Requiem for Animals | SATB and String Orchestra | Full Score | Keane Southard | MusicSpoke

Requiem for Animals

Choir and String Orchestra

(2024)

(Duration: c. 50 min.)

Requiem for Animals for SATB Choir and String Orchestra was commissioned by the Brattleboro Music Center (for performance by the Brattleboro Concert Choir, Jonathan Harvey, director) with additional support from the Culture and Animals Foundation and the Eric Stokes Fund, Earth’s Best in Tune. I began composing the work in February 2024 and completed it in late October of the same year. The idea to write a “Requiem for Animals” came in fall 2022 when I heard a story on NPR about a recent study which found that wildlife populations have declined by an average of 69% over the past 50 years, primarily driven by human actions contributing to climate change, including how we produce food, what we eat, and how much food we waste. This huge decline struck me very hard emotionally, especially as I realized that our system of food production takes a nearly unfathomable amount of animal lives as well. In essence, as a society we are killing billions of domesticated animals, which is then leading to the deaths of billions of wild animals. This amount of suffering is so immense, yet many people aren’t even aware of it. As a composer, the idea naturally came to me of expressing and conveying the magnitude of this suffering through music so that more people could be aware of and reconsider how we collectively treat and interact with all animals beyond just our pets. Many composers have created requiems to commemorate the dead

and lament the loss of life, but these have always been for human life. I thought it was certainly time that animals were memorialized in a requiem as well.

This requiem combines texts from the traditional Latin requiem mass with texts from various sources and authors (the Bible, J. Howard Moore, Upton Sinclair, Ella Wheeler Wilcox, as well as some original texts of my own) that deal with how humans treat and interact with animals. The opening Introit (All Beings Are Ends) highlights the commonalities between animals and humans, as we are, after all, animals too. In the Kyrie (600,000), the choir sings a running estimated tally of how many land animals have been slaughtered for food worldwide since the movement began (based on Faunalytics estimate of 73,162,794,213 land animals slaughtered in 2020 https://faunalytics.org/fundamentals-farmed-animals/. This comes out to about 23,200 every ten seconds. I used a more conservative realization of this rate where the choir adds 20,000 to their tally roughly every ten seconds.) The longest and most intense movement of the requiem, the Sequence (Dies Irae) explores how we have mistreated animals and the consequences of doing so. It includes an extended scene from Upton Sinclair’s The Jungle, set inside a slaughterhouse, at its heart. The following Agnus Dei (Lambs of God) takes the metaphor of Christ as a sacrificial lamb and extends it to the myriad literal lambs that are killed each day, asking what is the meaning of their sacrifice. The Lux Aeterna (Those Who Are Gone Forever) asks for eternal light to shine upon our extinct wildlife species, listing thirty-two which have gone extinct primarily due to the impact of human activities. The Libera Me (Which Shall It Be?) asks us, as the undeniable “masters of the earth,” what kind of relationship will we have with the world and its creatures. We have the power to choose: we can continue to dominate and exploit it, or we can be its caring and benevolent stewards. The final movement, In Paradisum (The Voice of the Voiceless) answers this question, proclaiming that we will speak for and protect all the world’s creatures and that this may lead us all, one day, into paradise.

Keane Southard 2024

Performance Instructions:

1. Tenuto marks (-) over notes indicate more weight/stress on the note while accent marks (>) indicate a sharp attack on the note. Neither articulation indicates a shortening of the note value or placing space in between that note and the next (unless the tenuto or accent is combined with a staccato).

2. Double Basses that do not have a low C extension or low B string should automatically play notes that are out of their range an octave higher than written, except when notes in parentheses are given. All basses without the low C extension/B string should play all notes in parentheses while all others should play the non-parenthetical notes.

3. Notes in parentheses should not be held at all but just show approximately what pitch the gliss should be “passing through” at that moment.

4. There is no “divisi” in the strings for the entire work. All multiple stops should not be divided (except, of course, when there are notes in parentheses in the Double Basses as described above.)

5. Similarly, there is no “divisi” in the choir parts either. Parentheses in choir parts show notes that can be sung as ossias if the non-parenthetical notes are outside of a singer’s range.

