Mozart's Requiem in D Minor is a sublime work. The Kyrie is a masterful lesson in fugal writing, requiring the students to 'count like crazy.' Every section of the orchestra plays the syncopated entries, tied rhythms, and running sixteenth note passages. The tempo can be slightly adjusted to suit the technical ability of the ensemble. Eighth notes should be slightly separated, whilst 16th notes are played detaché. This arrangement would make an interestingly contrasted concert item with Loreta Fin's arrangement of the beautiful 'Lacrymosa' from the same Requiem (76-44507). / Orchestre A Cordes

The two existing manuscripts (1915 and 1926) of these extracts 'arranged' by Falla himself correspond to the very beginning and end of a long period during which El Amor Brujo can be seen in a series of different states. They demonstrate the care which the composer generally brought to the task of instrumentation, and more particularly the aptness and validity of this piece in his own eyes as chamber music. It is clear that Falla's art of orchestration (and notably his feeling for instrumental idiom) gives his score a profound sense of balance. String parts only. Piano player reads from full score, available separately. / Instruments A Cordes