Messa da Requiem

  1. Requiem and Kyrie
  2. Dies Irae
  3. Offertorio
  4. Sanctus
  5. Agnus Dei
  6. Lux aeterna
  7. Libera me

Verdi’s Requiem grew out of a project which he initiated in 1868 in order to commemorate the death of Rossini. His intention was to encourage the foremost Italian composers of the day to collaborate in composing a setting of the Requiem Mass, by each contributing a movement. Verdi himself immediately set to work on the final movement, the Libera Me.

Although such ties of friendship as existed between Verdi and Rossini were only slight, Verdi felt the latter’s death represented a major event for Italians, not least because this was the period immediately before the creation of an independent and unified Italian state. “Rossini’s reputation,” he wrote, “was the most widespread and the most popular of our time; it was one of the glories of Italy. When the other which is comparable with it, that of Manzoni, exists no longer, what will remain for us?”

Despite Verdi’s best efforts, his plan fell through. By then he had already completed the Libera Me movement, but during 1869-70 he left the Requiem project aside, turning his attention instead to Aida, which he completed in 1871. His next composition was a string quartet, which was finished in March 1873. Two months after this came the news of Manzoni’s death, which came as a terrible blow to the composer.

Alessandro Manzoni (1785-1873) had been the leading Italian writer of the century, with an international reputation. To his publisher, Giulio Ricordi, Verdi wrote, “I shall not go to Milan tomorrow; I could not bear to be present at the funeral. I shall come later to the grave, alone and unseen. I may have a proposal to make to you as to how his memory should be honoured.”

Verdi determined that his previous Requiem project, including the existing Libera Me movement, should be the basis for a new work. But there was an important difference. Now he would compose the whole score on his own. The first performance took place on 22nd May 1874, the first anniversary of Manzoni’s death.

Requiem and Kyrie

Muted cellos play a slow, descending phrase, which is taken up by the remaining strings as the chorus enters with a monotone chant. A beautiful violin phrase introduces the ‘Lux aeterna’, and there is a new, unaccompanied vocal melody for ‘Te decet hymnus’. With the Kyrie, the soloists enter in turn, on an expansive and lyrical theme, before combining with the chorus in an ensemble of both beauty and fervour. The closing phase returns to the hushed chant, ‘Christe eleison’. 

SOLOISTS AND CHORUS
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.

Grant them eternal rest, O Lord,
and let perpetual light shine upon them.

Te decet hymnus, Deus in Sion,
et tibi redetur votum
in Jerusalem:
exaudi orationem meam,
ad te omnis caro veniet

Thou art praised, O God, in Zion
and unto thee shall the vow be performed in Jerusalem.
hear my prayer;
unto thee shall all flesh come.

Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.

Grant them eternal rest, O Lord,
and let perpetual light shine upon them.

Kyrie eleison, Christe eleison.

Lord, have mercy, Christ, have mercy.

 

Dies Irae

This is the longest movement, comprising several linked sections. The imagery of the day of wrath is immediately generated by the orchestra, with four shattering G minor chords and a wildly swirling theme. The chorus responds with terrified cries, while the off-the-beat strokes of the bass drum complete the picture of
the Last Judgement.

As the music subsides, four trumpets in the orchestra are combined with four in the distance, rising to a climax at which the full ensemble joins for the ‘Tuba mirum’. But the impressive volume breaks off suddenly, and the solo bass enters pianissimo with ‘Mors stupebit’, accompanied by a march rhythm in the strings, emphasised by the bass drum.

CHORUS
Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sybilla.
Quantus tremor est futurus,
Quando Judex est venturus,
Cuncta stricte discussurus!

Day of wrath, that day
shall dissolve the world in ashes;
so spake David and the Sybil.
How great shall be the trembling
when the Judge shall come,
to weigh all things exactly.

 

Tuba mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.
Mors stupebit et natura,
Cum resurget creatura,
Judicanti responsura.

The trumpet spreading wondrous sound
Through the tombs of every land,
Summons all before the throne.
Death and nature will be astounded,
When all creation rises again
to answer to the Judge.

 

 

The ‘Liber scriptus’ is a passionate solo for the mezzo soprano, occasionally contrasted with quiet interjections of ‘Dies Irae’ from the chorus, and later from the orchestra too. This heralds the fierce return of the intensities of the opening music, which in turn subsides as the mezzo begins the trio, ‘Quid sum miser’, with the soprano and tenor, plus an obbligato bassoon. This delicate trio leads into the contrast of ‘Rex tremendae’, which begins imposingly with the chorus basses, moving through to ‘Salva me’ for soloists and chorus. Here the pleading vocal line ranks among Verdi’s finest inspirations.

