Lacrimosa
This movement is quite brilliant in its simplicity. In 12/8 the bar is divided into four sections, the lower instruments play the pulse and root note on straight, unornamented crotchets while the higher instruments play two notes straight after, this creates a lilting ¾ feeling. The opening section structurally reminds me of a modern day pop song in that there is a simple ostinato played once. The first bar rises and falls, the second bar beginning on even higher notes floating back to the original note (C#) the first bar began on. Once this is completed a new voice enters, the vocals singing “Lacrimosa dies illa” (tearful will that day be), the soprano takes the lead melodically as it contains a very prominent leap of a minor sixth and ends on the C# which is a the same note the accompaniment ends on. The next line “qua resurget ex favilla” (on which from the ashes will rise) is a contrast to the previous section as the notes are shorter and quieter, this rises in intensity via increased volume and register to the next line which creates a contrast by becoming louder and sustaining the notes “Judi candus homo reus” (The guilty man for judgement). The final interval for this opening section contains an octave leap from the soprano (which I feel is the leading voice) to create a sense of closure. The contrast occurs every two bars in this opening section, one would expect the ears to grow tired of such a simple bit of music but the harmonies and constant pulse of the accompaniment is so perfectly contained and constructed as phrases that if it wasn’t repeated so much I would be disappointed. The ongoing pulse also adds to the feeling of underlying intensity the piece is trying to create.
When the voices enter with “Huic ergo parce deus” (so have mercy oh lord on this man) the piece becomes much quieter and simpler with very little rhythmic variation between the parts, and the accompaniment still plugs away at the pulse. The sweeter tone created by this section allows a major section to enter which is then, while still retaining the identical rhythmic ostinato as at the beginning, changed to a minor key and the same melody that appeared at the beginning enters again.
This movement closes with long sustained notes from the vocals and the rhythmic pulse in the accompaniment.
As an interesting note (again through my completely unextensive internet “research”), Lacrimosa’s final harmonies are in a major key while the rest is in a minor key. This is called a Picardy Third, it’s when a piece in a minor key ends in a major key by raising the 3rd scale degree and is intended to create a sense of closure.
Jamie-Leigh
Monash Composers 
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