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Messe
di Requiem, in memory of Alessandro Manzoni
- Giuseppe Verdi
Born October 9, 1813, in La Roncole, near Parma, Italy
Died January 27, 1901, in Milan, Italy
The work was composed in 1873-74, and
premiered on May 22, 1874, in Milan, under the direction
of the composer. It is scored for piccolo, two flutes,
two oboes, two clarinets, four bassoons, four horns,
four orchestral trumpets, four off-stage trumpets, three
trombones, tuba, timpani, bass drum, strings, choir,
and four vocal soloists.
Giuseppe Verdi was not a man who blindly
followed religious faith. His opinion of the Church
was skeptical at best, often portraying ecclesiastical
officials in his twenty-eight operas as corrupt and
unscrupulous. Even when his wife, the soprano Giuseppina
Strepponi-Verdi, attended Mass, the composer would wait
outside in his carriage until she emerged afterward.
His view of religion was more personal in nature - a
reflection of the inner self and its needs and aspirations.
However, at pivotal (and usually private) moments in
his operas, characters often resolve dilemmas through
a stirring and pious prayer (e.g., Giovanna D’Arco,
La forza del destino, Otello, etc.). Very seldom does
divine intervention solve the problem, but the prayer
serves as a respite during which the character meditatively
reaches a moment of resolve, and acts as a dramatic
device reviewing previous events in the opera for the
listener. Verdi’s personal view of religion consisted
of individual piety, rendering him uncomfortable with
public religious display.
Why, then, did Verdi choose to compose
a work based on a text that had been part of the Catholic
liturgy for over six centuries? If institutionalized
religion was so objectionable to his tastes, why did
he turn to one of the text most mired in Church dogma?
The answer lies in his devotion to two causes - the
tribute to a deceased colleague, and Italian independence.
For a half-century before Verdi’s Requiem,
the leading composer in Italy was Gioachino Rossini.
Prior to his self-imposed exile from operatic writing,
he had composed some of the most notable operas in the
Italian language - The Barber of Seville, An Italian
in Algiers, and William Tell among them. After about
1830, he retired to Italy to become a chef and compose
only short chamber works and a few songs. Naturally,
Rossini’s death on November 13, 1868, shocked the musical
community and moved twelve Italian composers - Verdi
among them - to compose a Requiem Mass in his honor.
The resulting work was such a hodge-podge of musical
styles that it was not considered performable, and was
finally presented only in 1988. Verdi’s allotted portion
of the work had been the final section, the Libera me,
Domine (Deliver me, O Lord). However, his involvement
in this project was much more of a tribute to Rossini
than an exercise of deep religious devotion. In nineteenth-century
Italy, it was expected that a fallen master would have
such a ceremony, and major musical figures would have
been certain to participate in honoring a fellow musician.
It was the Libera me, Domine from the Requiem for Rossini
that Verdi revisited when he composed his complete Requiem
five years later.
In the years before the Italian uprisings
of 1848, Verdi had been outspoken in political matters.
Because he supported the creation of a unified Italian
government through the elevation of the Duke of Savoy,
Vittorio Emanuele, to the rank of King, loyalists took
up the composer’s name as a rallying cry - Vittorio
Emanuele, Re D’Italia (Vittorio Emanuel, King of Italy)."
Crowds cried “Viva V.E.R.D.I.” and wrote the composer’s
name as graffiti on walls throughout Naples. Another
follower of this movement, the immensely important author
Alessandro Manzoni, wrote poems, novels, and plays that
standardized the Italian language from a loose coalition
of regional dialects to a unified national language.
The eighty-seven-year-old Manzoni’s death on May 22,
1873, caused by a fall down the steps of Church of San
Fedele in Milan, saddened Verdi beyond measure. As in
the case of Rossini’s death, Verdi decided to commemorate
his countryman with a Mass, this time proposing to write
the work himself, to be performed on the first anniversary
of Manzoni’s death. The mayor of Milan accepted his
proposal and Verdi began to prepare for a May 1874 premiere.
By this time in his career, Verdi had
written all of his operas except Otello and Falstaff.