6. Because of the lack of “divisi” in both the choral and string parts, it is possible to perform this work with a small group of singers and string players. There are several solo violin passages in the work, so a minimum string count of 10 players (32221) is preferred, as well as at least one Double Bass with the low C extension or low B string.

Keane Southard/Spindrift Pages

Email: keane.southard@hotmail.com Website: keanesouthard.com

Text:

(All non-attributed English texts are by the composer)

I. Introit (All Beings Are Ends)

Requiem æternam dona eis, Domine: et lux perpetua luceat eis.

Eternal rest give unto them, O Lord, and let perpetual light shine upon them.

All beings are ends; no creatures are means. All beings have not equal rights, but all have rights. Non-human beings were not made for human beings any more than human beings were made for non-human beings.

(Adapted from J. Howard Moore, The Universal Kinship, 1906)

Exaudi orationem meam.

Hear my prayer.

The billions that dwell in the seas, the fields, and the atmospheres of earth are beings with substantially the same origin, the same natures, the same structures, the same occupations, and the same general rights to life and happiness, as we ourselves.

(Adapted from J. Howard Moore, The Universal Kinship, 1906)

I am an animal; you are one too. I share this earth, my home, with you. Each playing a vital part in the biosphere, We all wish to live without fear.

My greatest ambition is one you share: To provide my kin with love and care. What makes one a human, the other a beast? Perhaps it’s the capacity to protect or destroy Those whose power is the least.

II. Kyrie (600,000)

Kyrie eleison. Christe eleison. Kyrie eleison.

Twenty thousand

Forty thousand

Sixty thousand

Eighty thousand

One hundred thousand

One hundred twenty thousand

One hundred forty thousand

One hundred sixty thousand

One hundred eighty thousand

Two hundred thousand

Two hundred twenty thousand

Two hundred forty thousand

Lord, have mercy. Christ, have mercy. Lord, have mercy.

Two hundred sixty thousand

Two hundred eighty thousand

Three hundred thousand

Three hundred twenty thousand

Three hundred forty thousand

Three hundred sixty thousand

Three hundred eighty thousand

Four hundred thousand

Four hundred twenty thousand

Four hundred forty thousand

Four hundred sixty thousand

Four hundred eighty thousand

Five hundred thousand

Five hundred twenty thousand

Five hundred forty thousand

Five hundred sixty thousand

Five hundred eighty thousand

Since this movement began, more than six hundred thousand land animals have been slaughtered for food worldwide.

(Numbers based on Faunalytics estimate of 73,162,794,213 land animals slaughtered in 2020 https://faunalytics.org/fundamentals-farmed-animals/)

III. Sequence (Dies Irae)

1. Dies Irae (All Have One Breath)

One who slaughters an ox is like one who kills a person; One who sacrifices a lamb like one who breaks a dog’s neck. For what happens to animals happens to humans. As one dies, so dies the other, for they all have one breath. (Adapted from Isaiah 66:3 and Ecclesiastes 3:19-20)

Dies irae, dies illa, Solvet saeclum in favilla.

Flooding, Wildfires, Deforestation, Global pandemics, Ocean dead zones, Mass extinctions, Ecosystem collapse.

2. Ingemisco (For I Was Hungry)

Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.

For I was hungry, and you gave me no food; I was thirsty, and you gave me no drink; I was a stranger and you did not take me in.

The day of wrath, that day, will dissolve the world in ashes.

I sigh, like the guilty one: My face reddens in guilt: Spare the imploring one, O God.

Lord, when did we see you hungry, or thirsty, or a stranger and did not help you?

Truly I tell you, because you did not do it to the least of them, you did not do it to me.

(Adapted from Matthew 25: 42-45)

3. Oro Supplex (The Slaughterhouse)

Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.

Kneeling and bowed I pray. My heart crushed as ashes: Take care of my end.

The men were going about their work. As the wheel turned, a hog was suddenly jerked off his feet and borne aloft. At the same instant the car was assailed by a most terrifying shriek. The uproar was appalling, perilous to the eardrums; one feared there was too much sound for the room to hold— that the walls must give way or the ceiling crack. There were high squeals and low squeals, grunts, and wails of agony surging up to a deafening climax. One by one they hooked up the hogs, and one by one with a swift stroke they slit their throats.

