Requiem in Bb major - Quam Olim II

Yes, do check out my old-school Requiem!  It is not death-obsessed, but rather a hopeful Requiem in a major key.  The Introitus is Romantic, but it goes Neoclassical pretty soon after.  I broke up the text just like Mozart did, and in the manuscript even had a funny where I wrote, in the exact place Mozart croaked, his apparent last written words:  Quam Olim DC...da capo.  

Actually, start here!

Requiem In Bb Major-Quam Olim II Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

The counterpoint is very impressive, so well done!

I would have liked to see how the lyrics align with the notes, but I'm not sure if note flight is capable of that. I would definitely recommend musescore if you can fit it on your computer. It is free after all.

The main issue is how you're writing for your forces. Violin octaves are a little unreasonable for a tutti section. It's too difficult without a good justification. I would either NOT have the octaves, or have the violins divisi. And the voice ranges are going into risky registers. There's a good short guide "ranges for choral singers: a guide for composers" by Chris Hutchings that's literally just a page and tells you pretty much all you need for writing for choral voices. You can probably find it online.

43 minutes ago, ComposaBoi said:

I would definitely recommend musescore if you can fit it on your computer. It is free after all.

I would second that.

I can't really get a good impression of your piece from Noteflight, the playback is too ropey. (That may be why you're not getting many reviews.)
MuseScore would give a much better rendition of your score, even with no tweaks whatsoever.

Wow!  Some surprisingly good counterpoint, though it's difficult to see how it will all fit together without the text underlay.  Consciously or not, you've taken a cue from Niccolo Jommelli (1714-1774) in scoring your Requiem for voices and strings alone...his Requiem (1756) was the most popular and often requested of its day, until Mozart wrote his in 1791.  The sparing orchestration makes it more likely to get played.  

I agree with ComposaBoi on just about everything he said. 

Measure 11:  The tenor part goes dangerously low, down to B below tenor C; consider a D instead if it won't mess up your counterpoint. 

Measure 17:  Awkward for Violin I - the C on beat 3-1/2 is icky to try to reach down to there, it means shifting a third down the fingerboard for one note, then shifting back up again; consider the G above instead.

Measure 31:  Odd ending, it seems to me.  There is no third in the chord, and while that's not without precedent, I don't feel like it works here.  Consider an E-flat as the final note in the Soprano and Violin I.  

Show us more of this as you have it!  Well done!