2019).
10
Andrew Stewart, Liner notes for Elegy: Toby Hughes. Toby Hughes and Benjamin Powell. (Champs Hill
Records, 2019).
16
post began in 1967 when he was appointed professor of harmony at the Paris Conservatory,
where he composed many test pieces for the conservatory composition competitions. His most
notable conservatory competition submission was Prélude, cadence et final, for saxophone in
1956, which uses jazz rhythms and harmonies.
11
He held this position at the Paris Conservatory
until his death in Paris, France, on March 3
rd
, 1971.
12

Plagiarism Scandal

In May of 2001, the Capitol Hill Chorale of Washington D.C. unknowingly performed a
concert that included the Messe de Requiem by Désenclos. The piece was “given,” not
commissioned, to the chorale to perform as the “American Premiere” by French composer
Tristan Foison (b. 1961). Usually a great honor to premiere a composition, Foison deceived
director Fred Binkholder and gave the choir a note-for-note copy of the Requiem by Désenclos,
which was initially published by Durand et Fils in 1967. He printed it with his name as the
composer, changed the title to Requiem Mass, and added a dedication to legendary conductor
Robert Shaw with whom he claimed to have studied and was the inspiration to pursue musical
opportunities in the United States. According to Nola Frink, Shaw’s assistant for twenty-six
years, he may have attended open rehearsals but was not a student of Robert Shaw.
13

Foison was caught plagiarizing by an audience member who thought the piece sounded
familiar on the night of the concert. By the end of the performance, he figured out why. The
piece in question was a choral work that he, as an amateur singer, had performed a year prior

11
David Trendell, Liner notes for Désenclos Requiem and Motets, The Choir of King’s College London, David
Trendell, (Delphian Records DCD34136, 2013).
12
“Alfred Désenclos (1912-1971),” La Sinfonie dOrphée. (2017, January 12). Retrieved April 1, 2022, from
https://lasinfoniedorphee.com (Written by Frédéric Désenclos)
13
Pierre Ruhe, “ATLANTA COMPOSER FACES ‘MASS’ DOUBTS\ AUTHORSHIP OF PIECE IS
CHALLENGED,” The Atlanta Journal-Constitution, 2001, Cox Enterprises d/b/a The Atlanta Journal-Constitution.
17
with the Fairfax Choral Society in Vienna, Virginia. The next day, after confirming with his copy
of the Requiem, the audience member called Binkholder to break the news. A colleague of
Foison’s, Binkholder, expressed concern because if this accusation was true, it would “totally
destroy Tristan’s life…and brought up more questions about him than can be answered.”
14

Binkholder confronted Foison, who fumbled his words and said there was a mix-up at the
Durand publishing house where they filed his music incorrectly under Désenclos’s name. Foison
said he would clear things up with the publisher but never did. Likely to avoid any further
scrutiny and embarrassment, Foison fled to Paris, claiming he needed to tend to his ailing
father.
15

Further investigations have shown that Foison was a troubled person. He was caught
plagiarizing a violin concerto and another piece by Désenclos. The concerto was commissioned
for the Atlanta Community Orchestra. They paid four thousand dollars to Foison for the piece.
16

The other stolen piece written by Désenclos is Trois Voeux à un nouveau-né, a string trio for
violin, viola, and cello. Confirmed by Tobias Broeker, unofficial biographer of Foison, he
published it under the name Jay Weigel.
17
His resume was also filled with lies. He claimed to
have won the Leningrad Conducting Competition in 1989, the Prague Conducting Competition
in 1985, The Busoni Piano Competition in 1989, and the Prix de Rome in 1987. The Prix de

14
Pierre Ruhe, “A CLASSICAL PUZZLE\ ACCUSED OF STEALING ANOTHER COMPOSER’S WORK,
TRISTAN FOISON TAKES ANOTHER ENIGMATIC TURN,” The Atlanta Journal-Constitution, 2001, Cox
Enterprises d/b/a The Atlanta Journal Constitution.
15
Pierre Ruhe, “A CLASSICAL PUZZLE\ ACCUSED OF STEALING ANOTHER COMPOSER’S WORK,
TRISTAN FOISON TAKES ANOTHER ENIGMATIC TURN,” The Atlanta Journal-Constitution, 2001, Cox
Enterprises d/b/a The Atlanta Journal Constitution.
16
Pierre Ruhe, “A CLASSICAL PUZZLE\ ACCUSED OF STEALING ANOTHER COMPOSER’S WORK,
TRISTAN FOISON TAKES ANOTHER ENIGMATIC TURN,” The Atlanta Journal-Constitution, 2001, Cox
Enterprises d/b/a The Atlanta Journal Constitution.
17
Tobias Broeker, Question about Alfred Désenclos Plagiarism Scandal, Email. February 19, 2022.
18
Rome was last awarded in 1968, almost two decades before Foison claimed to have won the
historically important composition prize.
18

A few months after news of the scandal broke, the elusive Foison took a phone call in
Paris from Atlanta Journal-Consitution reporter Pierre Ruhe. Mr. Ruhe inquired bluntly why
Foison stole another composer's music. He offered flimsy and typical excuses such as being
“tormented,” “trying to survive,” and “desperately wanting success.” When pressed further if he
had ever stolen another composer's work, he vehemently but falsely replied, “Of course not.
Absolutely never.”
19

18
Pierre Ruhe, “A CLASSICAL PUZZLE\ ACCUSED OF STEALING ANOTHER COMPOSER’S WORK,
TRISTAN FOISON TAKES ANOTHER ENIGMATIC TURN,” The Atlanta Journal-Constitution, 2001, Cox
Enterprises d/b/a The Atlanta Journal Constitution.
19
Pierre Ruhe, “A CLASSICAL PUZZLE\ ACCUSED OF STEALING ANOTHER COMPOSER’S WORK,
TRISTAN FOISON TAKES ANOTHER ENIGMATIC TURN,” The Atlanta Journal-Constitution, 2001, Cox
Enterprises d/b/a The Atlanta Journal Constitution.
19
Figure 2.1 Original program from the “American Premiere” of the plagiarized
Désenclos Messe de Requiem.
20
CHAPTER THREE

Introït et Kýrie

The Requiem Mass takes its name and much of its general character (the 14th century addition of
the Dies irae notwithstanding) from the first word of the Introït: Requiem aeternam dona eis,
Domine, (Rest eternal grant unto them, O Lord). The source of this text is found in IV Esdras (The
Apocalypse of Esdras), an uncanonical apocryphal book. Esdras, a “second Moses,” is credited
with the organization of the synagogues and the determination of the books hallowed as canonical
among the Jews, but he is not the author of IV Esdras. The main body of the book, chapters 3-14,
is ascribed to an unknown Jew from the first century, c. 97 A.D., but the passage containing the
requiem aeternitates and lux perpetua is from Chapter 2, verses 34-45, a portion of the
introductory and concluding chapters which shows evident traces of Christianity and is ascribed to
the 3rd century c. 201-268.
1

Kýrie eleison, the acclamatory supplication…in the Psalms…is found in pagan antiquity and in
4th century Jerusalem. In the 5th century, Pope Gelasiius I (492-496) substituted a litany for the
Common Prayer of the Church and the Greek form was retained as the people’s response. The
litany was then moved to the beginning of the Mass, retaining the Greek form, Κύριε ἐλέησον,
(Kýrie eleison), as it still does today. The second portion, Christe eleison, was added by Pope
Gregory I (d. 604). The Ordo of St. Amand of the 8th century is the first evidence of the Kýrie
consisting of the familiar nine acclamations. Its tripartite ABA structure, with each part having its
own intrinsic tripartite structure, has been attractive and inspirational to composers throughout
history, from the earliest plainsong to the present day…The Kýrie of the Requiem Mass is the
portion of the opening Entrance rite which is sung following the Introït Requiem aeternam.
2

Marked molto moderato with two sharps and beginning in common time, the first note
Désenclos writes is a low A in the organ's pedal, followed by a Bmin triad in the first inversion
on beat four. This chord exemplifies a recurring theme throughout the requiem: is this a minor
seventh chord or a chord built with the notes of a pentatonic scale? Désenclos uses both so
frequently that the answer depends on pattern and function. In this case, the choir’s first chord is
based on D pentatonic without the E natural.
Despite the scale in the right hand of the organ in m. 2 beginning on a D, it spells a G
pentatonic scale, leading to the choral entrance in measure three, which lands distinctly on a
chord made up of D pentatonic notes. Although Désenclos rarely adheres to the key signature, in

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
2
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
21
this case, it is difficult to ignore that the organ pedal moves from low A down to D in the context
of a key signature with two sharps to set up the choral entrance. If he wanted the chord to
function as a Bmin7, he would not have begun with an A and certainly not put its relative major
as the first choral entrance. The Requiem aeternam section, mm. 3-11, confirms this
interpretation through the continued use of pentatonic chord collections in a similar fashion.

Example 3.1 Messe de Requiem, Introït et Kýrie, mm. 1-5

The text to open the Introït is the traditional “Requiem aeternam dona eis Domine: et lux
perpetua luceat eis,” which translates to “Grant them eternal rest, Lord, and let perpetual light
shine upon them.” While traveling through various pentatonic chords with natural roots, from
measure five to six, Désenclos moves harmonically by a tritone, from a D pentatonic area to Ab
pentatonic, on the important word “Domine” (Lord). He does this successfully because of good
voice leading. The notes of D pentatonic and Ab pentatonic are a half-step away despite the root
leaping a tritone. Returning to natural chord roots before the word “Domine” ends and after only
two and a half beats. In m. 8, we see the first divisi of the requiem. The tenors and altos are
tasked with splitting forces until the end of this section in m. 12. In m. 11, Désenclos returns to
22
the D pentatonic area before modulating by a half step. The intentional parallel motion (planing)
in this section comes back in various ways throughout the requiem.

Example 3.2 Messe de Requiem, Introït et Kýrie, mm. 6-9

In m. 12, an open fifth of C# and G# underpins a brief organ transition that hints at the
melodic and rhythmic material in the Kýrie section located at m. 50. The perfect fifth references
the harmonic structures of medieval plainchant.
Example 3.3 Messe de Requiem, Introït et Kýrie, mm. 12-13

23
Marked quasi gregoriano, m. 14 begins with the tenors chanting on a C#, followed by the
altos two measures later on a G#. The scales they sing comprise the G# natural minor scale, four
or five notes at a time per phrase. M. 18 is the first indication of the C#min key area when the
third is added in the sustained organ. An E natural is sung briefly in the tenor part but confirmed
by the organ in m. 18.

Example 3.4 Messe de Requiem, Introït et Kýrie, mm. 14-19

In m. 20, the sopranos enter on a C#, and the organ plays the first full triad of this section.
While the tenors and altos subtly weave in the next text section before the sopranos are finished
with their chant text and before the basses have had their entrance, m. 21 begins to fill out with
an F# pentatonic chord that moves back and forth with a C#min7(add9). The basses finally enter
at m. 22 on a G#, but this time their chant uses five notes instead of the four-note pattern as
before. The text in the quasi gregoriano section is Te decet hymnus Deus in Sion, et tibi reddetur
votum in Jerusalem, which translates to A hymn is due to you, O God, in Sion and to you shall a
vow be repaid in Jerusalem.

24
Example 3.5 Messe de Requiem, Introït et Kýrie, mm. 20-24

M. 25 begins the transition to the next text with major seventh chords. The text transition
happens at m. 27, also marked by rehearsal 1. The organ plays in three-part triplets alternating B
and E pentatonic chords over an F# organ pedal in m. 27 and alternating C#min7(add9, 11)
chords with an E pentatonic chord, still over an F# pedal. The sopranos and altos make the first
entrance on the word Exaudi, followed by the tenors, as the basses finish their chant line from
the previous section.

