By JAMES D. WATTS JR. Scene Writer on Sep 11, 2012, at 8:21 AM Updated on 9/11 at 10:38 AM
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While I -- as do most Americans -- remember where I was and what I was doing on Sept. 11, 2001, what I prefer to remember on this day is where I was on Sept. 11, 2002.
David Rollo, who directed an ensemble called the Coventry Chorale, arranged for a group of Tulsa singers and musicians to be a part of what was called "The Rolling Requiem," sequential performances of Mozart's Requiem that would begin at 8:46 a.m. in every time zone in the world, so that Mozart's mass in honor of the dead would circle the globe.
The story I wrote that day concluded in this manner:
And this is perhaps the image one should take away from "The Rolling Requiem" -- a small group of voices, joined together in harmony, praying for mercy for the living and rest for the dead, a moment both out of time and still very much a part of something that fills the world.
At the conclusion of the Requiem, the powerful notes of "Quia pius es (For You are merciful)," the crowd rose to its feet and applauded for as long as it took for the singers and musicians to exit the sanctuary -- an ovation of nearly three minutes.
And as the crowd made its way outside the church, the bell at Trinity Episcopal began to sound. It would continue to sound at 12-second intervals throughout the day, until it had tolled 3,043 times: one for each victim of the Sept. 11 attacks.
The Tulsa performance of "The Rolling Requiem" was the only one that took place in the U.S. Central Time Zone -- the lone voice, as if were, crying out from the plains.
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