The composition "Requiem" was created and first performed in the United States in 1985. It is not a complete contribution to the Catholic "Missa pro defunctis," but rather a collection of selected texts, including excerpts from the Requiem Mass and the 1662 prayer book. The work is divided into seven movements, each meditatively contemplating different aspects of life. The outer movements (first and last) are prayers to God the Father for humanity, while the second and sixth movements are psalms. The third and fifth movements consist of personal prayers to Christ. At its heart is the Sanctus, which affirms divine glory with the sound of bells. The Mass incorporates both Gregorian chant and instrumental parts.
The style and scope of the "Requiem" are more reminiscent of Fauré and Duruflé than the works of Berlioz, Verdi, or Britten. Instead of being dramatic, it presents itself as intimate, contemplative, and lyrical. Although some might find the comforting and accessible nature of the piece superficial, this approach was intentional, as the work was composed during a time of personal loss.
Other compositions presented here also hold special significance: "The Lord bless you and keep you" was written in 1981 in memory of Edward Chapman, the former music director of London's Highgate School. John Tavener's "Funeral Ikos" also comes from the same memorial service. A close connection exists with the piece "Hymn to the Creator of Light," which is associated with the composer Herbert Howells, whom I met in the last years of his life and whose work I greatly admire. The hymn was composed for a special service at Gloucester Cathedral.
The secular pieces "Draw on, sweet night" and "My true love hath my heart" are part of the "Birthday Madrigals," composed in 1995 to celebrate the 75th birthday of jazz pianist George Shearing. Although the entire choral suite exhibits subtle jazz influences, these are only subtly present in the harmonic structure of the two movements mentioned.
It is an honor for me that this album dedicated to my choral music is being released. Nevertheless, I regret that unnecessary barriers exist between composers and audiences in this day and age. I would always prefer the emotional response of the listeners to the skepticism of critics.
— Manuela Hübner