25
Example 3.6 Messe de Requiem, Introït et Kýrie, mm. 25-28

The three upper voice parts continue in m. 29 building the musical anticipation over
Emin(maj7, add9). The basses enter and join the other three parts, one beat before m. 31,
combining forces to set up the first climax of the movement that notably, with two sharps as the
key signature, shifts to a Cmaj7 chord. The text here is Exaudi orationem meam, which translates
to Hear my prayer. While prayers are often quietly uttered, in this case, Désenclos sets this text
as a forte and desperate cry.

26
Example 3.7 Messe de Requiem, Introït et Kýrie, mm. 29-33

The next section of text beginning at m. 34, lands on a C#min chord (directly after the C
natural section) after briefly hinting at A Dorian and G pentatonic in the previous one and a half
beats. The text ad te omnis caro veniet translates to for unto thee all flesh shall come. The chords
underneath explore C#min, D#min, E pentatonic, F#min, and G#min through planning between
27
mm. 34 and 36. M. 37 begins a descending organ pedal movement by step to return to the initial
choral entrance on a D pentatonic chord.

Example 3.8 Messe de Requiem, Introït et Kýrie, mm. 34-37

The Requiem aeternam music and text are repeated verbatim from mm. 38-45 until
m. 46, where it varies. (It only varies this second iteration, not the third and fourth in later
movements). The variation deviates by changing the last three measures of this section. From
Amaj7(add9) to a rare A7(add9) for one measure, Désenclos steers back to the D pentatonic area
from mm. 47-49.

28
Example 3.9 Messe de Requiem, Introït et Kýrie, mm. 46-49

With a simple D pentatonic ascending scale in the organ, Désenclos alludes that he will
stay in two sharps only to switch abruptly to three sharps, pivoting from B natural to an A#min7
at m. 50. This is particularly interesting because he wrote this section in three sharps but lands a
half step above the expected A or F#min area on an A#min7. Using chords with sharp roots, m.
50 begins the organ interlude that will start the next section structurally, musically, and textually.
The left hand of the organ plays through a series of descending minor seventh chords with a few
quartal and pentatonic chords in between. And while the organ begins in an A# area, the right
hand plays a melody with the B pentatonic scale, a half step away. Using post-tonal language in
a more traditional context, Désenclos shows his compositional forethought by using common
tones and notes a half step away to successfully stack B pentatonic over A#min7. As alluded to
before, in m. 12, the melody and rhythm in the right hand are fully realized and will be featured
in various ways through the end of the movement.

29
Example 3.10 Messe de Requiem, Introït et Kýrie, mm. 50-53

M. 54 begins with a choral entrance on the new text, Kýrie Eleison, which translates to
Lord have mercy. The upper three parts enter, followed by the basses two beats later. Désenclos
stretches the word eleison over three measures and finishes the phrase on an octave C#.

Example 3.11 Messe de Requiem, Introït et Kýrie, mm. 54-57

The organ enters at the downbeat of m. 57, playing the previous organ interlude exactly
as before, but only for two measures and one beat, before deviating up a whole step on beat two
of m. 59.

30
Example 3.12 Messe de Requiem, Introït et Kýrie, mm. 57-61

The second iteration of the Kýrie begins similarly to the first in that the first three beats
are the same, except follow the organ and shift up a whole step to the G#min key area. Increased
dissonance begins in m. 62 with an A# and B natural between the basses and tenors and a D# and
E natural between the altos and sopranos. Again, most of the choral singing is unaccompanied
except for the beginning and end of the text, as the organ ties each choral phrase together. In
m. 64, Désenclos again finishes the phrase with unison octaves in all choral parts. The organ
interlude enters as expected, playing the first two measures of the original theme from m. 50 but
up a whole step and beginning on the uncommonly spelled B#min7.

Example 3.13 Messe de Requiem, Introït et Kýrie, mm. 61-64

31
The third entrance of the Kýrie text begins in m. 66 with a natural-root section on a
colorfully extended Amaj7(add9,11,13). The right hand of the organ melody ties over the bar
line, making it feel slightly unstable for the beginning of a text section. The sopranos enter alone
this time, followed by the altos two beats later and the tenors two beats after the altos. The
harmony shifts for two measures descending to Gmaj7 with the same extensions as above.
Notably, moving to F natural for one measure in a key signature of three sharps, Désenclos sets
up another shift back to the sharp root area of C# pentatonic voiced in fourths. This is also where
the basses enter to add to the crescendo over the next four measures until all voices land on
accented syllables to finish the phrase. This time, voices and organ share an austere open fifth of
E# and B# instead of octaves.

Example 3.14 Messe de Requiem, Introït et Kýrie, mm. 65-74

32
Example 3.14 Messe de Requiem, Introït et Kýrie, mm. 65-74 (continued)

Two beats later, in m. 75, the middle section of the Kýrie begins with the first fortissimo
of the Requiem on the word Christe with a dramatic F#min chord. For the next four measures,
Désenclos paints this section in a diminuendo with minor chords in parallel motion and notably
without any sevenths or other extensions. In the middle of the eleison phrase, he writes an Eb
min chord after E#min three beats prior. Eventually landing on F#min in m. 78, he shifts down
by a half step for the second Christe section.

33
Example 3.15 Messe de Requiem, Introït et Kýrie, mm. 75-78

Christe eleison, which translates to Christ have mercy, is repeated three times according
to tradition. Beginning with an Fmaj7 chord at m. 79, the altos enter first, followed quickly by
the basses and tenors together. Désenclos eases into the second iteration of Christe eleison with
minimal accompaniment and stretches Christe over three measures before stating the full phrase
with a much thicker texture and moving to an area with flat roots. In m. 82, all four parts sing a
Bbmin7(add9, 11). Ascending from the low Db in the organ pedal up the scale through
pentatonic area chords, the organ features uncharacteristic moving eighth notes in multiple
voices that help build to the third instance of this text.

34
Example 3.16 Messe de Requiem, Introït et Kýrie, mm. 79-84

Expanding with contrary motion in m. 84, this third and final iteration in m. 85 begins
with a fortissimo Gmin chord mimicking the first four measures of the Christe entrance in m. 75
shifted up a half step. Again, notably without an added seventh, Désenclos moves through
chromatic planing.

35
Example 3.17 Messe de Requiem, Introït et Kýrie, mm. 85-88

A phrase extension in the organ, alternating Gmin and Cmaj, followed by more chromatic
planing in m. 89, sets up an ominous-sounding choral phrase extension of the word eleison in
mm. 90-92. Eleison moves from Gmin through F#min, D#min, and Emin before leaping a tritone
and beginning the recapitulation of the Kýrie section. Désenclos repeats this section exactly as
written before, from mm. 92-116.

Example 3.18 Messe de Requiem, Introït et Kýrie, mm. 90-92

36
The conclusion of this movement, a six-measure choral phrase extension of the word
eleison, which begins at m. 117, marked poco piu lento, moves through minor seventh chords
over an organ B pedal. The last two measures drop the pedal down to an F#. The lower voices in
the organ and chorus use descending and parallel major and minor sixths, while the right hand
and upper voices feature the melody that finishes with a passing suspension on top of an F#min
chord.

Example 3.19 Messe de Requiem, Introït et Kýrie, mm. 117-122

It is worth noting that at the end of this movement, there is no Gradual repeating the
Requiem aeternam text, no Tract which would use the Absolve Domine text, and no Sequence
which would feature the Dies Irae text with one exception to the latter. The Píe Jésu movement
featured later in the requiem as a dedicated movement is taken from the final couplet in the Dies
Irae text and, therefore, purposely written out of liturgical order. Furthermore, there are no
Gloria, Alleluia, or Credo movements as they are not featured in the Requiem Mass because they
would be thematically inappropriate.
37
Conductor considerations for the Introït et Kýrie

During the score study process, ensure that the organist is familiar with French organ
sounds and terminology. While some markings are in the traditional Italian, some, and especially
the organ, markings are in French. It is important to collaborate with the organist to choose
authentic sounds or a venue with an instrument that would be more accurate in representing the
French organ sound as it is quite distinct.
In m. 8, consider the divisi and the vocal forces available. Because tenors are often
difficult to spare and some mezzo-sopranos will have an easier time not singing a sustained high
F#, an equal and balanced three-part split could be achieved by having the baritones sing the
tenor two part and the mezzos sing the alto one part. Or conversely, since the tenor part does not
have a high tessitura, perhaps the bass part needs to be louder for balance, and the tenor twos
should stay on the assigned part.
In m. 14, as noted in the full score, feel free to assign the quasi gregoriano section and all
solo sections in a way that best fits the ensemble. Even though it is implied here to be the full
section, plainchant is challenging to make sound ethereal and free-flowing and may be better
suited for one to three singers per line. For the sake of tuning, use a minimum of three voices.
The added text in the tenor and alto parts beginning in mm. 21-22 is curious and seems
akin to when Beethoven added the word “O” to the text O miserere in his Missa Solemnis.
Désenclos has added the letter E to be stretched out over six measures to give those sections
something to sing or have them weave in part of the text. It is unclear if this “E” should represent
the first vowel sound in Jerusalem or was chosen as the least disruptive vowel to the surrounding
text. The altos in m. 25 sing the last three syllables of the word Jerusalem to match the soprano
part, so it is likely meant to be sung to match the first vowel in Jerusalem. Regardless of his
38
intention, it should be noted for comprehension of the overall text and sequence of text and how
it is being used compositionally. Take note in m. 26: there is a stray dot in the second beat of the
bass part. It is a printing mistake and not a dotted rhythm.
The organ part in m. 27 is noteworthy because Désenclos uses triplets. He only does this
a few times throughout the Requiem, usually in the organ and the voices of the Píe Jésu. Since it
is used infrequently and usually on important words or phrases in this sacred text, perhaps it is a
compositional reference to the Holy Trinity. In m. 30, note that the tenor part finishes its phrase
on the word exaudi, joining the other three parts for the climax on the downbeat of m. 31, with
the syllable au.
The downbeat of m. 31 has organ and voices together on the downbeat and with a forte
dynamic on the text “Hear my prayer.” Depending on the interpretation, it could be a quiet
internal moment, but significantly, Désenclos sets it here as a desperate and loud plea.
Considering the harmony at mm. 34-35 (and throughout the requiem), perhaps the melody in the
right hand or the soprano part should be analyzed horizontally and separately from the vertical or
tertian chords underneath. It may prove useful to separate them, but sometimes they go together
quite well.
In m. 38, the Requiem aeternam text reappears. Consider if any repeat of text or music
should be repeated exactly in every way or whether a different approach is required to further the
narrative. The music before and after these repeats should help answer this question. Mm. 46-48
contain different harmony than the other three instances of this section. Additionally, the rhythm
in the choral part is augmented. Take note of the accidentals on the G in m. 46 in the organ,
soprano, and bass parts. Désenclos is not afraid to use G# and G natural cross relations.
39
Considering the origin and tradition of the introit, it could be performed as a processional in live
performance if it did not present a distraction or logistical issue.
In the Kýrie section, in m. 57, and any time the word eleison is sung, observe the note at
the bottom of the page that says prononcer: leï-son. The umlaut above the “i” is a trema ( ï )
which means to pronounce both vowels with slight glottal and not to use a glide or elision
between e and i. It is unclear if this note is from the publisher or Désenclos, but due to its
specific nature, it is probably from the composer's pencil.
In the second Kýrie and throughout, note the brief half steps sung by two parts, for
example, in m. 62, or when one form of a note is used (G natural) in m. 70, and in the same
phrase in m. 70, a different form of the note (G#) is used. This is intentional by Désenclos to
move or modulate abruptly by half step or by a tritone. Noting where this happens will help the
choir situate their ears and become familiar with the requiem’s harmonic language.
Carefully select and prepare the sopranos who will sing the high F#s and G naturals in the
Christe section, which begins in m. 75. Since they are marked fortissimo, a less experienced
soprano might over-sing or use an unsuccessful vowel shape. Modifying the soprano vowel
toward [I] on the word Christe in mm. 75 and 85 will increase resonance and allow the section to
achieve balance within the choir more easily. Consider also removing the consonants from the
soprano part while the other parts convey the diction with consonants in a lower range, freeing
the sopranos to be more successful in approaching the high notes.
Throughout the Requiem, draw the choir’s attention to repeated sections of text or music
to aid their comprehension of the formal structure. Note if they are repeated in the original text or
if the composer takes artistic liberty to explore a connected or different musical idea. The section
beginning at m. 92 explicitly repeats the first Kýrie section until m. 117. Here there is an
40
extension of the text with a repeat of the word eleison, which is stretched over six measures and
serves as a codetta concluding the movement. This codetta and text found at mm. 79-81, and m.
90-91, repeats out of sequence as an extension of a musical idea instead of a repeat of a full-text
section. It is noteworthy that mm. 72-81 serves as a lead-up to the main “Christe,” as the word is
finished before the next entrance of the text. It does not function the same way as in m. 66, where
the word Kýrie is repeated but follows the polyphony and does not appear like a separate or lead-
in section. Additionally, in m. 116, there is a notable rest for two measures not preceded by a
fermata and should be used to allow the notes before it to ring in the performance venue and
create anticipation for what will come next.

