In MacMillan's words, "This danced Requiem is dedicated to the memory of my friend and colleague John Cranko, Director of the Stuttgart Ballet 1961–1973." The first performance was given at Stuttgart on 28 November 1976. MacMillan recreated the piece for the Royal Ballet, London, at the Royal Opera House, Covent Garden on 3 March 1983.
MacMillan's decision to set a ballet to Fauré's Requiem met with opposition from the board of the Royal Ballet. Catholic members of the board felt that sacred music should not be used for ballet. MacMillan wrote to the Archbishop of Canterbury to seek his opinion. Although the response was favourable to MacMillan the board remained unpersuaded. MacMillan then contacted the artistic director of the Stuttgart Ballet who had previously expressed an interest in commissioning a ballet from him. They reacted with enthusiasm. The piece was a portrait of the ballet company coming to terms with the death of Cranko, their much-loved artistic director.
In the episode, Leroy Jethro Gibbs is visited by Maddie Tyler, the childhood best friend of his deceased daughter, for help in stopping a Marine who she believes stalking her. When Tyler is kidnapped, Gibbs becomes more personally involved in the case. It is later revealed the stalker is using Tyler's home to get their hands on four million dollars in stolen Iraqi aid money.
"Requiem" was originally intended to be the 100th episode of the series, until the producers switched the order with "Chimera" because they believed it would be suitable to air near Halloween. The episode was seen by 18.15 million viewers, which was the second largest audience at the time.
After several years of recordings in trio and other formats, the Requiem recording reunited Marsalis and Watts with Kirkland, who had been his collaborator on many earlier outings. After the August recording sessions, the quartet took the material on the road, with the goal of returning to the studio after the material had been honed on stage. Following Kirkland's death the remaining players recorded as a trio, capturing the song "Elysium."
In his AllMusic review, Richard Ginell says the album "an uncompromising, well-played disc of acoustic jazz that leans a bit toward adventure at times… in what turned out to be the swan song for one of the neo-bop era's finest lineups." Josef Woodard, in Entertainment Weekly called the album an "inspiring set that showcases Marsalis' expressive fluidity and lends a rueful, finalizing punctuation mark to Kirkland's brilliant and too-brief career." Writing for AllAboutJazz.com, Ian Nicolson noted that the album captures "the sound of a hot, creative musician flourishing in a hot, creative environment, captured largely live on analogue 24-track." James Shell's review for JazzReview.com called the work "unquestionably Branford's best to date," noting "its reliance on the Keith Jarrett quartet of the mid-seventies as a model."
Wolfgang Amadeus Mozart (German:[ˈvɔlfɡaŋ amaˈdeːʊs ˈmoːtsaʁt], English see fn.; 27 January 1756– 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty.
At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons.
Daniel Henriks leads Mozart’s ‘Requiem’. Music director Daniel Henriks leads I Cantori di Carmel’s chorus and orchestra on a musical journey about life, love and death with Mozart‘s gorgeous ‘Requiem’ in d minor as the heart of this program ... The Mozart ...
The performance he conducted combined the soufflé lightness and melodious rapture of “Cosi fan tutte,” the magnitude of sense of humanity that pervades “The Magic Flute” and the grandeur of Mozart’s never-to-be-finished “Requiem.” No doubt, after these performances “La Clemenza di Tito” may receive a long overdue renaissance.