Verdi Requiem Program Notes

GIUSEPPE VERDI
Born October 9 or 10, 1813, in Roncole near Busseto
Died January 27, 1901, in Milan

Requiem (approx. 85 minutes)

For Four Soloists, Chorus, and Orchestra

This is the seventh time the Wichita Symphony has performed Verdi’s Requiem. The previous performance was on April 9 and 10, 2016. The soloists were Barbara Shirvis, Sarah Heltzel, Matthew DiBattista, and Samuel Ramey. The Friends University Singing Quakers joined the Wichita Symphony Chorus. Daniel Hege conducted the performance.

Requiem (Solo Quartet and Chorus) (9’)
    Requiem aeternam
    Kyrie eleison

Sequenza: Dies irae (38’)
    Dies irae (Chorus)
    Tuba mirum (Chorus)
    Mors stupebit (Bass solo)
    Liber scriptus (Mezzo-soprano and Chorus)
    Quid sum miser (Soprano, Mezzo-soprano, and Tenor soloists)
    Rex tremendae majestatis (Solo Quartet and Chorus)
    Recordare (Soprano and Mezzo-soprano soloists)
    Ingemisco (Tenor soloist)
    Confutatis (Bass soloist and Chorus)
    Lacrimoso (Solo Quartet and Chorus)

Offertorio (Solo Quartet) (10’)
    Domine Jesu Christe
    Hostias

Sanctus (Chorus 1 and 2) (3’)

Agnus Dei (Soprano and Mezzo-soprano soloists and Chorus) (5’)

Communio: Lux Aeterna (Mezzo-soprano, Tenor, and Bass Soloists) (6’)

Libera me (Soprano soloist and Chorus) (14’)
    Libera me, Domine
    Dies irae
    Requiem aeternam
    Libera me, Domine

After a successful career with over twenty operas to his name, Giuseppe Verdi looked forward to retiring on his farm, Villa Verdi, in Sant’Agata, a small village near Busseto. Starting with Rigoletto in 1851, Verdi enjoyed a series of major successes, culminating with Aida in 1871. He was firmly recognized as Italy’s most famous living composer. He had even become a statesman by supporting Italian unification and being elected to the first parliament in 1861.

On May 22, 1873, Alessandro Manzoni (1785–1873) died. Manzoni was Italy’s leading literary figure, whose 1823 novel The Betrothed (I promessi sposi) was regarded as the most important Italian novel. He helped unify the many different provincial dialects into a national Italian language based on the Tuscan dialect, the language of Dante. As a prominent supporter of the social and political movement known as the Risorgimento, Manzoni advocated the liberation of the Italian city-states from Habsburg Austria and their unification under the Italian flag. This was achieved in northern provinces in 1861 and completed in 1870 with the annexation of the Papal States in southern Italy.

Verdi met Manzoni in Milan in 1868. The story goes that when they met, Manzoni, who had no particular interest in music, started by saying, “Verdi, you are a great man.” Verdi replied, “But you are a saintly man.” After Manzoni’s death, Verdi suggested to the city officials in Milan that he pause his retirement to compose a memorial Requiem in honor of the revered man. Verdi even offered to cover the costs of composing, preparing, and printing the music; meanwhile, the city would cover the costs of the first performance. Afterwards, the ownership and all rights would belong to Verdi, who was nothing less than an astute businessman.

With his proposal accepted, Verdi started composing the Requiem in the summer of 1873 and finished it by April 1874, just in time for its premiere on the anniversary of Manzoni’s death, May 22, 1874. For the occasion, Verdi chose the Church of San Marco in Milan and picked the four soloists. Verdi conducted the premiere. The new work was a smashing success, and Verdi performed the Requiem three days later at La Scala Opera House, where it was performed three times in total.