It was porkmaking by machinery, porkmaking by applied mathematics, and yet one could not help thinking of the hogs; they were so innocent, they came so very trustingly; and they were so very human in their protests. They had done nothing to deserve it, but this slaughtering machine ran on.

One could not watch very long without hearing the hog squeal of the universe.

Each one was a separate creature with an individuality of his own, a will of his own, a hope, a heart’s desire, and a sense of dignity. Trusting and strong in faith he had gone about his business, while a horrid Fate waited in his pathway and did its cruel will with him, as if his wishes, his feelings, had simply no existence at all. And now was one to believe that there was nowhere a god of hogs, to whom these hog squeals and agonies had a meaning? Who would take this hog into his arms and comfort him?

(Adapted from Upton Sinclair, The Jungle, 1906)

4. Lacrimosa (Oh This Poor World)

Lacrimosa dies illa, Qua resurget ex favila Judicandus homo reus: Huic ergo parce Deus.

Tearful will be that day, on which from the glowing embers will arise the guilty man who is to be judged: Then spare him, O God.

Oh this poor world this poor, suffering, ignorant, fear-filled world! How can we be blind and cold enough to be unmoved by the groans and anguish, the writhing and tears, that come up from its unparalleled afflictions?

(Adapted from J. Howard Moore, The Universal Kinship, 1906)

IV. Agnus Dei (Lambs of God)

Agnus Dei, qui tollis peccata mundi: dona eis requiem.

Lamb of God, who died for our sins, how many more lambs must die for us?

Lamb of God, who died for us all, are they not all dear Lambs of God?

O Lambs of God, may your sacrifice

Open our eyes and our hearts. When will we, with the lions and wolves, Finally lie down with you?

Agnus Dei, qui tollis peccata mundi: dona eis requiem sempiternam.

Lamb of God, who takest away the sins of the world, grant them rest.

Lamb of God, who takest away the sins of the world, grant them eternal rest.

V. Lux Aeterna (Those Who Are Gone Forever)

Lux æterna luceat eis, Domine:

Cum Sanctis tuis in æternum: quia pius es.

Requiem æternam dona eis, Domine: et lux perpetua luceat eis.

Those who are gone forever, we remember you:

The Syrian Elephant

Richdale’s Penguin

The Chatham Duck

Steller’s Sea Cow

The Bluebuck

The White Swamphen

The Spectacled Comorant

The Great Auk

The Tasmanian Emu

The Cape Warthog

The Quagga

The Eastern Hare-Wallaby

The Hokkaido Wolf

The Portuguese Ibex

The Sea Mink

The Norfolk Pigeon

The Carolina Parakeet

The Florida Black Wolf

The Thylacine

Tobias’ Caddisfly

Schomburgk’s Deer

The Canary Islands Oystercatcher

The Bali Tiger

The Caribbean Monk Seal

May light eternal shine upon them, O Lord, with Thy Saints for evermore: for Thou art gracious. Eternal rest give to them, O Lord, and let perpetual light shine upon them.

The Pallid Beach Mouse

The Sicilian Wolf

The Saudi Gazelle

The Acorn Pearly Mussel

The Dusky Seaside Sparrow

The Golden Toad

The Chinese Paddlefish

The Western Black Rhinoceros

Father, forgive us, for we know not what we’ve done.

(Adapted from Luke 23:34)

VI. Libera Me (Which Shall It Be?)

The question is not, “Shall humans be the masters of the earth?”

But, “What sort of masters shall we be?”

(Adapted from J. Howard Moore, The New Ethics, 1907)

Libera me, Domine, de morte æterna

Deliver me, O Lord, from death eternal

Shall we be cruel and selfish, bigoted and imperialistic, thinking only of ourselves and sacrificing the interests of others to our own heartless purposes?

(Adapted from J. Howard Moore, The New Ethics, 1907)

Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira.

Dread and trembling have laid hold on me, and I fear exceedingly because of the judgment and of the wrath to come.