41
CHAPTER FOUR

Offertoire

The text for the Offertory was formerly a prayer that was recited for the sick who were about to
die; it was later adopted into the Requiem Mass for the Dead. This accounts for the variant
readings of some translations in which defunctorum is rendered as “dying” instead of “departed,”
and libera as “preserve from” instead of “deliver.”
1

Beginning with the most extended organ introduction of the Requiem, the second
movement is the offertory or Offertoire in French. Marked moderato and beginning with no key
signature, this movement uses mixed meter with sections that stay in 3/4 and 4/4 for extended
periods. The organ introduction begins with a theme that appears four times and lasts for about
three and a half measures, traveling through all three time signatures used throughout the
movement. It begins in the right hand, and then two beats later in the left. This theme is repeated
beginning at m. 5. The right hand now restates exactly the left hand from the prior entrance, this
time entering first, while the left hand states the theme again but on a previously unused starting
note. The second pair of entrances uses a solo stop on the organ. Two of the existing recordings
begin by pulling the stop in the pick-up to m. 5, but the other two—one of which is Frédéric
Désenclos (b. 1961)
2
at the organ console—pull the stop on the downbeat of m. 5. Aside from
the pick-up not including original thematic material, one can safely assume that Frédéric knows
what his father intended for this organ introduction and the colors that should be used.

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
2
Frédéric Désenclos is an accomplished professional organist and educator holding university teaching posts and is
a staff organist at the Chapel Royal of the Palace of Versailles. He is also the son of Alfred Désenclos.
42
Example 4.1 Messe de Requiem, Offertoire, mm. 1-10

Switching to one flat at m.11 begins the choral entrance in Dmin on the words Domine
Jesu Christe, which translates to Lord Jesus Christ. Moving through Gmin and Dmaj for one
measure, each sets up the next part of the text. The word Domine is added here out of sequence
with the original text while the music is repeated exactly for one measure and moves on to Rex
gloriae, which translates to Lord, King of Glory, all over the same chord progression as before.
43
Example 4.2 Messe de Requiem, Offertoire, mm. 11-18

M. 19 sets the text libera animas omnium fidelium defunctorum de poenis inferni, which
translates to set free the souls of all the faithful departed from the punishment of hell. This is
sung over a series of minor chords that evolve into more dissonant chords, including half- and
fully-diminished D chords that paint the phrase “punishment of hell.”

44
Example 4.3 Messe de Requiem, Offertoire, mm. 19-25

The next text at m. 26 closes this section and reads et de profundo lacu, which translates
to and from the deep pit. This is sung over a series of descending minor chords, painting the
journey to the “deep pit” and using dissonant chords, furthering the musical metaphor.

45
Example 4.4 Messe de Requiem, Offertoire, mm. 26-29

A new section begins at m. 30, and the key signature changes to six sharps. Traveling
through chords based on F# pentatonic for two measures, briefly hinting at D7 for a two-measure
organ solo, the organ pedal maintains the F# as the third of the chord to keep the listener
grounded there before the text comes in at m. 34 over F# pentatonic. The text at m. 34 reads
Líbera eas de ore leonis ne absorbeat eas tartarus, ne cadant inobscurum, which translates to
Set them free from the lion's mouth, so that hell does not swallow them, so that they fall not into
darkness. This text is delivered in duet pairs beginning with the tenors and basses, followed one
measure later by the sopranos and altos. This section moves through the established F#
pentatonic to B pentatonic to D#min7(add9) to D7 to B7(add9) and ends on two measures of
Fmaj7.

46
Example 4.5 Messe de Requiem, Offertoire, mm. 34-45

Beginning at m. 46, the text sed signifer sanctus Michael repraesentet eas in lucem
sanctam translates to but let Michael the holy standard-bearer bring them forth into the holy
light. This is over the pentatonic areas of E, C#, and D, which feature quartal voicings in the
organ and choral parts.

47
Example 4.6 Messe de Requiem, Offertoire, mm. 46-53

The end of this section at m. 54 is structurally tricky. The text is the final word of the
couplet, which means Holy, but musically and structurally, it begins a new musical idea that will
show up later in m. 91. The climax of this phrase is over C and C pentatonic, ending with
F#maj7 leading the listener again to F# pentatonic. At m. 58 for two measures, an ascending
pentatonic interlude transitions to the next section of the text, a device used throughout the
Requiem.
48
Example 4.7 Messe de Requiem, Offertoire, mm. 54-59

The section that continues in F# pentatonic in m. 60 is one of the most beautiful and
intimate parts of the requiem. The text reads Quam olim abrahae promisisti, et semini ejus,
which translates to as once you have promised Abraham and his seed. Moving upward through
alternating D# half-diminished seventh chords and B pentatonic chords, Désenclos lands on a D7
chord in m. 64. Marked rallentando and stretching ejus over four measures moving through F#,
G#, and A# pentatonic. These measures paint the spread of God’s promise through his chosen
people. This section ends with a four-measure F# pentatonic organ interlude and concludes with
one of only two mid-movement fermatas in the requiem.

49
Example 4.8 Messe de Requiem, Offertoire, mm. 60-71

Beginning unaccompanied with SATB solos at measure seventy-two, the upper three
parts sing the text in F#, then jump a tritone to Cmaj as the bass solo enters. As stated at the
beginning of the full score, solo sections in the requiem can be sung by soloists, small groups, or
entire sections. Keeping with his disregard for the key signatures, instead opting for pitch
collections that move around freely and switch accidentals—sometimes every measure or even
within a measure—Désenclos continues the jump by tritone two more times. He first moves
50
between Ebmaj and Dbmaj and back again before jumping a tritone away to Amaj and doing the
same thing between Bbmaj and Abmaj before jumping to Emaj. The text in this section is
Hostias et preces tibi Domine laudi offerimus, which translates to Sacrifices and prayers of
praise, Lord, we offer you. After many prayers of supplication, this offering finally highlights
this text's namesake and liturgical nature.

Example 4.9 Messe de Requiem, Offertoire, mm. 72-77

After a standard Désenclos ascending pentatonic organ interlude, this time in Emaj, the
choir enters at m. 79. Switching back to one flat, there is a repeat of mm. 11-18 with a different
text: Tu suscipe pro animabus illis, quorum hodie memoriam facimus, which translates to receive
them, Lord, on behalf of those souls whose memorial we make today.

51
Example 4.10 Messe de Requiem, Offertoire, mm. 79-86

Transitioning to C# and E pentatonic areas at m. 87, sequential eighth notes in the organ
and the choir build in intensity and paint the text depicting an ethereal transition through a
dizzying dream state from death to life. Often voiced in fourths giving a sense of lift, the text fac
eas, Domine, de morte transire ad vitam translates to make them, Lord, cross over from death to
life. Descending from E chromatically down to C at m. 91, the musical material returns from
mm. 54-71, but with a different text.
52
Example 4.11 Messe de Requiem, Offertoire, mm. 87-90

It is significant that m. 91 features, again, the last word of the previous phrase, which also
structurally begins this last section, is the word vitam, or life. It is again spread out over three
measures written high in range and with a forte dynamic. Désenclos seems to do this
deliberately, highlighting the two words “holy” from m. 54 and “life” from m. 91.

Example 4.12 Messe de Requiem, Offertoire, mm. 91-96

53
The text and music at m. 97 are again delivered with an intimate piano dynamic and
repeated exactly as before to emphasize the promise to Abraham and his people. The organ
interlude repeats as before, this time featuring the first of three pianississimo dynamic markings
in the whole requiem.

Example 4.13 Messe de Requiem, Offertoire, mm. 97-110

54
Conductor considerations for the Offertoire

It is not explicitly mentioned in the score, but in mm. 11-23, a messa di voce on all dotted
quarter notes is an effective interpretative choice borrowed from the nineteenth century,
specifically Johannes Brahms (1833-1897). The first four words, “Lord,” “Jesus,” “Christ,” and
“King,” also contribute to this emphasis as they are quite important. In m. 15, due to the added
word, Domine, into the text, the Vlaams Radiokoor and Les Eléments choirs add a luftpause to
differentiate the word and give it special attention. The comma would also suggest this stylistic
choice. Considering Frédéric Désenclos was involved in the recording project, it would be safe to
assume this artistic choice is good. However, be careful of leaving too much space between the
notes, which would deteriorate the phrase. Take note of the paired unison voicings throughout.
They show up in the first choral entrance with the sopranos and basses, in m. 15 with the same
voice parts, switch to sopranos and tenors in m. 19, then back to soprano and bass in mm. 23-29,
effectively making this section written for three voice parts with a few exceptions. Look for
three-part writing again when the music from m. 11 returns in m. 79. Be careful not to let the
eighth-note figures in the alto and tenor parts in this first section get lost in the vocal texture. In a
differently organized section of unison pairs in m. 34, be sure to address that almost all voice
parts will sing through their first register shift and to be careful not to carry unwanted vocal
weight throughout the dynamic increase.
Take note of the use of accidentals in m. 24 over the words “pains/punishment of hell,”
especially how G# and G natural are used in the same measure and briefly together in addition to
using both D diminished and half-diminished chords in the choir and organ. Due to Désenclos
using accidentals freely within the same key signature and his pattern of not abiding by those key
signatures and opting for pitch collections, many courtesy accidentals appear throughout the
55
score. Make sure to note when they are in the score lines and when they appear above the line,
like musica ficta. A good example of this is in m. 27, where there are four of them, two in each
style.
At m. 54 (and m. 91), be careful that the sopranos approach the high A with a vowel that
will be successful and that they sing within the context of the choir to not stick out from the
texture. For some, it will be an open vowel, and for some, a more closed one; the difficult part
will be making sure that this vowel difference will not cause the chord to sound out of tune.
Mm. 60 and 97 are intimate and beautiful; make sure the choir approaches this with crisp
diction, enough air, and a bright placement inside the piano dynamic so the text is heard. A
pitfall for some less experienced singers would be placing the sound further back in the throat to
feign softness.
In m. 72, make sure the organist sees the quarter note hold after the fermata to support the
singers as they approach the unaccompanied section. Additionally, in m. 72, coach the tenor solo
or section to approach the high F# with a vowel that is not too covered and a balanced onset, so
the common mistake of using an [h] when singing hostias is avoided. Over covering the vowel
will contribute to a flat note and make the subsequent high G naturals even more difficult. To
solve this, remind the tenors to sing with a lifted soft palate and a relaxed larynx to make the note
more accessible. A balanced onset will make the high tessitura more sustainable. This entrance
alone would be quite difficult and may indicate that soloists should sing it if the whole tenor
section has difficulty. Ask that only the tenors who can access those notes easily sing the first
three measures or consider adding a few altos until the part descends below the top line in m. 75.
Similar range and vowel issues may need attention for the basses at m. 74. A few second tenors
could also help if they can be spared.
56
Be careful to keep a consistent tempo in mm. 87-89. The quickly moving eighth notes
and crescendo make it easy to rush. In m. 97, consider approaching this repeated section a
different way than before. Perhaps more deliberately or even softer. In the final two measures,
the organist should have the box all the way closed and be careful not to use any two or four-foot
stops in addition to any mixtures.
3