Building on the Requiem’s success in Milan, Verdi took the piece to Paris for seven performances at the Opéra Comique, of all places. The next year, Verdi brought the Requiem back to Paris for another seven performances, then moved on to London, where he conducted three performances at the Royal Albert Hall with a chorus of 1,200. The tour concluded in Vienna, where Verdi conducted four performances of Requiem and two of his opera Aida. He was also awarded the Franz Josef Order. The Requiem received its first American performance in 1878 by Boston’s Handel and Haydn Society. Verdi was not present on that occasion.

Verdi’s Requiem was not without controversy despite its great success. Although Verdi used the traditional Latin Mass for the Dead for his text, the same text used by Mozart, Cherubini, Berlioz, and others before him, conservative Catholic clergy were uncomfortable with what they saw as over-the-top dramatization. They eventually issued a 1903 edict by Pope Pius X defining what constituted appropriate ecclesiastical music. Verdi’s Requiem did not meet these requirements. Perhaps the conductor Hans von Bülow recognized the problem after hearing the Requiem in Vienna, noting that the work was Verdi’s “latest opera, though in ecclesiastical vestments.” Johannes Brahms dismissed his colleague’s comments and said that “only a genius could have written such a work.”

Many people overlooked an important point at the time: Verdi never intended his Requiem to be performed at a church funeral. It was written for the concert hall. Although raised Catholic, Verdi was not very religious, and even his wife called him an agnostic. When selecting the Requiem text, Verdi recognized its dramatic potential and used his skills as a master of operatic writing and theatrical effects to craft a piece that showcased what had made him famous and wealthy while capturing a wide range of human emotions. People could interpret the text however they wished, but most were content to enjoy the music. Additionally, as a memorial to Manzoni, he was effectively making a political and patriotic statement. Sometimes, the work has even been called the “Manzoni Requiem.”

Besides the Latin text that many might not be familiar with or relate to, Verdi’s masterpiece can feel overwhelming, whether it’s your first time or you’ve experienced it before. You can definitely sit back and take it all in. Still, a little background information will improve the experience of this masterpiece, which reveals itself with repeated listening over a lifetime. The following paragraphs highlight some of the elements to listen for.

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The start of Verdi’s Requiem is quiet and somber. Muted strings create an A minor chord. The chorus enters softly: Requiem aeternam dona eis. (Grant them eternal rest.) You’ll hear descending motives that suggest weeping. When the next phrase references eternal light, the harmony shifts to A major. Still gentle, the music begins to glow almost mystically. The chorus continues the prayer a cappella in a traditional style. The opening section repeats, forming an ABA structure.

Without pause, the music introduces the Kyrie eleison (Lord, have mercy). The four soloists are introduced, and they, along with the chorus, exchange repetitions of the brief Kyrie/Christe phrases. The music becomes livelier. It builds to a fortissimo climax, the first of many that can be heard as an operatic moment. Gradually, the music fades away, ending softly in the key of A major.

The Kyrie is one of the oldest parts of the Roman Catholic Mass, dating back to the 4th or 5th centuries A.D. Interestingly, it is the only part of the Mass sung in Greek rather than Latin. Because it appears throughout the liturgical year, it is part of the so-called Mass Ordinary, which also includes the Sanctus and Agnus Dei used in the Requiem. The other Ordinary movements, the Gloria and Credo, are not included in a Requiem.

After quietly ending one section, Verdi surprises us with a powerful burst as he launches into the Dies irae (Day of Judgment). This is one of the most unforgettable moments in the entire choral repertoire. The dramatic effect comes from four massive fortissimo chords played by the entire orchestra to signal the start. Harmonically, the shift from the peaceful A major to the pounding G minor heightens the impact. The sinuous chromatic passages for the chorus and orchestra perfectly convey a sense of terror and anguish. Especially striking are the bass drum blows that amplify the timpani. The bass drum is the only percussion instrument Verdi uses besides timpani in the entire Requiem, and he employs it effectively as a thunderous addition to the Dies irae.