Or shall we be the responsible administrators of the universe, presiding over the affairs of the earth honourably and equitably, with a mind single to the good of all?

(Adapted from J. Howard Moore, The New Ethics, 1907)

Requiem æternam dona eis, Domine: et lux perpetua luceat eis.

Eternal rest grant unto them, O Lord, and let perpetual light shine upon them.

Which shall it be—the savage law of might or the great law of love?

(Adapted from J. Howard Moore, The New Ethics, 1907)

VII. In Paradisum (The Voice of the Voiceless)

I am the voice of the voiceless; Through me the dumb shall speak; Till the deaf world’s ear be made to hear

The cry of the wordless weak.

(from “The Voice of the Voiceless” by Ella Wheeler Wilcox, Poems of Experience, 1917)

In paradisum deducant te Angeli: in tuo adventu suscipiant te Martyres, et perducant te in civitatem sanctam Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere

æternam habeas requiem.

May the Angels lead thee into paradise: may the Martyrs receive thee at thy coming, and lead thee into the holy city of Jerusalem. May the choir of Angels receive thee, and with Lazarus who once was poor, mayest thou have eternal rest.

The same Force formed the sparrow That fashioned man, the king; The God of the Whole gave a spark of soul

To furred and to feathered thing. And I am my brother’s keeper, And I will fight his fight, And speak the word for beast and bird, Till the world shall set things right.

(from “The Voice of the Voiceless” by Ella Wheeler Wilcox, Poems of Experience, 1917)

Requiem aeternam.

Eternal rest.

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Vln. I

Vln. II

Vla.

Vc.

Db.

Vln. I

Vln. II Vla.

Trust mp ing-andstrong

Trust mf ing-andstronginfaith hehadgoneabout-hisbusiness,-whilea

Trust mp ing-andstrong

con sord.

Vln. I

Vln. II

Vla. Vc. Db.

hor mp rid- Fate

horrid-Fatewaited-inhispathway-anddidits cruel f willwithhim, mp

hor mp rid- Fate

Vln. II

Vla.

as pp ifhiswishes,- hisfeelings,-hadsimply-noexist-ence-atall.And

as pp ifhiswishes,- hisfeelings,-hadsimply-noexist-ence-atall. as pp ifhiswishes,- hisfeelings,-hadsimply-noexist-ence-atall.And mp as pp ifhiswishes,- hisfeelings,-hadsimply-noexist-ence-atall.

Vln. I

Vln. II

Vla.

Vc. Db.

Vln. II

whereagodofhogs, towhomthesehogsqueals

that mp therewasnowhere-agodofhogs, to

Vln. I

Vln. II

Vla.

Vc.

Db.

andago-nies hadameaning?- Whowould

whomthesehogsqueals andago-nies hada

I

Vln. II

Vla.

Vc.

Db.

take mf this hoginto-his arms f andcomfort(e = 69) rit.

meaning?-Whowouldtakethis hog

Vln. I

Vln. II

Vla.

Vln. I

Vln. II

Vla.

I

Vln. II Vla.

I

Vln. II

Vla.

Deus.-

How p canwebeblindand coldenough- tobe poco rit. A tempo

How p canwebeblindand coldenough- tobe

fearfilled-world! La p espress. cri-mo-sa-dies-illa,-

fearfilled-world!

poco rit. A tempo

unmoved - bythe groansand anguish,- the mf writhing-andtears,that

Qua mp resur-get-exfavil- la-

comeup fromitsunpar-al-leled-af flic f -

homo-reus:-Huic-ergo-parce,- De f

homo-reus:-Huic-ergo-parce,-

Vln. II

Vla. Vc.

Vln. I

Vln. II

Vla. Vc. Db.

Agnus-Dei,-Agnus-Dei,-Agnus-Dei,-Agnus-De

do

Vln. I

Vln. II

Vla.

Vc.

Db.

how p many-morelambsmust die mp forus?

Lamb p ofGod, mp who died p forus mp all,

how p many-morelambsmust die mp forus? Lamb

Agnus-Dei,-Agnus-Dei,-Agnus-Dei,-Agnus-De

i,-

Vln. I

Vln. II

Vla.

Vc.

