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Iudicat - Structure
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I. Chorus (Iudicat I) - Set in C# Minor (NB: All instances of the Iudicat Chorus are in this key). Time signature is 3/4.
II. Piano/Organ Intercession (Lux Pax) - C# Minor, as it is an exposition of the theme of the first Iudicat Chorus, and serves as a segue into the second one.
III. Chorus (Iudicat II) - See top. The last part in the initial 3/4 time signature.
IV. Marcetta (Salvosque) - Key shifts to B Minor, and the time signature changes to 7/8.
V. Chorus (Iudicat II) - The key changes back to the standard Iudicat Chorus key signature, and the piece moves to 3/4 time, as before, and to prepare the passacaile.
VI. Passacaile (Phasma Luctus) - The key changes to D# minor, but the time stays the same, keeping with traditional standard for a passacaile. Tempo at 48.
VII. Chorus (Iudicat II) - Same details as the previous instances of the Iudicat Chorus.
VIII. Cadenza (Dies Iræ) - The key signature goes to C minor. Time goes to 17/8, tempo is 80, and SAT voices are added.

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I. Chorus (Iudicat I)
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The piece starts off with the first Iudicat Chorus, the thematic eponymous chorus. The first version of the chorus only appears once, and lacks the involvement of the
organ, the contrabass section, and the double bass section. This is to isolate the bass and timpani for a more notable effect and to serve as a simplistic exposition.
The section (and its alternate version) is in C# minor, the sharped enharmonic of Db major, chosen for its nature as described by Schubart:

"A leering key, degenerating into grief and rapture. It cannot laugh, but it can smile; it cannot howl, but it can at least grimace its crying.
Consequently only unusual characters and feelings can be brought out in this key."

The purpose of this was to set a mood of solemnity, introducing the bass voice as a call of prayer, mourning the broken unpurified world. The voices are meant to be
the faithful of God, calling for the Rapture and begging God to clean the Earth by his wrath, on the Day of Judgment. The time signature is 3/4, after the tradition
of the passacaglia, alluding to the serious nature of the piece and exemplifying its gravity.

The chorus, in both variations, is notable for a difficult note, the second note in the pronounciation of tempus, due to it being a longa note, meaning that in 3/4
time, it stretches over a little more than 9 bars. However, being sung by a bass singer, it is probably significantly easier due to sheer lung volume.

Text is as follows:

Latin - Iudicat, Iudicat, Iudicat, Iudicat, hic venit tempus...

English - He judges, He judges, He judges, He judges, the time is here...

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II. Piano/Organ Intercession (Lux Pax)
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Lux Pax is the section separating the introduction, the first chorus, and the initiation of the developed theme, the second chorus. As such, it keeps the key and time
signatures the same as the bordering parts, to preserve the tonality and flow of the piece. It is light and airy in nature, aetherial, and as unusual as the key it is
set in. It is quiet, reserved, and built with plaintitive restraint. It uses wild chords and fast flurrying movements set in a way similar to a constant waterfall
cascade effect for the piano bass clef, a slow and deliberate bass line on the organ, and a scherzando tone for the treble clef of the piano.

The section ends very unusually. Whilst it spends time building tension and mounting for a dramatic chord, it takes a surprising course and ends with a peaceful and
gentle chord, ending a frenetic section with a sense of tranquility.

There is no text for this section.

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III. Chorus (Iudicat II)
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Not a lot changes, but the things that change are significant, as they are engineered to cohesively develop and display the theme, the chorus, which serves as a prayer
for wrath and for mercy, unusual characters to be paired. The organ is introduced at this point, starting with a variation on Charles-Marie Widor's Mättheus-Final
from Bach's Memento. It takes the beginning four bars, transposes them (with certain corrections), and develops a diminishing chord progression after a few repeats.

The contrabass and double bass sections also come in now, identical in form to the violoncello part for the chorus, to add a theme built upon the lower register using
strings. This serves as an essential pedestal for the organ part to shine through. Care must be taken to play the piano in a way that it is audible over the organ and
string instruments.

Text is the same as the first Iudicat Chorus.

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IV. Marcetta (Salvosque)
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The Marcetta (Italian for "little march") ensues after the second Iudicat Chorus. This starts similarly to the march from the fourth movement Beethoven's Ninth
Symphony, with only the timpani being used for the first few beats. However, this is less cheerful than that march. The time signature switches to 7/8, an unusual drum
beat, and the key signature changes to B Minor. The reason for this is because this section was meant as submission to God and a request to be saved. This makes clear
the intention of the Marcetta: traversing to the point of salvation.