MEZZO SOPRANO AND CHORUS
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit,
Quidquid latet, apparebit,
Nil inultum remanebit.

The book of words shall be brought forth,
in which everything is contained
whereby the world is to be judged.
Therefore when the Judge is seated,
all things hidden will appear,
nothing shall remain unpunished.

Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sybilla.

Day of wrath, that day
shall dissolve the world in ashes;
so spake David and the Sybil.

 

SOPRANO, MEZZO SOPRANO AND TENOR

Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix justus sit securus?

What shall I, a wretch, say then?
To which protector shall I appeal,
while even the righteous are hardly safe?

SOLO QUARTET AND CHORUS

Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.

King of tremendous majesty,
who freely saves those deserving it,
save me, O fount of mercy.

A gentle duet, ‘Recordare, Jesu pie’, is sung by the two female soloists, followed by the tenor’s ‘Ingemisco tanquam reus’. At the words ‘Inter oves’, a solo oboe alternates with the vocal line, creating a certain tension and moving towards a climax, a proud cry on a sustained high B flat: ‘Statuens in parte dextra’.

SOPRANO AND MEZZO SOPRANO

Recordare, Jesu pie,
Quod sum causa tuae viae:
Ne me perdas illa die.
Quaerens me sedisti lassus:
Redemisti crucem passus,
Tantus labor non sit cassus.
Juste Judex ultionis
Donum fac remissionis
Ante diem rationis.

Remember, merciful Jesus,
that I am the reason for Thy journey;
lest Thou lose me on that day.
Seeking me, Thou didst sink down wearily;
Thou hast redeemed me by enduring the cross;
Let not such travail be in vain.
Righteous Judge of retribution
make a gift of absolution
Before the day of reckoning.

 

TENOR

Ingemisco tamquam reus,
Culpa rubet vultus meus,
Supplicanti parce, Deus.
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Preces meae non sunt dignae
Sed tu bonus fac benigne
Ne perenni cremer igne.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.

I groan as one guilty,
my face blushes with guilt,
spare the supplicant, O God.
Thou who didst pardon Mary Magdalen
and didst listen to the thief,
hast given me hope also.
My prayers are unworthy,
but good Lord, be kind
and let me not burn in eternal fire.
Grant me a place among the sheep,
and separate me from the goats,
setting me at Thy right hand.

 

The bass solo, ‘Confutatis maledictis’, inspired one of Verdi’s most noble tunes, but  its progress is halted by the return of the ‘Dies Irae’ music, which this time receives a full recapitulation. The sequence ends with the ‘Lacrymosa’, which is introduced by the mezzo and the other soloists, while the chorus add a tearful figure of rising semitones.

BASS AND CHORUS

Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.

When the wicked are confounded,
and consigned to the bitter flames
call me to be with the blessed.
Kneeling in supplication I pray,
my heart is contrite as ashes,
take into Thy care mine end.

Dies irae, dies illa,
Solvet saeclum in favilla,
Teste David cum Sybilla.

Day of wrath, that day
shall dissolve the world in ashes;
so spake David and the Sybil. 

 

SOLO QUARTET AND CHORUS

Lacrymosa dies illa,
Qua resurget ex favilla,
Judicandus homo reus,
Huic ergo parce Deus.
Pie Jesu Domine,
Dona eis requiem! Amen.

That day will be full of tears,
when from the ashes arises
guilty man to be judged;
Spare him, therefore, O God!
Merciful Lord Jesus,
give them rest! Amen.

 

3.  Offertorio

The Offertorio is scored for the four soloists and orchestra. It begins with a warmly lyrical theme, but at ‘Quam olim Abrahae’ the music becomes altogether more vigorous. This makes the tenor’s ‘Hostias’ seem the more beautiful in its hushed lyricism. A reprise of ‘Quam olim Abrahae’ is followed by the return of the initial cello theme, now sung as a vocal unison. There is a brief, but highly effective, orchestral postlude.

SOLO QUARTET

Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni,
et de profundo lacu.

Libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum:
sed signifer sanctus Michael
repraesentet eas in lucem sanctam:
quam olim Abrahae promisisti
et semine ejus.

Lord Jesus Christ, King of glory,
deliver the souls of all the faithful
departed from the pains of hell
and from the deep pit.

Deliver them from the lion’s mouth,
that hell may not swallow them up,
and they may not fall into darkness:
but may the holy standard-bearer,
Michael, lead them into the holy light;
as Thou didst once promise
to Abraham and his seed.

 

Hostias et preces tibi Domine
laudis offerimus.

Tu suscipe pro animabus illis,
quarum hodie memoriam facimus:
fac eas, Domine, de morte transire
ad vitam, quam olim Abrahae
promisisti et semini ejus.