3
Two and four foot stops and mixtures would be too stark timbrally and too loud for a quiet and intimate closing
moment.
57
CHAPTER FIVE

Sánctus

The Sánctus or Trisagion (Thrice Holy) is the culmination of the prayers of thanksgiving offered
by the celebrant in the Preface, a…continuation of his final words: “The heavens and the heavenly
hosts together with the blessed Seraphim in triumphant chorus unite…saying:” and the people (or
choir) then join with “Holy, Holy, Holy,” words which are adapted from the praises of the two
seraphim found in Isaiah 6:3: “And one cried unto the other, and said, Holy, Holy, Holy is the
Lord of hosts: the whole earth is full of his glory.”
1

The Benedictus follows the Sánctus and is…based on Psalm 118:26; Blessed is he that cometh in
the name of the Lord; Hosanna, in the highest.

Marked non troppo lento, with a key signature containing no sharps or flats, Désenclos
begins the third movement with an organ introduction. The melody begins on the fifth scale
degree of the F pentatonic scale and proceeds upward as the organ pedal descends to the first
choral entrance in m. 3. The organ pedal plays a low C while the left hand plays a G and E in the
interval of a sixth, and the right hand plays an A min triad in the second inversion. The choir
sings the first of three iterations of the Sánctus text, which translates to Holy, Holy, Holy. The
choir enters syncopated and moves back and forth in the interval of a minor third between Amin7
and Cmin7 in various voicings. The upper and lower voices feature movement of parallel fourths
between the sopranos and altos and the tenors and basses. Interestingly, despite the key signature
with no sharps or flats, in the third measure, Désenclos uses an Eb in the tenor part and a D# in
the alto part providing evidence that Désenclos is thinking in non functional pitch/interval
collections that do not need to resolve. These accidentals are used for color and expressive
function, rather than harmonic function in relation to one another.
2
This is the only movement
where the choir has a syncopated first entrance.

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
2
Richard Taruskin, “Getting Rid of Glue,” in Music in the Early Twentieth Century: The Oxford History of Western
Music, (New York: Oxford University Press, 2009).

58
Example 5.1 Messe de Requiem, Sánctus, mm. 1-4

While the chords could spell movement between Amin7 and Cmin7, one could also argue
that the movement is between chords flavored with the C and Eb pentatonic scales without the
second scale degree. This makes more sense considering the lowest bass note in the organ is a
pedal C with a G and E in the left hand. While there is an Amin triad in the right hand, paired
with the obvious Cmaj triad outline in the lower organ, one could conclude that Désenclos uses
pentatonicism to color these chords. There is little evidence that the chord on the downbeat of the
measure is meant to function as a first inversion Amin7 chord.
M. 5 begins with upward motion from low to high in the organ part, dancing around the
C pentatonic scale before landing on a Cmin7 chord in measure seven. However, as in the
previous entrance, it would be more accurate to analyze the second Sánctus as moving between
Eb pentatonic and Gb pentatonic again without the second scale degree. The choir enters singing
Sánctus, moving in the same alternating minor third mediant relationship between Cmin7 and
Ebmin7. Again, the upper and lower voices move in mostly parallel fourths. The same
59
enharmonic spelling is also present in the same bar, except this time, it is a Gb in the tenor and
an F# in the alto.

Example 5.2 Messe de Requiem, Sánctus, mm. 5-8

M. 9 has a similar upward organ movement as before, outlining Eb pentatonic as the
choir sings the third and final iteration of the Sánctus text. Featuring explosions of sixteenth-note
runs in the upper two parts with the loudest dynamic of the three entrances, the music moves
each measure through the different pentatonic tonal areas including Eb, C, Bb, Ab, Gb, and back
to C with exuberant holy joy. In the same way as before, the chordal spelling of the notes used
could indicate a minor-seventh chord, but Désenclos uses different pentatonic collections to
color each measure.

60
Example 5.3 Messe de Requiem, Sánctus, mm. 9-16

Continuing in C pentatonic, the text at m. 18 is Dominus Deus Sabaoth, which translates
to Lord God of Hosts. Each part has staggered entrances ascending upward that begin on various
points of the C pentatonic scale. The tenors enter on a G, followed by the sopranos, basses, and
altos, who all enter on a D. The choir sings together on the word Sabaoth while the organ
outlines an Ab pentatonic scale then moves to F pentatonic a measure later.

61
Example 5.4 Messe de Requiem, Sánctus, mm. 18-20

M. 21 begins the text Pleni sunt caeli et terra gloria tua, which translates to Heaven and
earth are full of thy glory. A Gbmaj7 chord moves to Ab pentatonic over Bb before rising again.
Then in m. 23, there is a similar harmonic progression, this time moving from Gbmaj7 to G
pentatonic over A. Both of these two-bar phrases resemble waves in the ocean as they move
from high to low and back to high again.

Example 5.5 Messe de Requiem, Sánctus, mm. 21-24

62
In m. 25, is a Gbmaj7 chord with the choir entering with the text gloria tua. This
proceeds to E pentatonic for one measure and D pentatonic, setting up the next section of text.

Example 5.6 Messe de Requiem, Sánctus, mm. 25-27

Hosanna in excelsis finishes the Sánctus text. It translates to Hosanna in the highest.
Beginning in the middle of m. 27 in the D pentatonic measure that ended the last section of the
text, it goes to C pentatonic. High and forte dotted half notes make an octave jump down while
the organ features triplets in the right hand, representing the Holy Trinity. In m. 29, Désenclos
moves from Eb to Gb to A, which outlines a diminished chord landing again on C pentatonic.
This happens again with the text in excelsis with the movement of minor thirds from Eb to Gb to
A landing on C pentatonic. Then moving from Eb pentatonic in mm. 33-34 before settling on C
pentatonic in mm. 35-36, ending with the first pianississimo dynamic thus far in the choral parts
and transitioning into the Benedictus section of the third movement.

63
Example 5.7 Messe de Requiem, Sánctus, mm. 28-36

64

The next section begins at m. 37 with the Benedictus. Sometimes a separate movement,
Désenclos ends the Sánctus movement with the text Benedictus qui venit in nomine Domini,
which translates to Blessed is he who comes in the name of the Lord. The alto soloist enters first,
chanting the text with a C Lydian scale identified by the raised F#. This is followed by the
soprano chanting in Gmaj.

Example 5.8 Messe de Requiem, Sánctus, mm. 37–38

The bass soloist and tenor soloist follow, mimicking the tonal areas of the alto in C
Lydian and Gmaj, respectively. The organ plays Ebmaj in m. 43, and the choir enters singing the
65
Benedictus text. As before, in fifths, the basses enter in Ebmaj, followed by the altos in the same
scale. The Sopranos enter in Bb, followed by the tenors on the same scale. In m. 45, Désenclos
briefly brings in the F# from the C Lydian scale for two beats before beginning a series of
pentatonic harmonic areas that score the end of the movement.

Example 5.9 Messe de Requiem, Sánctus, mm. 39-46

In m. 46, the music begins in Eb pentatonic, and the right hand plays three scales
simultaneously in various inversions of the Eb pentatonic pitch collection. With similar musical
material, we move from Eb pentatonic to B pentatonic to D pentatonic and ending on C
66
pentatonic, signaling the repeat of the Hosanna section in the organ and the choir. Triplets in the
right hand of the organ and moving through Eb, Gb, A, and C key centers spelling out a
diminished chord twice before moving back to Eb pentatonic for two measures and C pentatonic
for two measures. While the Hosanna text repeats both textually and musically, it does so as part
of both Sánctus and Benedictus texts and is not a repeat of the text found in the Sánctus.

Example 5.10 Messe de Requiem, Sánctus, mm. 47-53

67
The movement's conclusion in the last three measures begins with a bichordal F#min
over Cmaj chords acting as a pivot chord while the organ plays descending minor seventh
chords, ending in the C pentatonic chordal area.

Example 5.11 Messe de Requiem, Sánctus, mm. 54-61

68
Conductor considerations for the Sánctus

Ensure the choir is familiar with the pentatonic scale and how prevalently it is used in this
movement. It will help when learning the movement and give a good sense of where to move
when first sight reading. Also, make sure to explain that in the twentieth century, composers
began to use accidentals more freely and did not adhere to the rules governed by the key
signature. And further, to expect enharmonic equivalents to appear in the score without warning.
In m. 18, be aware that each entrance travels through a register shift and should be handled with
less vocal weight on the entrance to be able to sing the top notes easily. The soloists that sing the
Benedictus should be careful to sing with small half steps, and the sixteenth-note runs should be
light as if imitating Baroque ornamentation. Both times when the Hosanna section is sung, be
careful to sing the last syllable of Hosanna with a bright tone and well supported so it does not
become insignificant. In the last few measures, the organist must use a clean timbre stop;
otherwise, the descending minor-seventh chords will not be clearly distinguished.

