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The Requiem by the Hungarian composer György Ligeti is a large-scale choral and orchestral composition, premiered in 1965.

The work lasts for just under half an hour, and is in four movements: Introitus a gradual unbroken plane of sound moving from "mourning into the promise of eternal light". The Kyrie is a complex polyphonic movement reaching a fortissimo climax. The Dies Irae uses vocal and orchestral extremes in theatrical gestures, and the closing Lacrimosa, for soloists and orchestra only, returns to the subdued atmosphere of the opening.

Composition
Ligeti was commissioned to write a work in 1961 for a series of new music concerts on Swedish Radio. It was he who suggested a Requiem, and had initially intended to set the full text of the Requiem mass. However he ultimately decided that to set around half the text met his structural needs. As such, the work consists of an Introitus, followed by Kyrie, De die judicii sequentia, and finally Lacrimosa. Ligeti spent nine months working on the six-minute Kyrie section, which featured the most complex polyphony he had ever attempted, featuring twenty vocal lines, although as Harold Kaufmann notes, "it refers back... to the classical vocal polyphony of the old masters".

Ligeti scored the work for large choral forces, featuring two mixed choirs and soprano and mezzo-soprano soloists. To the orchestral forces he added a harpsichord and celesta.

Volumes in print
The list below is of the volumes that are in print in 2014. Since 1962, many (although not yet all) of the volumes have been updated to reflect architectural-history scholarship and to include significant new buildings. Beginning in 1983, a larger format was introduced, and all subsequent new editions have been issued in this format. As of 2014, the oldest unrevised volumes are Warwickshire and Yorkshire: The North Riding (both 1966). All editions are now published by Yale University Press. Those volumes marked with an asterisk remain in the original, smaller format.

Life and Career
Aldred attended Emanuel School, London from 1956 to 1963. In 1964 he auditioned for the role of 'teenage adviser' in a pop music series for Rediffusion entitled Ready Steady Go, which had been running since August of the previous year and presented by Keith Fordyce. It was about to be broadcast across the ITV network, and producer Elkan Allan was keen to differentiate its style from similar BBC productions which had been fronted by presenters visibly older than the target audience. Other auditionees included Anne Nightingale and Cathy McGowan. Fordyce and Allan decided to select Aldred and McGowan. At the time of his debut, Aldred was aged 18 years and 5 months, by some margin the youngest presenter of any programme on British television. He remained with the programme for six months, after which McGowan was promoted to co-presenter with Fordyce.

Aldred moved on to music journalism, contributing to a number of pop magazines of the time. Some of these articles were written under his own name, others under pseudonyms, one of which was 'Gary Glitter'. Paul Gadd - a runner on Ready Steady Go, later appropriated it as his own stage name. Aldred's other work included an article entitled "Why I'd Send A Valentine to Marianne Faithfull" for Fabulous magazine in 1965. Despite the article's sentiments, Aldred was gay - and according to a number of writers, had brief affairs with Dave Davies of The Kinks and Andrew Oldham, manager of The Rolling Stones, who he had met through Brian Jones.

After an abortive attempt at a recording career of his own, Aldred moved into music production, his relative youth in what was already a youthful industry earning him the nickname 'Teenage' Aldred. His work included recordings for Billie Davis (for whom he also wrote some songs) and Wayne Fontana, with whom in 1970 he recorded a demo version of "Give Me Just A Little More Time" for Philips. However they were beaten to the release by the version by Chairmen of the Board which went to No. 3 in the charts. He also produced a number of singles for Timebox.

In the mid-1970s, Aldred moved to the United States where he continued in music production and writing, acting as reviewer for magazines such as Goldmine and Audio. Amongst his work at this time was a substantial article on the recording technique of Phil Spector which was run across two editions of Goldmine in 1988.