Db.

sacri-fice- open-oureyesandourhearts. When mp 21

God, o pen --oureyesandour hearts. mp When

God, o pen --oureyes. When mf willwe,withthe

God, o pen --oureyesandour hearts. mp When

Vln. I

Vln. II

Vla.

Vc. Db.

willwe final-ly-liedownwith you? ff lions-andwolves,final-ly-liedownwith you? ff

willwe final-ly-liedownwith you?

I

Vln. II

= 76

A f gnus-Dei,- qui tollis- pecca-ta- mundi-

A f gnus-Dei,-Agnus-Dei,-quitollis-pecca-ta-mundi,-

A f gnus-Dei,-Agnus-Dei,-quitollis-pecca-ta-mundi,A f gnus-Dei,-Agnus-Dei,-quitollis-pecca-ta-mundi,-

Vln. I

Vln. II

A ff gnus- Dei,- dona-eis,- eis-requi-em-

A ff gnus-Dei,-Agnus-Dei,-dona-eis- requi-em-

Vln. II

Vla.

Vln. I

Vln. II

Vla.

A tempo E 45

em, pp sem diminuendo al fine pi-ter-nam.- (mm)

em. pp (mm) diminuendo al fine

close mouth to a hum on downbeat

em, pp sem diminuendo al fine pi-ter-nam,- sempi-ternam,-

em, pp sem diminuendo al fine pi-ternam,-sempi-ter-nam.pp diminuendo al fine

A tempo E pp diminuendo al fine

pp diminuendo al fine pp diminuendo al fine pp diminuendo al fine

Vln. I

Vln. II

V. Lux Aeterna

(Those Who Are Gone Forever)

Vln. I

Vln. II Vla.

Vln. I

Vln. II Vla.

ter na, mf Those f whoaregoneforev-er,-

ter na, mf

ter na, mf Those f whoaregoneforev-er,-

ter

Vln. I

Vln. II

Vla.

Vc.

Db.

we p remem-ber-you: The mp Syri-an-Ele-phantB

we p remem-ber-you: we p remem-ber-you: Lux mp espress. aeter-nawe p remem-ber-you:

I

Vln. II

I

Vln. II

Vla. Vc. Db.

Bluebuck-

San mp ctis-tuis-inaeter- num;-

The mp WhiteSwamphen-

The mf Specta-cled-Como-rant-

pius-

The mp

Vln. I

Vln. II

Vla.

Vc.

Db.

CapeWarthog-

I

Vln. II

Vla.

Vc.

Hokkai-do-Wolf

Vln. I

Vln. II

Vla.

Vc.

Portu-guese-Ibex-

SeaMink

Vln. II

Lux mp espress. aeter- napoco rit.

I

Vln. II

Vla.

Vln. I

Vln. II

Vla.

I

Vln. II

ter num; qui f a pius-

nary-Islands-Oyster-catch-er-

Vln. I

Vln. II

Vla.

Vc.

Db.

ter nam do- naeis-

cilian- Wolf The pp

The p Saudi-Gazelle-

Vln. I

Vln. II

Vla.

I

Vln. II

I

Vln. II

giveus, forweknownotwhatwe'vedone.

giveus, forweknownotwhatwe'vedone. giveus, forweknownotwhatwe'vedone. giveus, forweknownotwhatwe'vedone.

(approx. ending pitch)

gliss.

(approx. ending pitch)

gliss.

(senza sord.)

VI. Libera Me

Shall It Be?)

(senza sord.)

rit. on speed of tremolo

(senza sord.)

rit. on speed of tremolo

(senza sord.)

rit. on speed of tremolo

Keane Southard

mas f ters-oftheearth?"But, mf "Whatsortofmasters-shallwebe?"

Vln. I

Vln. II

morte- aeter-na.-

morte- aeter-na.demorte-aeter-

morte-aeter-na.-

Vln. I

Vln. II

Vla.

cruelandselfish,-bigot-ed-andimpe-rial-is

ly-ofourselves-and

Vln. I

Vln. II

Vla.

Vc. Db.

sacri-fic-ing-the in

terests- ofothers-toour own

Tre p mens-factus-sumego,- et

Vln. I

Vln. II

Vla.

