"The Prize Is Still Mine"
Libretto by Michael Petry

"A Prussian Requiem"
Libretto by Michael Petry

"Requiem Addendum"
Libretto by John Powell
Latin Translation by Charles Anthony Silvestri

Music by John Powell

Produced by John Powell
Philharmonia Orchestra & Voices Conducted by José Serebrier
Tenor: Javier Camarena
Baritone: Steven Pence
Eric Whitacre Singers Conducted by Eric Whitacre
Los Angeles Gospel Singers Conducted by Edie Lehmann Boddicker
Solo Vocal: Judith Hill
Recorded by Mike Hatch
Mixed by John Traunwieser
Music Transcriptions by Batu Sener
Additional Music Preparation by Jill Streather, Ann Barnard & JoAnn Kane Music Services
Orchestrational Consultancy: Emlyn Singleton
Watford Colosseum Stage Recordist: Michael Gerrard
Watford Colosseum Crew: Tim Brinkman & Therese Carpenter
Artwork by Michael Petry
Musician Contractors & Managers:
For A Prussian Requiem: Rachel Jones & David Welton
For Requiem Addendum: Claire Long & Meg Davies
For The Prize Is Still Mine: Edie Lehmann Boddicker
Executive Producer: Dan Coleman, Modern Works Music Publishing
Publicity: Carla Parisi, Kid Logic Media

Special Thanks:
to Michael Petry, José Serebrier, David Welton, Eric Whitacre, Gavin Greenaway, Emlyn Singleton, Tony Silverstri, Victoria Schofeld, Peter Gelb, Dan Coleman, Laura Engel, Mark Graham, Nancy Buchanan, Dr. Lawrence Piro, Dr. Chester & Chris Griffiths, Cindi Hilfman, Rebecca Wade, Tamasine Hanson, Shawn Murphy, Germaine Franco, Travis Barker, Jesi Nelson, Amanda Jones, Tracie Turnbull, Aylin Sener

Javier Camarena, Matthias von Orelli, Steven Pence, Edie Lehmann Boddicker, Omar Crook, Elin Carlson, Monique Donnelly, Amy Fogerson, Fletcher Sheridan, Steve Amerson, Randy Crenshaw, Reid Bruton

Philharmonia Orchestra Management: Rachel Jones, Fiona Martin, James Williams, Tom Spurgin, Per Hedberg, David Thomas, Tim Cotter, Hannah Bellamy, Steve Brown, Barry Brown, Natasha Riordan-Eva; The Philharmonia Chorus & Richard Harding, Stephan Bevier & Mike Brennan

for Oliver Powell

Dedicated to Melinda Lerner (1959 - 2016)

The Hubris Of John Powell
On the centenary of the First World War, I decided to compose a "war requiem;" an act of grand hubris I thought, and in that very idea, I found my story: "How did the war begin?" With this hubris came anxiety. Could I transcend my established identity as a "film composer" and finally communicate the complexities of my feelings on such a distant subject?
 
My study of WWI would have to extend beyond my own conjecture and overactive empathy. As I planned the requiem, I reviewed the scenes of muted conflict holding Europe and its empires in a constant geopolitical standoff. I eventually found the historical character to serve as protagonist in my new work: General Helmuth von Moltke. When polled by the Kaiser as to possible offerings of peace by other countries on the night before the conflict began, his reply was an indignant hissy fit that could plausibly have been the reason that war went from "inevitable" to a reality. My own hubris paled in comparison.
 
But a requiem seemed too ambitious a work for me to start without a warmup, so my frequent collaborator, Michael Petry, provided inspiration for a separate project. From my part in the recordings of an installation piece written with Gavin Greenaway, the elements of The Prize Is Still Mine appeared. With its strange mix of styles - gospel and early 20th century romanticism, this composition for voices and orchestra tells a story of triumph and rejuvenation. With the completion of a project that celebrated genuine pride, I felt able again to examine the false pride that led to the First World War, and returned to A Prussian Requiem emboldened.
 
Even before the work on this new work began, my wife Melinda's health was starting to decline; the main reason I was taking less work in Hollywood. But I never really would have believed what the future held; a chilling admission of the power of optimism in the face of a universe capable of such chaos. As the requiem took shape, Melinda began fighting a battle she was destined to lose. My utter confidence in perfect outcomes (my hubris) seems similar to the mass delusion that military conflicts can be "over by Christmas."
 
And so, a year later, as the sound of A Prussian Requiem died at its first performance in London's Royal Festival Hall, so did Melinda. I was holding her hand as my phone rang with congratulations from England that I could not hear nor comprehend. What had I done? Had my hubris brought forth pain and suffering the way General von Moltke's had on the last days of August 1914? Is that how the world works? A neurotic man sees all patterns leading back to him. What narcissism arises from the evolutionary functions that led humanity to success? But at times of great sorrow, we can find sharp needles in vague haystacks if they give us solace.
 
The next work I needed to write became obvious. A requiem to a Requiem. Neither A Prussian Requiem nor Requiem addendum are truly what they say they are, but merely the fumblings of my heart, communing with those I have lost.

John Powell, Los Angeles, 5:50am November 25th 2017