The next theme – again dominated by the woodwinds - also represents the shepherd who keeps his herd together with his melody. The alto and the baritone adopt this theme in an antiphon with the male voices of the choir. ‘Exaudi orationem meam, ad te omnis caro veniet’ (‘Hear my prayer, to you shall all flesh come’). Next the theme is adopted by the entire choir in an antiphon.
During the second section the alto, tenor and choir recite the ‘Requiem’ and ‘Kyrie eleison’ in an antiphon, accompanied by brass and strings. It is not intended as a prayer, but rather a nearly demanding appeal, ending in an imploring cry ‘Lord, have mercy’.

Although this section is intended as a prayer from the living for the dead, I have treated it in an ambiguous manner. Initially, it is a prayer, sung for the dead. The alto, baritone and tenor solos and the answers from the choir represent the prayers from the living. The shepherd and his flute represent the Lord. In the second section the solo voices adopt the part of the living, while the choir plays the part of the victims. The living pray for peace and mercy for the dead, while the victims pray for peace and mercy for themselves, which finally ends in a collective cry.

How many cries have reverberated the buildings and barracks of Auschwitz? Countless cries of pain and despair. Innumerable cries for mercy and salvation.
How many times have people taken refuge in a comforting prayer? A prayer for peace and mercy. Or did they look for comfort from a clergyman who happened to be there, despite his religious conviction.

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