The text of the Dies irae dates back to the 13th century and has been an official part of the Requiem Mass since the 16th century. It features a series of rhyming triplets in successive verses. The familiar Dies irae tune known from compositions by Liszt, Rachmaninoff, and others is not used by Verdi; instead, he creates his own equally ominous melody. The verses of the Dies irae provide a broad canvas for interpretative music, and together they form the longest section, nearly forty minutes, of the entire Verdi Requiem.

The Tuba mirum showcases Verdi at his peak of dramatic power. Trumpets, some placed offstage, summon the dead to appear before the throne for judgment. The music intensifies, driven by a powerful pulse as more brass instruments join the texture. The fanfares are thrilling and also evoke a sense of terror.

The bass soloist takes the lead during Mors stupebit, describing how death and nature will be stunned and marvel as humanity stands before the judge. Listen for the hesitancy in the rhythm, the soft thumps of the bass drum, the silences in the music, and the desolate repetition of the word “mors” (death).

The Liber scriptus continues the story of judgment with a dramatic scene for the mezzo-soprano soloist. Verdi repeats lines for musical and dramatic effect. The mezzo emphasizes the word “nil” (nothing) in the same way the bass previously emphasized “mors,” unifying and linking the two sections. Notice how the insertion of dies irae by the chorus provides an ominous background before the chorus breaks out in a brief reiteration of the verse.

The somber mood persists through the Quid sum miser, in which the soprano, mezzo-soprano, and tenor soloists sing a heartfelt trio exploring vulnerability and uncertainty. The orchestral background is subtle, featuring questioning bassoons complemented by soulful clarinets.

The answer comes from the basses of the chorus: Rex tremendae majestatis (King of fearsome majesty). The section features repeated text and layered lines between the soloists and the chorus, pleading the phrase Salva me (Save me).

The next three sections, featuring the vocal soloists, offer a human perspective as each soloist pleads with Jesus for salvation. The Recordare is a beautiful duet for soprano and mezzo-soprano. The tenor sings an extended aria, Ingemisco, acknowledging himself as a sinner. The bass begs that when the damned are cast away, he be among the saved in Confutatis.

After these solos, Verdi repeats the Dies irae chorus. Is he commenting on the futility of pleading? Structurally, the repeat connects the ending of this long section to the beginning. The fury subsides, and we transition into the Lacrimoso (Day of Tears).

Proportionally, the Lacrimoso is slightly longer within the Dies irae sequence. Listen for the mournful pacing of the music, the two-note sighing motives that depict falling tears, and the layering of vocal lines between the soloists and chorus. This remarkable and extended sequence of verses concludes with a gentle prayer.

Pie Jesu, Domine, dona eis requiem. Amen.
(Merciful Lord Jesus, grant them rest. Amen.)

The Offertorio begins with a long passage featuring the cellos. An uplifting arpeggio spanning over three octaves gives the music a glow that differs from the way the Requiem began. We now sense hope. This passage is often included on professional audition lists to test a cellist’s ability to maintain pitch and play legato. The phrase is balanced by one that creates an upward lift, followed by a descending scale that will be prominent throughout this section. String tremolos evoke an angelic mood as the text speaks of leading the deceased from darkness into light. The quartet of vocal soloists takes the spotlight. Notice how, when the soprano finally enters, she is accompanied by violins, with the first stand of first violins duetting with the voice, while the second violins provide chordal accompaniment. It’s a magical moment as the text refers to the holy standard-bearer, Michael.

The second half of the Offertorio opens with a tenor solo: Hostias et preces tibi, Domine (We offer to thee, O Lord). The music is serene and seems to float in space. There are beautiful contrasts between major and minor keys. The music reaches a climax on the repeated word “promisisti” (promise), reminding the Lord of the covenant God made with Abraham about eternal life.

From the tranquility of the Offertorio, we move next to the joyful extroversion of the Sanctus (Holy Lord God of hosts), one of the movements from the Mass Ordinary. Three trumpet fanfares accompanied by the chorus singing Sanctus three times, symbolizing the Holy Trinity, announce this brief movement.