69
CHAPTER SIX

Píe Jésu

The fifth movement, Píe Jésu, is the last sentence of text in the Sequence, Dies Irae. The
text of this movement translates to Merciful Lord Jesus, grant them rest. Because of its
placement at the end of the Dies Irae, it would typically be sung or spoken in order, before the
beginning of the Sánctus movement.
Many composers have set this text as either a vocal solo with accompaniment or chorally
as part of the Dies Irae sequence. Due to its length, the Dies Irae text is sometimes broken up and
set in subsequent movements. For example, in the Verdi and Mozart requiems, it is broken into
movements titled Dies Irae, Tuba Mirum, Rex Tremendae, Confutatis, Lacrymosa, etc.
Several composers, specifically French composers, have treated the Píe Jésu text as a
separate movement in the requiem. Surprisingly, the text usually appears before the Agnus Déi
movement instead of its normal place in the requiem mass at the end of the Dies Irae and before
the Sánctus. Luigi Cherubini (1760-1842) and Antonín Dvorák (1841-1904) both have a Píe Jésu
movement in their requiems. Perhaps the most famous setting of Píe Jésu in a requiem is by
French composer Gabriel Fauré (1845-1924) followed by his French successor Maurice Duruflé
(1902-1986). Both composers set this as a vocal solo with instrumental accompaniment and no
choral writing. Charles Gounod sets a Píe Jésu in his requiem in Cmaj with both solo and choral
voices and also in his Missa breve pour les mort with choir.
Many assume Fauré was the first to set a separate movement using the Píe Jésu text.
However, we can see above that Cherubini (who spent most of his career in Paris) did that before
him setting it in both his Requiems in C and Dmin.
1
Though he was not the first French

1
Nick Strimple, Choral Music in the Nineteenth Century, (New York: Amadeus, 2008).
70
composer to do so. François Joseph Gossec (1734-1829) first set the text as a separate movement
in 1760, almost 130 years before Fauré. Interestingly, he sets it twice in his Grand Messe des
Morts. First, in its traditional place at the end of the Dies Irae with solo voices and choir. And
then again before the Agnus Déi movement with choir. Gossec lived in a suburb of Paris and was
also colleagues with Cherubini.
2
So while Fauré wrote the most famous version recognized
today, he was not the first composer, French composer, or Parisian composer to set the Píe Jésu
as a separate movement.
Désenclos sets his movement of Píe Jésu with solo and choral voices. Three sections
repeat the text, each one growing in texture and forces. These three iterations hint at the Dorian
mode by raising and lowering the sixth scale degree of the natural minor scale in various key
areas in a chromatic plainchant style. Each solo entrance begins with the same combination of
whole and half steps, with the variations coming at the end of each line varying more with the
second and third repeats of the text. Soloists sing Píe Jésu Domine, which translates to Loving
Lord Jesus, and the choir responds each time with the latter half of the text, dona eis requiem,
which translates to grant them rest.
The first instance is with a solo alto voice singing Píe Jésu Domine, in a quasi-chant style
in B Dorian accompanied by the organ. Marked Andante in Bmin, the organ ascends up a fifth
from tonic to dominant, landing on a Bmin triad when the soloist enters. In m. 6, the organ plays
a series of minor-seventh chords while the lower three voices of the choir respond with the
second half of the text, dona eis requiem.

2
Nick Strimple, Choral Music in the Nineteenth Century, (New York: Amadeus, 2008).
71
Example 6.1 Messe de Requiem, Píe Jésu, mm. 1-9

The second iteration happens at m. 10 when a tenor soloist joins the alto soloist, and they
sing in a duet at an interval of a fourth offset by two beats. The alto enters on beat one in C#
Dorian and the tenor enters on beat three in G# Dorian. The first three measures are set over
C#min, and the organ accompanies in fourths. In m. 16, the choir responds with the same text as
before, leaving out the altos and featuring a decorated soprano part with triplets and eighth notes.

72
Example 6.2 Messe de Requiem, Píe Jésu, mm. 10-20

73

The third instance of the text happens at m. 21. It is set in paired duets between the
soprano and tenor, again offset by two beats, with the alto and bass duet coming in after. The
soprano and tenor sing in octaves in F# Dorian, with the alto and bass in C# Dorian.

Example 6.3 Messe de Requiem, Píe Jésu, mm. 21-28

74

At m. 29, a full choir sings the dona eis requiem text again while the organ moves
through a series of minor-seventh chords. After the final instance of the Píe Jésu text, the
movement ends with sempiternam, which is not part of the Píe Jésu text, nor is it part of the Dies
Irae sequence. It is however found at the end of the Agnus Déi. While contextually, it fits here,
the sempiternam text is likely an allusion to the next movement, Agnus Déi. Interestingly, this
addition is only found in the Requiem text and not the Agnus Déi of the Mass Ordinary.

Example 6.4 Messe de Requiem, Píe Jésu, mm. 29-39

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Conductor considerations for the Píe Jésu

As noted in the rare full orchestral score of the Désenclos Requiem, but not the version
for organ and voices, it says that all solos can be sung by a small group or by all singers in the
section. Conductors should evaluate their ensemble and choose their forces with care and with
what best serves the music and ensemble.
The opening solo is very chromatic and difficult to sing in tune. The soloist or small
group should sing very small half steps and sing accidentals with a sense of lift, not to go flat.
Most recordings do not sing this opening in tune, so it would also be helpful to sing with a
brighter tone without a wide vibrato. Furthermore, singers should take care to keep the [p] of Pie
and the [j] of Jesu consonants from being voiced below the pitch, which will add unnecessary
weight to the sound making it more difficult to sing in tune. This consideration should be taken
in m. 10 by the tenor in addition to the soprano and again at m. 21 with the paired duets.
With each iteration of the text, remember to do something different musically the second
and third time. The third time especially should sound more desperate and pleading.
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CHAPTER SEVEN

Agnus Déi et Communion

The text of the Agnus Déi is found embedded in the ancient chant of the Roman and Ambrosian
rites, the Gloria in Excelsis. In early times the Agnus Déi was used in the Litanies at the end of the
Mass, and it survives in that form in the litanies of Holy Saturday and the Rogation Days. It was
incorporated into the liturgy by Pope Sergius I (687-701) as a contrafactum, a chant to accompany
the breaking of the bread…The Agnus Déi has come to be associated with the distribution of
Communion…During the tenth through twelfth centuries, the three-fold form became established,
and the dona nobis pacem replaced the third miserere nobis. In the Requiem Mass, the third line
becomes dona eis requiem sempiternam, which translates to grant them rest eternal.
1

The Agnus Déi is sung near the end of the Canon, following the passage Haec commixto, between
the Fraction and the Communion antiphon. It is the fifth and final portion of the Mass Ordinary
and the only one that is changed when sung as part of the Requiem Mass, where the final dona
nobis pacem is replaced by the dona eis requiem sempiternam.
2

The antiphon lux aeterna echoes the lux perpetua of the Introït…which has suggested musical
recapitulation to some composers. It also brings to mind the ancient custom of lighting candles
during the Mass for the Dead. The Communion of the Requiem holds a special place in the history
of the liturgy in that it preserves the custom of having a verse, requiem aeternam, follow the
antiphon, a practice found only in the Introït.
3

The fifth movement, Agnus Déi et Communion, marked moderato, begins in 3/4 time
with four flats and an F min chord. The first two measures ascend stepwise in a series of minor
and major seventh chords. The melodic and harmonic material centers around the F natural
minor scale. Mm. 3-5 centers around the Bb natural minor scale, and in addition to major and
minor seventh chords, pentatonicism is also present. Mm. 6-9 comprise the third section of the
organ introduction and center around the Db natural minor scale. Again, using major and minor
seventh chords in addition to pentatonic collections, the organ lands on a chord in m. 9 that hints
at the F Dorian scale setting up the tenor solo.

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
2
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
3
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
77
Example 7.1 Messe de Requiem, Agnus Déi et Communion, mm. 1-9

In m.10, the organ plays an Fmin chord over two measures while the tenor soloist enters
on the fifth scale degree, singing a quasi-chant line that features D naturals giving it the F Dorian
color. The first of three iterations, the text Agnus Déi, qui tollis peccata mundi, translates to
Lamb of God who taketh away the sins of the world. The choir responds in three-part homophony
as the basses and sopranos sing in octaves. They sing dona eis requiem, which translates to grant
them rest. The interval collection used with this text repeats two other times on different starting
notes. Again, it is comprised of minor and major seventh chords. M. 20 features transition
material using tritones to signify the agitation of the world and emphasize the need for rest given
by the Lamb of God.

78
Example 7.2 Messe de Requiem, Agnus Déi et Communion, mm. 10-19

M. 21 begins the second iteration of the text, this time sung by an alto soloist. It starts on
the fifth scale degree of Fmin, but is sung in C natural minor while the organ sparsely
accompanies, planning through minor seventh and pentatonic chords and ending with an open
fifth made up of G and D. M. 26 begins the second choral response on the same text and
progression as before in the chorus and organ part, except transposed up a minor third to begin
79
on Abmin instead of Fmin. The bass and soprano are again in octaves, and the section ends with
tritones signifying the same agitation as before, making each iteration of the text higher, louder,
and more desperate.

Example 7.3 Messe de Requiem, Agnus Déi et Communion, mm. 21-30

The third repeat of the Agnus Déi text begins at m. 32, this time with a soprano solo.
Instead of the less common Dorian and natural minor scales, it is sung with the Ab scale, dipping
briefly into minor for one note with a Cb but then resolving to Abmaj with a C natural. The
80
organ accompaniment follows the increased intensity of the third iteration contributing to this
feeling with more dense writing than the first two instances.

Example 7.4 Messe de Requiem, Agnus Déi et Communion, mm. 32-36

The choir responds a third time and begins in the same way as before harmonically,
except in Bbmin, and only stays the same for three measures. The basses and sopranos sing in
octaves for mm. 37 and 39 with m. 38 showing some variation in the vocal part. Another
variation appears at the end of the word requiem. This time it outlines an Fmin chord instead of a
C in octaves. After the three measures of similar musical material from previous sections,
Désenclos sets up the end of the phrase and this section by outlining Fmin for five measures over
the word sempiternam which translates to eternal. This addition is only found in the requiem
version of the Agnus Déi text and not in the mass ordinary text.

81
Example 7.5 Messe de Requiem, Agnus Déi et Communion, mm. 37-44

The instrumental transition begins with similar material as the most recent dona eis
requiem. It deviates after one measure, adding quartal harmonies to major seventh chords over
five bars to set up the transition to new text at mm. 50-51. These measures change the harmonic
rhythm with an intentional hemiola made of quartal harmonies based on Eb and Db. This
82
intentional change in rhythm makes the listener pay close attention and opens the soundscape in
a mysterious way.

Example 7.6 Messe de Requiem, Agnus Déi et Communion, mm. 45-51

Beginning with a key signature change to four sharps at m. 52, the organ plays a full
whole note chord with a fermata made up of an E in the pedal an Emaj in the left hand, and a
C#min7 chord in the right hand. With the key signature and the bass notes of both the organ and
choral parts, one should determine that the chord is comprised of E pentatonic, giving a lifting
and ethereal quality to the music. Marked molto calmo and sung mostly a cappella, this section
begins the Communion portion of the requiem mass with the text Lux aeterna luceat eis Domine,
which translates to let eternal light shine upon them, Lord.

83
Example 7.7 Messe de Requiem, Agnus Déi et Communion, mm. 52-56

Beginning in m. 57 and marked poco animato, the next part of the text, Cum sanctis tuis
in aeternum, enters staggered, first by the sopranos, then the altos, and then the tenors and basses
together. The text translates to with your saints forever. The final portion of this section uses the
text quia pius es, which translates to for you are loving. This section again utilizes major and
minor seventh chords with pentatonic chords, giving a sense of comfort echoing the theme of the
text.

84
Example 7.8 Messe de Requiem, Agnus Déi et Communion, mm. 57-65

After a brief two-measure transition, we see a return of the opening material from the first
movement of the requiem. The musical material from the Introït reappears unaltered exactly as it
is presented in the opening choral statement of the Requiem. Marked tempo one referring to
molto moderato, the downbeat begins with a D pentatonic chord recalling the openness and
modality of the pentatonic planing from the introduction. Désenclos restates the requiem text,
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which translates to Grant them eternal rest, Lord, and let perpetual light shine upon them. As it
is the same length as before, the introit material ends at m. 76. A series of E pentatonic chords
transitions to the end of the movement. The closing statement at m. 77 is simply a restatement of
the cum sanctis section that begins at m. 57 and goes until the restatement of the Introït opening
material. The last three measures feature chords moving down by thirds using a four eighth-note
pattern that ascends from left hand to right hand, culminating in open fifths on a G#. The open
fifth signifies the open hands lifted up asking for deliverance which sets up the text of the sixth
movement.