The section is short, but ends decisively, with a crescendo on progression where the timpani become more prominent and dramatic until they dispel the tension they had
created with a tremendously loud chord. The usage of B Minor is most clearly realized by the description of the key by Shubart:

"This is as it were the key of patience, of calm awaiting ones's fate and of submission to divine dispensation."

The message of the section is of patience and calm, and the mood is completely of honest submission to God and pure faith, within a heart that is tranquil in the
great storm of Judgment.

Text is as follows:

Latin - Deo Cæli, audi nunc, audi nunc... Expectemus pro raptus...
Salvosque! Salvosque! Salvosque! Salvosque! Salvosque!

English - God of Heaven, listen now, listen now... We wait for Rapture...
Save us! Save us! Save us! Save us! Save us!

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V. Chorus (Iudicat II)
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This makes no change to the second Iudicat Chorus, but does proceed to reset the key and time signatures. The purpose of the repetition is to serve as both a partition
between the Marchetta and the Passacaile and as a preparation for the Passacaile. The reiteration of the theme builds tension and suspense, to be sated by the
Passacaile, which only corrects the tension when it finishes, and no sooner.

Text is the as as the first and second Iudicat Chorus.

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VI. Passacaile (Phasma Luctus)
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The Passacaile, Phasma Luctus (Latin for "The Ghosts' Lament"), serves to turn the mood considerably, keeping time at 3/4, but moving the tempo to a very slow 48 BPM
and turning the key to a very dark key: D# Minor. The purpose of this key signature is made crystal clear by Schubart's description of D# Minor:

"Feelings of the anxiety of the soul's deepest distress, of brooding despair, of blackest depresssion, of the most gloomy condition of the soul.
Every fear, every hesitation of the shuddering heart, breathes out of horrible D# minor. If ghosts could speak, their speech would approximate this key."

This is the Passacaile in words. The scene is set to describe the releasing of those slain because of their conviction in the name of God in the book of Revelations.
The voice now moves to descrive the woe of being in the Grave, away from the beloved Lord of Heaven. The Passacaile is very dark, and very depressing, and is made
to be of a chilling form and a agonized countenance, as if a beast writhing in the frigid torrential rain.

The introduction of the organ brings about the true start of the Passacaile, by introducing the ostinato, a short progression of two semiquavers and a quaver, three
times in a bar, transposed up and down in perfect fourths. The Passacaile ends decisively soon enough, with dramatic organ chords and a furious drumming of the
timpani in a flurry of ascending sets of four demisemiquavers.

Text is as follows:

Latin - Usquequo, Dominus, oportet flemus en aquat de tantibus? Exurit hic frigida; sicut glaciale sicut Sheol!

English - How long, Lord, must we weep in the waters of nightmare? It burns so cold; as cold as Sheol!

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VII. Chorus (Iudicat II)
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The final repeat of the Iudicat Chorus, this returns the key and time signature back, reiterates the theme once more, and serves as a dramatic and tense partition
between the Passacaile and the Cadenza, which is in the theme of "Dies Iræ". No changes are made to the chorus; it serves only to reiterate the theme and make a final
call to God for the Day of Judgment.

Text is the as as the first, second, and third Iudicat Chorus.

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VIII. Cadenza (Dies Iræ)
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The piece ends in triumphant fanfare, in the key of C Minor, upon the theme of "Dies Iræ", Latin for "The Day of Wrath". The final part is a very brief cadenza, mere
seconds long, but it contains tremendous energy, with furious speed of the stringed instrument sections, the rapid progression of the organ in a flurry of notes that
descend into powerful chords, and the timpani furiously drummed with great vivacious spirit and speed.

At this point, in the final part, the parts of Soprano, Alto, and Tenor are introduced, with some fairly difficult notes (And the bass notes become difficult too).
There is very little said, as this part is brief, but it says something powerful. It sings in celebratory tone, yet beckons the destruction of the world. What this
implies is that the voices of the faithful realize death is to be celebrated at Judgment, if you are with God.

Text is as follows:

Latin - Dies iræ! Venit placere!

English - Day of Wrath! Please come!