Vc. Db.

Vln. I

Vln. II

Vla.

tura-ira.(q = 40) rit. q = 50

tura-ira.- Or p espress. shallwebethere-

tura-ira.-

tura-ira.--

sponsi-ble-admin-is-tra-tors-oftheuni-verse,-

Vln. I

Vln. II

Vla.

Vc.

Db.

siding-over-theaffairs-oftheearthhon

Vln. I

Vln. II

I

e mf is,-Domi- ne: p - etluxperpe-tu-a-luce-at- e mf -

ae mp ter-nam-

e mf is,-Domi- ne: p - etluxperpe-tu-a-luce-at- e mf -

Vln. I

Vln. II

Vla.

is. p Which f shallitbe?Which mf shall q = 52 F

Which f shallitbe? is. p Which f shallit is. p Which f shallitbe?

q = 52

Vln. I

Vln. II

itbe—

shall mp itbe? f Whichshall it shall mp itbe, f shall it be, shallitbe? mf Whichshallitbe, shallit

Vln. I

Vln. II

Vla.

Vc.

Db.

Vln. I

Vln. II Vla.

I Vln. II Vla.

VII. In Paradisum

Vln. I

I

Vln. II

(e = 72) molto rit. A tempo 19

cry ff oftheword less weak. p

Vln. II

Vla.

Vln. I Vln. II

In mp para-di-sum- dedu-cant-teAnge-li:- in

Vln. I

Vln. II

Vla.

Vc. Db.

Marty-res, p37

Marty-res, p -

Vln. I

Vln. II

Vla.

et mp perdu-cant-teincivi-ta- tem-

et mp perdu-cant-teincivi-ta- temet mp

Vln. I

Vln. II

Vla. Vc.

Vln. I

Vln. II

I

Vln. II

ha f be-as- re p qui-em. f - The same mp Force formedthe

ha f be- as- re p qui-em. f -

ha f

ha

Vln. I

Vln. II

Vla.

Vc. Db.

sparrow-

Thatfashioned-man,theking;

sparrow- Thatfashioned-man,theking;

Vln. I

Vln. II

Vla.

Vc.

Db.

GodoftheWholegaveaspark (k) ofsoulTofurredandtofeathered-

GodoftheWholegaveaspark (k) ofsoulTofurredandtofeatheredmp gaveaspark (k) ofsoulTofurredandtofeathered-

GodoftheWholegaveaspark (k) ofsoulTofurredandtofeathered-

(e = 72) rit. q = 60 I

thing. f In mp para--

thing. f And I mf ammybrother's- keeper,thing. f thing. f And I mf ammybrother's- keeper,-

(e = 72)

Vln. II

AndIwillfighthisfight, Andspeak

AndIwillfighthisfight, Andspeakthewordfor

beastand bird, f p Till mf the

the word, f te mp suci-pi-at,- Tillthe

beast

beastand

Vln. I

Vln. II

Vla.

world ff shallsetthingsright, Till pp the

world ff shall setthingsright, Till pp the world ff shallsetthingsright, Till pp the world ff shallsetthingsright, Till pp the

worldshallsetthingsright. aeter-nam.q = 48 (e = 48) q = 36 rit.

worldshall setthingsright.Requi-em- aeter-nam.-

worldshallsetthingsright.Requi-em- aeter-nam.-

Requiem for Animals I.

II. Kyrie

V. Lux Aeterna

(Those Who Are Gone Forever)

Keane Southard

VII. In Paradisum

Requiem for Animals I. Introit

Repeat

con sord.

V. Lux Aeterna

(Those Who Are Gone Forever)

Keane Southard

senza sord.

con sord.

Repeat as fast as possible at own speed, uncoordinated with others

V. Lux Aeterna

(Those Who Are Gone Forever)

II. Kyrie

(change bow as needed) gliss.

Repeat as fast as possible at own speed, uncoordinated with

V. Lux Aeterna

(Those Who Are Gone Forever)

Keane Southard

senza sord.

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Requiem for Animals | SATB and String Orchestra | Full Score | Keane Southard | MusicSpoke