Example 7.9 Messe de Requiem, Agnus Déi et Communion, mm. 84-86

Conductor considerations for the Agnus Déi et Communion

As mentioned before, Désenclos uses different pitch collections freely and rarely stays
within the bounds of the listed key signature. Pointing out to the choir which scales are used at
the beginning organ statement may help orient their ears to the harmonic material used in the
movement. Also, like the other solo sections, the conductor must determine which choice is best
for the ensemble when choosing a soloist, small group, or entire section. All three present
challenges, but one will sound best, and do not assume that a single singer is more prestigious
than the other two options. The approach to singing the solos is the same regardless of who is
86
singing. Because of the modal and sometimes chromatic nature of the line, great care should be
taken to sing with a lifted and bright sound. Be careful not to let the ‘g’ of agnus get caught in
the back of the throat and opt for the glide of [aɲus dɛi] which sits more forward in the mouth
and is easier to sing. Secondly, for the tenors singing the opening line, most of it falls in between
the first and second passaggio, which will be difficult to keep in tune. The first note will need to
be sung brightly and not covered. The same thing applies to tollis and the [ka] of peccata to be
able to keep them in tune, especially as the organ cuts out. During the choral response, be careful
not to let the basses and sopranos sing too loudly as they are doubled. Pay careful attention to the
final unison of requiem, in m. 19, both in volume at the end of a phrase and in terms of vowel
matching to help with tuning. In the alto solo at m. 21, be sure to advise using enough air to
reach the top notes of each sub-phrase so the tuning does not fall each time. And be careful not to
color the word mundi with a closed o sound. The soprano solo should be sung by someone with a
flute-like timbre that can navigate the accidentals, especially at the end, singing a Cb and C in
the same line. The transitions to communion and the introït material are intentional, so make sure
the choir knows why they are present, where the introït material comes from, and what material
is repeated at the end of the movement.

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CHAPTER EIGHT

Líbera me, Domine

The Líbera me is not part of the liturgical Requiem Mass, but rather a responsory sung after the
Mass during the Burial Rite while the coffin is sprinkled with holy water and incensed. Like the
Communion, it contains two portions of text from previous movements and…it is often treated
musically as a reprise of the Dies Irae. This situation has strongly influenced composers to set it as
part of a Requiem, especially those who have chosen to place it as the final movement of a large-
scale work. In addition to structural closure, it also provides the potential for great musical
contrast and a final return to the opening sentiments and character of the Introït with which the
Requiem Mass begins: Requiem aeternam dona eis, Domine (Lord, grant them eternal rest).
1

The sixth movement of the Requiem is the Responsory: Líbera me, Domine. It features
some of the darkest and most ominous of Désenclos's writing in the Requiem. He achieves this
by using typical chord colors like minor sevenths with added ninths and sometimes elevenths in
addition to pentatonicism, giving it a modal but familiar feeling. More interestingly, he uses
more diminished intervals than any other movement to evoke the dark nature of the text.
Difficult to analyze chordally, many of these chord sequences function horizontally instead of
vertically.
Marked moderato and beginning in 3/4 with no sharps or flats, the organ opens with a
two-measure phrase. For the second time not featuring an upward pentatonic scale, it begins on
an open fifth on C#, moving quickly to variations on Emaj(add9) chords. In mm. 3-6, Désenclos
moves from Amin down a major sixth to Cmin and then up a minor third to Ebmin utilizing
mediant movement before moving to Dmin briefly before landing on Bbmin to begin the choral
entrance.

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
88
Example 8.1 Messe de Requiem, Líbera me, Domine, mm. 1-6

In common time set with five flats is a haunting unison chant that tonicizes Fmin. A
prominent ground bass in the organ pedal functions horizontally more than vertically. Above the
ground shifting and unsure pedal are fragments of minor and major chords often expressed in
dissonant chords with chromatic movement. Functioning in the same horizontal way, it would be
difficult to name any specific chords without implied notes or removing dissonances between the
organ and the vocal part. Even if one could force labels, it would not serve a helpful purpose in
showing any chord functionality.

89
Example 8.2 Messe de Requiem, Líbera me, Domine, mm. 7-14

The vocal part at m. 7 is a two-measure repeated phrase that exists on its own against the
organ accompaniment. It is dissonant in and of itself but made even more so when sung against
the organ. This portrays the dark text well: Líbera me, Domine; de morte aeterna, in die illa
tremenda: in die illa, which translates to Set me free, Lord, from eternal death, on that dreadful
90
day. The unison chant continues with more text painting in m. 13 with a Cb, a tritone away from
F, featured on the word tremenda, which means dreadful.
The next section beginning at m. 15, features the text Quando caeli movendi sunt et terra,
which translates to when the heavens and earth are to be shaken. Here Désenclos uses staggered
entrances on beat four and beat two, respectively, starting with the soprano, then the alto
followed by the tenor, and finally, the basses enter last. Beginning with an F linking the previous
section, the organ plays downward through minor chords by step leading to an open fifth on a
low C and painting the word terra, or earth, with the lowest note in the requiem.

Example 8.3 Messe de Requiem, Líbera me, Domine, mm. 15-18

Beginning at m. 19, the loudest part of this section marked piu forte and jumping up a
major seventh from low C to Cb, is the text Dum veneris judicare saeculum perignem, which
translates to when you come to judge the world with fire. Acting like fugal entrances, each part
takes a turn entering with a dramatic upward jump, starting with the sopranos singing a tritone,
followed by the tenors, basses, and altos. Underneath, the organ plays a downward scale for two
91
measures, keeping a Cbmaj chord in the left hand while the pedal descends downward from Cb
to Gb, landing on an open fifth on an F. The organ then works its way back up the scale through
a series of minor chords and a stepwise pedal. This section also features prominent high triplets
in the right hand of the organ that visually and sonically represents the lapping fire from the text.
In m. 23, the altos lead us to the close of this first section while the organ plays a series of major
and minor seventh chords leading back to Bbmin and eventually an open fifth on Bb in m. 26.

Example 8.4 Messe de Requiem, Líbera me, Domine, mm. 19-26

92

The organ pedal leads stepwise down to Eb to begin one of the most interesting sections
of the requiem at m. 27. Still in five flats and switching to 3/4 time for six measures before
returning to common time in m. 33, Désenclos writes three-part divisi for the tenors and basses
and the sopranos and altos. Offset rhythmically by one measure are a series of root position
eighth-note triads of mostly minor chords that paint the text Tremens factus sum ego et timeo,
dum discussio venerit at que ventura ira, which translates to I have become terrified and I am
afraid of the coming judgment, and dread the coming wrath. Without smooth voice-leading, root
position chords feel unsettled, which adds to the feeling of the text.

93
Example 8.5 Messe de Requiem, Líbera me, Domine, mm. 27-35

Out of textual sequence, the quando caeli section repeats at m. 37 for four measures, and
a brief two-measure organ interlude sets up the next section at m. 43. Switching between time
signatures of 4, 2, 3, and back to 4, the text is featured over colorful minor chords with sevenths,
ninths, and elevenths. Dies illa dies irae calamitatis et miseriae, translating to that day, the day
of wrath of disaster and misery, acts as a nod to the unincluded Dies Irae text in this dark and
fiery section. Next, m. 49 continues the text dies magna et amara valde, which translates to the
momentous and most bitter day. Set up by major seventh chords, Désenclos lands intentionally
on a Dbmaj chord on the word momentous, before ending this section with a stark open fifth on
an F.
94
Example 8.6 Messe de Requiem, Líbera me, Domine, mm. 43-51

95

There are triplets in m. 52, again representing lapping fire lead into a repeat of the Dum
veneris section which ends again on an open fifth on Bb and the pedal walking stepwise
downward, this time to the fourth reprise of the opening Introït material with an exact repeat of
the text and music using heavy pentatonicism. Ending again on an open fifth built on C#
completes the Responsory text in full at m. 70.
With a repeat of mm. 2-6, the organ introduction begins section three. Over the next
twenty-four measures, Désenclos repeats both text and music of the Líbera me, Domine; Quando
caeli, and Dum veneris sections, again ending on an open fifth built on a Bb setting up the tritone
move to Emaj in the next movement.

Conductor considerations for the Líbera me, Domine

An ominous and dark movement reflective of the text, the writing in the choral parts and
organ part is very different from the rest of the requiem. Try to view this movement in terms of
the overall structure and note the repeated sections. The opening chant is very loosely related
harmonically to the organ part. Especially while singing in unison, be aware of how the
96
chromaticism of both parts interacts and how any dissonances should be nudged a few cents
higher or lower, or vowel modifications should be made to keep the dissonances in tune. Often
loud and pleading the text of the opening chant is soft and austere and should be sung mysterioso
due to the text and underlying music. It will likely happen naturally but take note of the first
three textual sections in the first part: they grow in dynamic each time, and the arch of the first
section is important as it comes back later, especially the rise in intensity from the Quando caeli
section through the Dum veneris sections. Pay close attention to the text and text painting, as it is
a prominent musical device in this movement.
Since Désenclos does not delineate “solo” above the six-part divisi section beginning at
m. 27, consider using the whole choir instead of a smaller group, as it does say split into three
equal parts. However, if the choir is over sixty people, a smaller group may prove beneficial,
before adding the whole choir after the divisi. At mm. 37-42, note the addition of Quando caeli
text. While it is repeated as before, it is an added section in the Líbera me text sequence. It does
not sound out of place; it is just interesting to note the deviation and repeat from the text, which
is almost completely composed in order. Because of the choice not to write a Dies Irae section, it
was wise of Désenclos to include the Líbera me, not just because Fauré and Duruflé also set it,
but it offers the same fiery sentiment, although brief, that some may view as more accurate to the
whole picture of the composition meant to reflect one's life. This movement has many high Gb
for the sopranos and tenors. Make sure they approach them with enough air and know that vowel
modification is key and that trying to sing all of them fortissimo will result in pushing the chest
voice too high, and vocal fatigue may set in. Relying on the sopranos or tenors to make a
collective sound is the key to beautiful high notes and the ability to sing the whole movement
effortlessly.
97
With the return of the Introït opening material for a fourth and final time, take care to
either sing it the same way each time to provide thematic unity in the score or try a different
approach each time. Make sure the choir has marked all of the repeated sections; it will help with
memorization and give them a sense of the structure.

98
CHAPTER NINE

In Paradísum

The In Paradísum is sung after the Requiem Mass and the Rite of Absolution (Líbera me) while
the coffin is being carried to the grave along with the Benedictus (the Canticle of Zachary, Luke
1:68-79)...Psalm 130: De profundis “Out of the depths have I cried to thee” and Psalm 51:
Miserere mei, Deus “Have mercy upon me, O God.
1

The Gospel reading for the mass on the day of death or burial is interestingly related to the
antiphon which will be sung later. It records the conversation of Martha and Jesus in which
Martha states her faith in Christ and the resurrection of the dead on the last day. And “Jesus said
unto her: I am the resurrection and the life: he that believes in me, even if he dies, shall live” (John
11:25). Shortly thereafter, Mary, Martha, and Jesus go to Lazarus’s tomb, and Jesus calls him
forth from the dead, a miracle that won him many followers and also convinced the Sanhedrin that
he must be put to death (John 11:20-53).
2

The seventh and final movement In Paradísum evokes an ethereal and otherworldly
journey. Désenclos begins with the organ and a key signature of four sharps. It is marked
andante but should not be performed with a sense of urgency. There is no organ pedal in the
beginning four measures. This gives a sense of floating or ungroundedness that one might
experience on the soul's journey to heaven in the afterlife. The left hand holds a G# and the right
hand plays alternating octave G#s. Being the major third of the Emaj triad, this gives a sense of
lift toward the heavenly realm while the major third gives a sense of calm joy and a sense of
eagerness to pass on to the afterlife. This organ figure continues for four measures while the
choir enters on unison G#s before melding into an Emaj chord in the first inversion. On beat two
in the second measure, the choir enters singing the first part of the text: In paradisum deducant te
angeli, translating to May angels lead you into paradise. In m. 5, the music moves to A#min7
(Bbmin7) in the first inversion for two measures, followed by a jump of a minor third to C#min7
in the first inversion. These two chords alternate back and forth for seven measures.

