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Johann Simon Mayr
1763 - 1845
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J.S. Mayr
Simon Mayr -also Giovanni Simone Mayr- (14/06/1763 - 02/12/1845), an Italian composer of German origin, born in Mendorf. He was buried in Bergamo. When Donizetti (his most famous pupil) returned to Bergamo and died, he was buried next to maestro Johann Simone Mayr, his former teacher.
Source:Grove's dictionary of music and musicians
Requiem in D minor
Period:Early Romanticism
Musical form:mass
Messa pro Defunctis in D minor (in canto gregoriano) for three mixed voices, arranged by Giuseppe Pedemonti.
Contributor:Tassos Dimitriadis
Requiem movements
Period:Early Romanticism
Simon Mayr wrote twenty requiem movements.
Source:The new Grove dictionary of music and musicians
Contributor:Tassos Dimitriadis
Movements for the Office of the Dead
Period:Early Romanticism
Simon Mayr wrote one hundred eleven movements for the Office of the Dead.
Source:The new Grove dictionary of music and musicians
Contributor:Tassos Dimitriadis
Grande messa da requiem in G minor
Period:Early Romanticism
Composed in:1815
Musical form:mass
Text/libretto:Latin mass
Label(s):Naxos 8.573419-20
Agora Musica AG 131.2
This requiem contains:
* Introitus
01. Requiem 2:44
02. Te decet 6:10
03. Requiem 2:36
* Kyrie
04. Kyrie eleison 2:28
05. Christe eleison 3:47
06. Kyrie eleison 4:43
* Sequentia
07. No. 1: Dies irae 7:20
08. No. 2: Tuba mirum 7:13
09. No. 3: Liber scriptus 8:26
10. No. 4: Quid sum miser 8:02
11. No. 5: Recordare 3:09
12. No. 6: Ingemisco 5:22
13. No. 7: Preces meae 8:01
14. No. 8: Inter oves 3:23
15. No. 9: Oro supplex 8:21
16. No. 10: Lacrymosa 7:11
17. No. 11: Huic ergo 7:40
18. Sanctus 2:48
19. Benedictus 2:48
20. Benedictus: Hosanna in excelsis 1:37
21. Agnus Dei - Communio: Lux aeterna 5:17
22. Libera me 7:01

♫ 04. Kyrie eleison
Naxos 8.573419-20
Source:booklet of cd Naxos 8.573419-20
Contributor:Pentti Ruokonen
An impressive requiem of Donizetti's teacher Johann Simone Mayr: Grande messa da requiem in sol minore, for soprano, tenor, bass, voices and orchestra, composed in 1815, is a massive 90-minute work is firmly in the monumental French style so influential at that time. Richly orchestrated (particularly thrilling, glittering brass in the Libera me), the work opens with a Requiem aeternam introduced by a funeral march and builds to an intense, 50-minute Dies irae which is fiery, catalclysmic and resigned by turns. Mayr's importance as a composer and his ability to write memorable music is confirmed even more by this magnificent requiem.