Libera animas omnium fidelium
defunctorum de poenis inferni,
et de profundo lacu,
fac eas de morte transire at vitam.

We offer sacrifices and prayers to Thee,
Lord, with praises. 

Do Thou receive them on behalf of those souls whom we commemorate this day:
grant them, O Lord, to pass from death
into life; as once Thou didst promise
to Abraham and his seed.

Deliver the souls of all the faithful
departed from the pains of hell
and from the deep pit,
grant them to pass from death into life.

 

4. Sanctus

The Sanctus contains the most directly brilliant music in the work. Trumpet fanfares introduce the movement, which is constructed as a double fugue. The choral writing is light and animated, the orchestral parts virtuoso, the rhythmic vitality immensely impressive in its splendour.

FUGUE FOR DOUBLE CHORUS

Sanctus, sanctus, sanctus
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!

Benedictus, qui venit
in nomine Domine.
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!

Holy, holy, holy
Lord God of hosts.
Heaven and earth are full of Thy glory,
Hosanna in the highest!

Blessed is He that cometh
in the name of the Lord.
Heaven and earth are full of Thy glory,
Hosanna in the highest!

 

Agnus Dei

A peaceful Andante tune is sung by the female soloists in unaccompanied octaves, then repeated by the chorus. The soloists repeat the tune, now in the minor key, and the chorus develops the material further. When the tune returns for a third time, there is the addition of a flowing contrapuntal line played by three flutes.

SOPRANO, MEZZO SOPRANO AND CHORUS

Agnus Dei, qui tollis peccata mundi,
dona eis requiem.

Lamb of God, that takest away the sins
of the world, grant them rest.

Agnus Dei, qui tollis peccata mundi,
dona eis requiem sempiternam.

Lamb of God, that takest away the sins
of the world, grant them eternal rest.

 

6. Lux aeterna

Verdi uses only three of the soloists in this movement: mezzo, tenor and bass. The mezzo has an opening recitative-arioso, which is answered by the dark chords which underlie the bass in the setting of ‘Requiem aeternam’. This conflict between images of light and darkness is eventually resolved by the appearance of a radiant lyrical theme, which dominates the remainder of the movement.

MEZZO SOPRANO, TENOR AND BASS

Lux aeterna luceat eis,
Domine,
cum sanctis tuis in aeternam,
quia pius es.

May eternal light shine upon them,
O Lord,
with Thy saints for ever,
for Thou art merciful.

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis

Grant them eternal rest, O Lord,
and let perpetual light shine upon them.

 

7. Libera me

The final movement reworks the material Verdi originally composed in connection with the ‘Requiem for Rossini’ project. The opening, which was conceived at that time, is immensely impressive: an urgent unaccompanied recitative for the soprano, followed by the hushed fear of the chorus. The soprano’s agitated ‘Tremens, factus’ suddenly brings a restatement of the ‘Dies Irae’ music, which in turn leads to the return of the soprano and chorus, unaccompanied. The soprano’s skill is taxed to the limit, as she moves up to a high B flat marked pppp, before returning to an even more urgent delivery of the ‘Libera me’. The chorus bursts in with a dramatic fugue, the soprano soaring above, and the music moves to a magnificent climax. This dies away, until at the end only the awe-struck whisper of the prayer remains.

SOPRANO AND CHORUS

Libera me Domine, de morte aeterna,
in die illa tremenda:
Quando coeli movendi
sunt et terra:
Dum veneris judicare
saeculum per ignem. 

Deliver me, Lord, from eternal death,
in that awful day:
when the heavens and the earth
shall be moved:
When Thou shalt come to judge
the world by fire.

 

Tremens factus sum ego, et timeo,
dum discussio venerit
atque ventura ira. 

I tremble, and I fear
the judgement
and the wrath to come.

 

 

 

 

Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis

Grant them eternal rest, O Lord,
and let perpetual light shine upon them.

Libera me Domine, de morte aeterna,
in die illa tremenda:
Quando coeli movendi
sunt et terra:
Dum veneris judicare saeculum
per ignem. 

Deliver me, Lord, from eternal death,
in that awful day:
when the heavens and the earth
shall be moved:
When Thou shalt come to judge
the world by fire.

Libera me Domine, de morte aeterna,
in die illa tremenda.

Libera me.

Deliver me, Lord, from eternal death,
in that awful day: 

Deliver me.

 

 

Programme notes © Terry Barfoot

Composer:  Verdi Wiki Link:  http://en.wikipedia.org/wiki/Requiem_%28Verdi%29 Title of Musical Work:  Requiem

London Concert Choir concerts featuring this musical work:

Verdi
(9 March 2011)