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
2
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
99
Example 9.1 Messe de Requiem, In Paradísum, mm. 1-12

100

Interestingly, these two chords share common tones a minor second away, but the
transition between them is seamless because of how Désenclos voices them. They share G# and
C#, while the chord’s other notes move from A# to B and from E# to E. Furthermore, one could
argue that based on how the choral writing and the melody in the right hand are being used,
instead of A#min7 with a chromatic mediant shift to C#min7, it simply moves from a C#
pentatonic collection to an E pentatonic collection. The text May the martyrs receive you at your
coming, and lead you into the Holy City of Jerusalem takes us into the next section beginning at
m. 12.
M. 12 begins the movement's climax, which goes from Dmaj7(add#11) to Bmin7 to
E#min7, which crescendos into the first forte dynamic of the movement, singing chorus
angelorum te suscipiat on an E9 chord. The translation reads may the choir of angels receive
you. This signifies the swinging open of the gates of heaven. In the right hand of the organ,
triplets represent the Holy Trinity. On the words chorus angelorum, the spirit passes over the
101
threshold of the pearly gates and for the first time, the massive choir of angels sings with majesty
and glory, welcoming the good and faithful servant to their eternal life.

Example 9.2 Messe de Requiem, In Paradísum, mm. 13-16

The text continues in m. 18, and with Lazarus, who was once a poor man, the music
moves from Cmaj7(add#11) to Amin7(add9) to G#min to Amin7 which adds to the
chromaticism found in the choral parts. This moves into the final phrase of the requiem,
aeternam habeas requiem, where Désenclos ascends through Amin7, Bbmin7, Cmin7, and
Dmin7 as if walking up steps to be laid to rest from the long journey to the afterlife. He begins
the last three measures on an Emaj7, moving back and forth between F#min7 six times as if
rocking to sleep. Finally, the music moves up through quartal harmonies before the penultimate I
six-four chord that lands and holds on an Emaj triad, with no organ pedal emphasizing the root,
signifying ungroundedness and illuminating the heavens above, all while the choir sings, may
you have eternal rest.

102

Example 9.3 Messe de Requiem, In Paradísum, mm. 17-24

Interestingly, while Désenclos uses many complex extended harmony chordal colors and
pentatonicism to evoke ethereal mystery, he ends on a simple triad in root position with no organ
103
pedal in the bass. This ungrounding points heavenward, and the simple triad sends a message of
the Holy Trinity.

Conductor considerations for the In Paradísum

Remember to let the text and musical writing inform your tempo choices. Conductors
will often speed through a movement of music because they are worried about outside factors
that do not serve the music. This movement is already particularly short, but the text and writing
benefit from a tempo that is a bit slower than andante. The quarter note should equal around
forty to sixty beats per minute at the fastest. Perhaps a marking of Largo or Lento would be more
suited for this movement. This slower tempo allows the climax at mm. 14-15 to bloom and gives
some space to the last few bars to really bask in the supernatural transition to the afterlife.
On beat three of m. 6, the sopranos and basses are on a C# while the tenors have a D.
Make sure the choir sings with a bright tone to keep the close dissonances in tune. Also
remember to modify the o vowel toward a more open vowel shape, especially in the tenor,
soprano, and bass parts to help with vowel matching and tuning.
Beginning in m. 12, there is interesting harmonic movement. Désenclos moves from
Dmaj7(add9, #11) to an E#min7 (Fmin7), a mediant away from the previous chord, (all over a
G# pentatonic scale), which moves down by a half step to Emaj(add9, 13). One could also argue
that it is E pentatonic. This kind of harmonic movement could be tricky unless the singer is fully
engulfed in this work's harmonic trends and language. Tuning could prove difficult due to E#
and E being a half-step away combined with the high tessitura and vowel shape. It is also
interesting that the chords on the downbeats of mm. 15-16 on the words chorus and angelorum
can be interpreted in different ways. It could be Emaj(add9, 13) or a chord made up of the notes
in an E pentatonic scale and voiced with quartal harmony.
104
In mm. 11-12, consider no breath between sanctam and Jerusalem. This smooth
transition will make the crescendo over Jerusalem even more impactful. Désenclos writes in an
uncharacteristic breath mark at the end of m. 14 right before the word chorus at a forte dynamic.
When done correctly, this breath provides the singers with the power to sing this monumental
section and a bit more drama. Please remember to execute this breath in the character of the text
and overall dynamic.
As with any low notes that jump from high and loud notes, for example in m. 15, it is
important to deliver the lower notes with the same intentionality as the high notes. On beat four,
the syllables “An” and “ge” are on mid-range notes that move back up to the same extended
Emaj chord as the word Chorus. Sing brighter and with even resonance on the lower notes. This
will make sure they are heard among the texture without accenting them. Another option would
be to sing lighter being careful not to give the lower notes too much weight. Added vocal weight
will make it more difficult to jump back up to the higher notes on the downbeat of m. 16.
In mm. 18-20, there are some interesting harmonic shifts and choral writing. In the
previous measure, we move from the Dmaj7(add9) chord to Cmaj7(add#11) to Amin7 to
G#min7 to Emin. The sopranos and tenors have high and loud entrances on the text et cum
Lazaro. Be careful to not let those parts stick out of the texture too much and also take note of
beat four of m. 18. There are two levels of dissonance present. The tenors and sopranos share a B
natural while the altos sing a C natural. At the same time, the basses sing an A natural which
competes with the B naturals in the soprano and tenor. It is either an Amin7(add9) or Amin7
with Emin stacked on top of it.
In m. 20, Désenclos has stacked sixths which spells out an Amin7 chord in the third
inversion, a particularly spread voicing. In m. 21, there are a series of minor seventh chords in
105
the third inversion with the seventh in the bass. The last three measures are quite simple, but as
stated at the beginning of this section, please take some extra time to revel in the simplicity of
this wonderful and satisfying root-position Emaj musical moment.

106
CHAPTER TEN

Other Choral Works by Désenclos

Arguably, his most popular motet, “Salve Regina,” Hail Holy Queen, is a Marian hymn
usually sung during Compline.
1
Marked Moderato, senza rigore, and set in two sharps for SATB
voices this motet is written in a familiar sacred style but also features modal parallel motion and
freely used accidentals when exploring different key areas. Unaccompanied, this motet utilizes
both polyphony and homophony and features mixed meter with frequent melismatic writing.
Published in 1972 by Durand et Fils, Salve Regina would be suitable to program for advanced
choirs, including advanced high school choirs. Because it is unaccompanied, it may prove
difficult, but the text would indicate use in worship services with advanced church choirs–the
organ could accompany softly to support the choir.
His second most popular motet, “Nos Autem,” is marked Senza Rigore (modo
gregoriano), does not have a key signature, and is set for unaccompanied SATB voices. No key
signature is common in twentieth-century music and allows Désenclos to explore without key
signature restraints and opting to add accidentals as needed. More austere harmonically than
Salve Regina, Nos Autem, features chant-like influences. Published also in 1972 by Durand et
Fils, this text is intended for a Maundy Thursday worship service and is ideal for advanced
choirs but could also be successfully performed by advanced church and high school choirs. The
end of this work closes with the added Gloria Patri text, a doxology, which could be sung as a
separate liturgical response during a worship service or as intended as the conclusion of Nos
Autem.

1
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
107
Published by La Sinfonie d’Orphée:

Agnus Déi is a motet scored for SATB solos and voices with organ accompaniment.
Marked Modéré, in mixed meter, and with four flats, the motet is not part of a larger work.
Despite the Agnus Déi text, it is not part of a mass or requiem, however, it does use the requiem
version of the text, with the added sempiternam at the conclusion. This piece would be
successful with most choirs. The only restrictions would be high range and tessitura issues in the
soprano and tenor parts and the divisi at the end. The first soprano part in the final four measures
should be sung by the soloist. Because of the meter, it would be a good exercise in reading
uncommon time signatures as it features sections in 6/4, 9/4, 2/2, and 3/2. It is interesting to note
that the text is repeated four times instead of the traditional three.
Sánctus is a motet scored for SATB chorus and organ. Marked Calme, and in F maj, it
features simple writing, is short in length, and would be accessible to most choirs and easily used
in a worship service. The introduction is in common time and switches to 3/4 after the first seven
measures of text for the piece's duration. Similar to the Agnus Déi, this Sánctus is a stand-alone
motet, not originating from a larger mass or requiem mass.
Pater Noster, is a motet scored for unison voices and organ and was written for the
wedding of friends.
2
The text, The Lord’s Prayer, is appropriate for almost any worship service.
Set in one flat, the harmony is straightforward but becomes more colorful with the addition of
accidentals in both the vocal and organ parts. Especially chromatic when singing about sin,
temptation, and evil. Due to the unison voices, this piece would be particularly useful in a
worship service where one or more key people from the choir are unexpectedly absent, and the

2
Frederic Désenclos, “Cinquantième Anniversaire De La Mort D'Alfred Desenclos (1912-1971),” Orgue en France,
March 1, 2021, https://www.orgue-en-france.org/cinquantieme-anniversaire-de-la-mort-dalfred-desenclos-1912-
1971/.
108
choral anthem needs to be substituted for something simpler that would combine vocal forces to
learn quickly before service.
O Salutaris, is a strophic motet scored for SATB chorus and organ. Marked Andante
religioso, in E b, is composed similarly in structure to a Bach chorale, in that each phrase is
marked by a fermata at the end of the phrase. The text is from the hymn Verbum Supernum,
written by St. Thomas Aquinas for use on Corpus Christi and during communion.
3
After both
verses, it ends with a two-fold Amen. This motet is accessible to most choirs and would be easily
taught because of the strophic structure. It would be appropriate for any worship service,
especially as a communion anthem.
Jam Non Dicam, sometimes stylized as Iam Non Dicam, is written for soloist or unison
choir with organ or harmonium. Marked Comme un chant grégorien, with two sharps, it is set in
frequently changing mixed meter to accommodate the plainchant style writing and text
organization. Taken from John 15:15, this text is a responsory for the ordination of a priest; in
this case, he wrote it for the ordination of his nephew.
4
Despite being written in two sharps,
Désenclos moves freely to various key areas throughout. While in unison, the chant part is
difficult and will require advanced singers to sing successfully. Near the end, the text features the
first line from the Gloria Patri before concluding with the end of the second stanza, followed by
an Alleluia.
Noël des Flandres is a Christmas carol set in Flanders, which is near Roubaix, where
Désenclos was born. Set in mixed meter with no key signature for SA soloists and SATB choir

3
Ron Jeffers, Translations and Annotations of Choral Repertoire. Vol. 1: Sacred Latin Texts (Corvallis, Oregon:
Earthsongs, 1988).
4
Frederic Désenclos, “Cinquantième Anniversaire De La Mort D'Alfred Desenclos (1912-1971),” Orgue en France,
March 1, 2021, https://www.orgue-en-france.org/cinquantieme-anniversaire-de-la-mort-dalfred-desenclos-1912-
1971/.
109
with divisi, this work is unaccompanied and features vocal humming and text specific to
Flanders, France. Unlike any of his other choral works, there is a listed text author and
dedication which reads, “For Father Assemaine with all my respectful regards.” This piece is
difficult because it is unaccompanied, contains divisi, and features many accidentals.
Furthermore, many of the vocal lines are conceived horizontally and rarely vertically, requiring a
high level of musical independence. It is a joyous piece and would be a wonderful addition for an
advanced choir during a Christmas Eve concert or service.
Additional vocal music includes another setting of O Salutaris for soprano and organ, and
Ave Maria for bass and organ. These would be useful for music during a worship service or in
concert. Additionally, the vocal part could be sung in unison by a small ensemble or choir.