The choral writing features a double fugue, a demanding virtuosic showcase for the chorus, where the singers are split into two groups. Instead of four main vocal lines, there are now eight. Visualize the complexity as the parts overlap and intersect. The movement reaches its climax with multiple declarations of Hosanna in excelsis (Hosanna in the highest). Listen for the wave-like chromatic scales in the orchestra. It’s a riot of color and operatic brilliance. The brass especially adds a festive spirit.

From the brightest and thickest textures of the Requiem in the Sanctus, Verdi completely shifts gears in the Agnus Dei with the simplest, purest texture of the entire piece. After many different lines of activity, we now hear one. The two female soloists sing the same melody, note for note, an octave apart, without any instrumental accompaniment. They are answered by the chorus, which repeats the verse in unison, now accompanied by clarinets, bassoon, and strings, all playing in unison. Verdi repeats the verse three times. The soloists are always in sync, while in the chorus, the sopranos and mezzo-sopranos stay together, and the tenors and basses add harmony to enrich the texture. With each repetition, Verdi varies the accompaniment while maintaining a light, transparent sound.

Verdi maintains a mostly transparent texture in Lux Aeterna (Eternal Light). Like a painter, he uses orchestral color to emphasize the meaning of the words. Listen to the tremolos in the violins and how they evoke light as the mezzo-soprano sings about eternal light. Verdi instructs that each violin section be split into four parts to create a shimmering, luminous, and softly radiant harmony.

When the solo bass begins singing about eternal rest, Requiem aeternum, Verdi shifts from B-flat major to B-flat minor, adding bassoons and low brass to emphasize the minor chord in a funeral rhythm.

Finally, we reach the Libera me (Deliver me), where Verdi crafts a nearly operatic scene that captures a wide range of human emotions and revisits musical themes from about an hour earlier. Interestingly, some parts of this movement predate Verdi’s memorial to Alessandro Manzoni. In 1868, after Gioachino Rossini’s death, Verdi suggested to his Italian composer colleagues that they collaborate on a Requiem Mass in Rossini's memory, since Rossini was considered the greatest Italian operatic composer earlier in the century. Verdi took responsibility for the Libera me himself. The project was never completed or performed. However, Verdi kept his notes, and when he worked on the final movement of his tribute to Manzoni, he drew from his earlier work, making revisions and additions as he believed necessary.

This movement is not a prayer for the deceased but a plea from the living to be spared the Day of Judgment. The soprano solo begins with a parlando (quasi-spoken) style of recitative, which is echoed by the chorus. When the soprano describes how she is overwhelmed with fear and trembling, Tremens factus sum ego et timeo, listen to how the figurations in the strings and descending chromatic lines, reprised from the opening, evoke these emotions. The music then reaches a cadence and a grand pause.

Then, Verdi strikes with the Dies irae, capturing the terror of the Day of Judgment. The recapitulation of previously heard music helps create a structural conclusion to the Requiem. As the Dies irae fades away, the soprano solo and chorus bring back the opening Requiem aeternam. In this recapitulation, the voices are unaccompanied. We hear the descending motives from the opening movement.

Once again, we hear the soprano sing the parlando Libera me opening. It builds to a crescendo, reaches a climax, then dips into a cadence that introduces a fugue by the chorus using the Libera me text. The music is resolute and punctuated by full orchestral chords marked fortissimo. It then eases with a repetition of earlier motives before rising again to a final fortissimo section sung powerfully by the chorus. The music fades with string tremolos and descending motives, ending with a quiet Libera me sung by the soprano, softly echoed by the chorus, and concluding on a beautiful C major harmony.

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After his successful tours with the Requiem, Verdi returned to his beloved farm. Besides overseeing several productions of his earlier operas and continuing revisions of Don Carlo, he enjoyed his retirement. However, he found he still had two more operatic masterpieces to compose, both of which became among the greatest of 19th-century music. For these works, Verdi turned to Shakespeare, first composing the tragedy Otello in 1887, followed by Falstaff in 1893, the only comedy Verdi ever wrote.

Program Notes by Don Reinhold