{ program notes premiere . Under the composer ’ s baton , it was one of those all too rare artistic occasions when expectations are exceedingly high , with the work and performance great enough to meet them . Three days later , the Requiem was performed again , this time to the tumultuous applause the church premiere had denied , at Milan ’ s La Scala opera house , site of many Verdi operatic triumphs . It then proceeded on a successful tour of European capitals .
But from the beginning , the Manzoni requiem was a controversial work . Too theatrical , said some . The famous German conductor and Brahms supporter , Hans von Bülow , initially dismissed it as Verdi ’ s “ latest opera in ecclesiastical dress ” and refused to hear it .
Von Bülow wasn ’ t entirely wrong . The Messa da Requiem , Verdi ’ s only largescale non-operatic work , really is a sacred opera . Its glory is its very theatricality .
Like two other composers of famous Requiems , Brahms and Berlioz , Verdi was an agnostic , and so , since he was too honest a man and artist , his Requiem does not portray what he could not himself believe . It is an often troubling setting , providing no false consolation , no answers . The composer elevates the “ Dies irae ” (“ Day of Judgment ”) portion of the mass to the center of his conception and gives it music of terrifying force . The emphasis throughout is on the fears of the living as they face the unknown region of death , not the joys awaiting the departed .
I . Requiem and Kyrie : The work begins almost inaudibly in the muted cellos , with the chorus murmuring “ Requiem ” in broken phrases . As often happens in late Verdi works , the melody emerges in the orchestra , not the voices . Listen for the magical brightening effect of the chorus ’ harmonic progression on “ lux ” (“ light ”), as A Minor is transformed into A Major . The middle portion of this opening section , “ Te decet hymnus ,” features beautiful counterpoint , reminiscent of Palestrina , for unaccompanied chorus . After a return of the “ Requiem ” music , the “ Kyrie ” begins , introducing the soloists with bravura vocal writing befitting the grand operatic artists they are .
II . Dies Irae : Four hammer-blows launch the ferocious “ Dies irae ” music , which dominates this section , casting its fiery glow over the entire Requiem . The chorus ’ terrified cries as they envision this “ Day of Anger ” are silenced by fanfares from eight trumpets , four onstage and four off , that swell into an eruption of the entire brass section (“ Tuba mirum ”). Here Verdi ’ s early exposure to village brass bands has been transmuted into one of the most electrifying passages of brass writing in the classical canon .
This large section subdivides into many highly contrasted , artfully balanced numbers for the soloists , as well as returns of the “ Dies irae ” music . Here Verdi brings the drama down to the personal level , each individual ’ s struggle with the fear of death and what may come thereafter . Then he gathers his forces together again for the concluding “ Lacrimosa ,” introduced by the mezzo-soprano , with its sighing motives and anguished chromatically ascending phrases enhancing the poignantly simple melody . At the end , in a marvelously subtle use of harmony for dramatic effect , Verdi gives us an “ Amen ” on an unexpectedly bright G-Major chord , then subsides to an exceedingly dark-colored B-flat Major close .
III . Offertorio : The “ Offertorio ” provides quiet contrast in a lyrical movement for the solo quartet . At mid-point , the beautiful “ Hostias et preces ” (“ A sacrifice of praise and prayer ”) section is introduced by the tenor . This is framed by the two faster “ Quam olim Abrahae ” sections , which Verdi , eschewing custom , chose not to set as a fugue . The movement has a lovely , haunting ending as the soprano rises to a dolcissimo high A-flat .
IV . Sanctus : Brass peals forth to open a fiery fugue for double chorus . In this compact , hot-blooded movement , the composer combines the “ Sanctus ,” “ Osanna ,” and “ Benedictus ” texts , often set separately by other composers . His conception of God is not a gentle one – no mystery and awe here , instead virile , Italianate worship of fierce divinity .
V . Agnus Dei : After the fire of the “ Sanctus ” comes the chaste , cool sound of the soprano and mezzo soloists singing — at first unaccompanied — a simple melody in C major and bare octaves . Verdi ’ s ethereal writing for three flutes at the soloists ’ third entrance is a moment to treasure .
VI . Lux Aeterna : In one of the most beautiful sections of the Requiem , Verdi spotlights his three lower-voiced soloists , saving his soprano for the last act . The mezzo ’ s luminous pianissimo “ Lux aeterna ” melody , with a halo of tremolo strings , contrasts with the bass ’ s grim “ Requiem aeternam ” theme , accompanied by low brass . These two moods battle gently , with the mezzo ’ s ultimately dominating .
VII . Libera Me : The soprano soloist suddenly shatters the key and the serene mood of the preceding with her frantic recitative “ Save me , Lord , from eternal death .” The mood of terror has returned , and it brings back the “ Dies irae ” music . Soprano and chorus then sing very softly what may be the most exquisite moment in the entire work , “ Requiem aeternam .” This culminates in a floating pppp high B-flat for the soloist , a moment audiences look forward to eagerly — and sopranos anticipate with butterflies in their stomachs .
Verdi had originally composed part of the “ Libera me ” in 1869 for a multicomposer Requiem in memory of Rossini , and the vigorous choral fugue that follows , with the soprano cresting to a high C , is a survivor of that earlier movement . However , Verdi the agnostic ultimately chooses to close in an uncertain , questioning mood . The soprano and chorus mutter “ Libera me ” on a unison middle C , which dies out over the darkest C-major orchestral chord imaginable . In the words of Giuseppina Verdi , an astute observer of her husband ’ s work , “ They have all talked so much of the more , or less , religious spirit of this sacred music , of not having followed the style of Mozart , of Cherubini , etc . etc . I say that a man like Verdi must write like Verdi .”
Instrumentation : Three flutes ( including piccolo ), two oboes , two clarinets , four bassoons , four horns , eight trumpets ( four offstage ), three trombones , tuba , timpani , percussion , and strings .
Notes by Janet E . Bedell , Copyright © 2016
May – June 2016 | Overture 41