110
CHAPTER ELEVEN
Conclusion
“Each of his works is the result of profound reflection.”
1
-Jean-Marie Londeix
Many scholars cannot resist making musical and artistic comparisons between
composers. While every musician is a product of their influences, few have the education,
technique, mentorship, artistic prowess, and drive to successfully elevate their artistry in the
public sphere and among their peers. While Alfred Désenclos is considered a minor French
composer, it is the author's hope that with this dissertation, his choral music will be elevated to
its rightful place among great masterworks and that his name will be spoken beyond Western
Europe with the same reverence as his contemporaries.
The twentieth century was artistically a tumultuous time for French musicians. In an
effort to recover from the embarrassment and defeat from the Franco-Prussian war, there was an
push by French music leaders to redefine and elevate French musical expression through the
Société Nationale de Musique in a way that was decidedly not German.
2
Led by Camille Saint-
Saëns, the Société aimed to respond to the absolute music and maximalism of the Germans,
particularly Richard Wagner (1813-1883).
3

As an extension of this movement the Schola Cantorum
4
opened near the turn of the
century as a response to the more progressive ideas being explored at the Paris Conservatoire.
Both of these schools of thought make up the ideas of French modernism at various points in the

1
James C. Umble, Jean-Marie Londeix, Gingras Michèle, and Corbé Hervé, Jean-Marie Londeix: Master of the
Modern Saxophone (Roncorp publications, 2000).
2
Richard Taruskin, Music in the Nineteenth Century: The Oxford History of Western Music (New York: Oxford
University Press, 2009).
3
Richard Taruskin, Music in the Nineteenth Century: The Oxford History of Western Music (New York: Oxford
University Press, 2009).
4
Robert Orledge and Andrew Thomson, “Vincent d’Indy,” in Grove Music Online, (Oxford University Press, 2001).

111
first half of the twentieth century. These two ideals are evident in the Requiem as Désenclos
synthesizes the old and new. His traditional sacred style can be compared to Maurice Durulflé,
especially regarding the influence of chant in the Requiem. The influence of Gabriel Fauré is
evident, particularly in the way he opens the Requiem and how Désenclos borrows the formal
structure of the movements. Darius Milhaud (1892-1974) influenced him, as seen by the use of
jazz rhythms and harmonic extensions. The influence of Debussy is highly prevalent with the use
of chordal planing, pentatonicism, and non-functional chords. “Debussy had come to symbolize
Frenchness in music at a time of national political upheaval. Not only was he transformed in the
public understanding from a marginal avant-garde figure to an embodiment and guardian of
French traditions, he succeeded in bringing about a transformation of French musical taste
itself.”
5
This ideal of “Frenchness,” sought out by differing schools of thought, could not be
more evident than in the Désenclos Requiem by the way he synthesizes
6
these sometimes
competing ideas expressed in early French modernism. Furthermore, the influence of Olivier
Messiaen (1908-1992), who fully embraced the new and developing styles, is quite evident in
much of his instrumental music that pushes the technique of the player and listener by tastefully
delving deeper into modern harmonic and melodic choices of the mid-twentieth-century.
Given the wide latitude composers have taken with the requiem as a vehicle for
experimental expression over the centuries, it is unclear whether Désenclos intended his
Requiem to mourn the dead or comfort the living. Like his compositional style, it could be a
synthesis of both. The Messe de Requiem takes a journey that explores a wide range of emotions
associated with death, mourning, judgment, redemption, and the journey to the afterlife. The

5
Barbara L. Kelly, “Debussy and the Making of a Musicien Français: Pelléas, the Press, and World War I,” in
French Music, Culture, and National Identity, 1870-1939, (Boydell & Brewer, 2008).
6
Maurice Ravel, "Contemporary Music," Rice Institute Pamphlet, Vol. 15, no. 2, (1928).
112
Introït provides a resolute opening that returns throughout the Requiem, representing recalled
fond memories. The Kýrie provides a soaring wistfulness of hope and desperate cries that
sometimes evoke doubt of what lies beyond. The Offertoire is introspective and powerful. Like
an inspiring speech, it has soft and intimate moments, familiar storytelling, and climaxes that
make a lasting impression. There are moments of angelic singing and times when one feels as if
their face is being cradled by the hands of God. The Sánctus is reverent and holy, and the
Benedictus is joyous and exuberant. The Píe Jésu contrasts other popular settings with its use of
dissonance, which communicates a conflicted feeling. While the text asks for rest, one cannot
help but feel the questioning of faith due to the recent loss of a loved one. The movement ends
with contemplating eternal life while still processing the supernatural that humans will never
fully understand. The Agnus Déi contrasts the feelings of uncertainty in the previous movement
and provides the imagery of the immaculate Lamb of God, who washes away sins and provides
cleansing from the confusion of the previous movement. Communion begins similarly to the first
movement, as the Sacrament is meant to remind us, through ritual, about the sacrifice of Christ
dying on the cross. Comfort is provided with assurance that the believer will live among the
saints forever, while the return of the Requiem aeternam reminds of a life celebrated and well
lived. The Líbera me, Domine represents the non-linearity of human emotions and returns with
haunting and unsure feelings and dark thoughts of fiery hell, judgment, and terror. The final
movement, In Paradísum, is ethereal and evokes light imagery to illuminate the transition of
crossing over. When arriving at the pearly gates, the departed hear the choir of angels for the first
time when they sing Chorus Angelorum, sounding more beautiful than the human ear could ever
comprehend—finally, coming to rest from the journey on a simple but poignant Emaj triad.
113
The author hopes that the reader will use this dissertation to aid in score study and
preparation for rehearsal and concertizing, but also that it will help increase exposure and
awareness of the profound reflection found in the music of Alfred Désenclos.

114
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Taruskin, Richard. Music in the Nineteenth Century: The Oxford History of Western Music. New
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Taruskin, Richard. Chapter 2 Getting Rid of Glue. Music in the Early Twentieth Century: The
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Trendell, David. Liner notes for Desenclos Requiem and Motets, The Choir of King’s College
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Umble, James C., Jean-Marie Londeix, Gingras Michèle, and Corbé Hervé. Jean-Marie Londeix:
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Villarreal, Ramiro Tomas. 2016. "An Analysis of Alfred Désenclos's "Quatuor Pour
Saxophones," I." Order No. 10250555, Texas Christian University.

Watkins, Glenn. Proof through the Night Music and the Great War. Berkeley: University of
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117
Plagiarism Scandal Bibliography

Broeker, Tobias. ‘Desenclos scandal/Tristan Foison. ‘www.tobias-broeker.de’. Email, Feb 19th,
2022.

Broeker, Tobias. “20th Century Violin Concertante - Tristan Foison: VC.” 20th century violin
concertante - Tristan Foison: VC. Accessed February 18, 2022. https://www.tobias-
broeker.de/research-effects/tristan-foison-vc/.

Broeker, Tobias. Question about Alfred Désenclos Plagiarism Scandal, Email. February 19,
2022.

Broeker, Tobias. “The Forgotten Violin Concertos – Part 6: The Stolen Violin Concerto.”
Violinist.com, April 10, 2016.
https://www.violinist.com/blog/classic_tobi/20164/18475/.

Broeker, Tobias. “Tristan Foison (*1961): Violin Concerto.” The Art-Music and Linguistics
Forum, December 15, 2012.
https://artmusic.smfforfree.com/index.php/topic,2024.0.html.

Kennicott, Philip. “A Composer’s Too-Familiar Refrain; Detecting Plagiarism in the Music
World Takes a Sharp Ear, and Chance: FINAL Edition.” The Washington Post.
Washington, D.C: WP Company LLC d/b/a The Washington Post, 2001.

Kennicott, Phillip. “Alfred Desenclos.” Requiemsurvey.org. Accessed February 18, 2022.
http://www.requiemsurvey.org/composers.php?id=256.

Ruhe, Pierre. “A CLASSICAL PUZZLE\ ACCUSED OF STEALING ANOTHER
COMPOSER’S WORK, TRISTAN FOISON TAKES ANOTHER ENIGMATIC
TURN.” The Atlanta Journal-Constitution (2001). Cox Enterprises d/b/a The Atlanta
Journal-Constitution, 2001.

Ruhe, Pierre. “ATLANTA COMPOSER FACES ‘MASS’ DOUBTS\ AUTHORSHIP OF PIECE
IS CHALLENGED.” The Atlanta Journal-Constitution (2001). Cox Enterprises d/b/a The
Atlanta Journal Constitution, 2001.

Ruhe, Pierre. “CLASSICAL NOTES: Our Nature Makes Fraud a Given: Plagiarized CDs in
Latest Scandal.” The Atlanta Journal-Constitution (2001). Cox Enterprises d/b/a The
Atlanta Journal-Constitution, March 4, 2007.

Sheridan, Molly. “No Progress in Foison Plagiarism Case.” New Music USA, August 1, 2001.
https://newmusicusa.org/nmbx/No-Progress-in-Foison-Plagiarism-Case/.

118
APPENDIX

Pictures of Alfred Désenclos

Alfred Désenclos. 1967
7

Concours de Rome 1938, Château de Fontainebleau.
André Lavagne, Simone Litaize (behind), Gaston Litaize, Eliane Richepin, Alfred Désenclos,
Raymond Gallois-Montbrun (behind), and Henri Dutilleux (seated).
8

7
Alfred Désenclos 1967. n.d. Fiftieth Anniversary of the Death of Alfred Désenclos. https://www.orgue-en-
france.org/cinquantieme-anniversaire-de-la-mort-dalfred-desenclos-1912-1971/.
8
Concours de Rome 1938. n.d. Fiftieth Anniversary of the Death of Alfred Désenclos. https://www.orgue-en-
france.org/cinquantieme-anniversaire-de-la-mort-dalfred-desenclos-1912-1971/.
119

Prix de Rome 1942, the year he won.
Rolande Falcinelli, Alfred Désenclos, Raymond Gallois-Montbrun.
9

9
Prix De Rome 1942. n.d. Fiftieth Anniversary of the Death of Alfred Désenclos. https://www.orgue-en-
france.org/cinquantieme-anniversaire-de-la-mort-dalfred-desenclos-1912-1971/.

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Creator Wilson, Andrew L. (author)

Core Title A choral conductor's guide to the Messe de requiem by Alfred Désenclos

School Thornton School of Music

Degree Doctor of Musical Arts

Degree Program Choral Music

Degree Conferral Date 2023-05

Publication Date 05/15/2023

Defense Date 05/10/2023

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Alfred,choral,conductor,Debussy,Desenclos,French modernism,guide,Messe de requiem,Music,OAI-PMH Harvest,parallel motion,pentatonicism,planing,requiem,twentieth century

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