Key points are not available for this paper at this time.
Mieczysław (Moisei) Weinberg’s Requiem opus 96 for soprano solo, boys’ choir, mixed choir and orchestra, based on poems by Dmitry Kedrin, Federico García Lorca, Sara Teasdale, Munetoshi Fukagawa and Mikhail Dudin, is a large-scale composition close to both cantata and oratorio in terms of its genre. It represents some essential features of the composer’s vocal and symphonic style. The work was not performed in the composer’s lifetime and has never become a subject of musicological research. The author analyzes the work’s structure and thematic material, its system of leitmotifs and semantics in the context of the classical and romantic tradition of Requiem as a musical genre.
Evgeniya Bogdanova (Sat,) studied this question.