He had become an expert marketer of his product, and
the Requiem was no exception. Following its triumphant
premiere, Verdi mounted three more performances in Milan's
La Scala Opera House, fifteen at the Opéra-Comique
in Paris, and additional offerings in London, Vienna,
and other cities throughout Europe. Unauthorized performances
were frequent. The supreme sacred work for the dead,
through Verdi’s own action, had taken on a decidedly
secular life.
================
In the most general sense, a Requiem
Mass is a funeral service made up of a series of prayers
and readings - similar to an ordinary Mass, but with
the joyful texts removed and somber ones added. The
text of the Verdi Requiem, unchanged from the traditional
service universally adopted and codified by the Church
in the fourteenth century, consists of seven main sections
-- Requiem aeternam - Kyrie eleison, Dies Irae, Offertory,
Sanctus, Agnus Dei, Communion, and Libera me. Within
each of the large divisions are smaller segments of
text, often set by Verdi to be sung by the soloists.
The whispered beginning of the Requiem
aeternam (Grant them eternal rest) establishes the pensive,
mournful mood of the movement. The subsequent Kyrie
eleison (Lord have mercy), in Greek, instead of the
Latin of the other sections, is the oldest text incorporated
in the traditional Requiem service, dating from before
the eighth century.
The ferocious Dies Irae (Day of Wrath),
occupying nearly half of the total duration of the work,
graphically portrays the apocalyptic judgment from the
Book of Revelation, complete with wild percussion, fiery
brass, swirling string parts and pleas for mercy in
the chorus. Built on a text that dates from the early
thirteenth century, this is Verdian drama at its finest.
The chilling Dies irae is broken into ten subparts,
many of them taken up by soloists.
The comparatively sedate Offertory
is a gentle plea for the deliverance of tormented souls
from the Day of Wrath. Scored for soloists and orchestra,
the use of individual voices focuses the text to a personal
level - an effective contrast to the boisterous Dies
irae. The Sanctus (Holy, Holy, Holy) is set as a fugue
for double chorus praising the sanctity of God. The
Agnus Dei (Lamb of God), set for soprano and mezzo-soprano
soloists with choir and orchestra, is a poignant prayer
for eternal rest and peace. Mezzo-soprano, tenor, and
bass soloists are featured in the Lux aeterna (Eternal
light) with some of the quietest and most beautiful
music of the entire Requiem.
The final Libera me (Deliver me) is
drawn from the music Verdi wrote to honor Rossini. Perhaps
the most personal of the movements, with the solo soprano
begging for delivery from the doom of “eternal death,”
it includes the chilling moment when, after the words
“I am seized with fear and trembling . . . when the
heavens and earth shall be shaken,” the orchestra returns
to the music of fury from the opening measures of the
Dies irae returns as a reminder of the destruction.
Verdi’s monumental masterpiece was
meant as a personal testament to fallen friends, albeit
in a very public manner. His choice to compose a Requiem
was not as based in religious fervor as it was in the
tradition of celebrating a Mass for the dead. As surely
as special Easter and Christmas Masses were said on
their respective holidays, Requiem Masses were observed
at funerals and all Catholics were familiar with their
inner workings. He incorporated a centuries-old text
simply because it was still being used by the Church.
Even though his view of religion was private (he was
too distraught to attend Manzoni's funeral in 1873,
but chose to remember him quietly at home), his concept
of music was theatrical. Perhaps that is why Verdi's
Requiem is often referred to as "Verdi's greatest
opera."
TRANSLATION
REQUIEM AND KYRIE
(Soloists and Chorus)
Requiem aeternam dona eis, Domine.
Et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
Et tibi reddetur votum in Jerusalem.
Exaudi orationem meam.
Ad te omnis caro veniet.
Kyrie eleison, Christe eleison.
Grant them eternal rest, O Lord;
And let perpetual light shine upon them.
There shall be singing unto Thee in Zion,
And prayer shall rise to Thee in Jerusalem.
Hear my prayer.
Unto Thee all flesh shall come.
Lord have mercy, Christ have mercy.
DIES IRAE
(Chorus)
Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sibylla.
Quantus tremor est futurus,
Quando Judex est venturus
Cuncta stricte discussurus!
This day, this day of wrath
Shall consume the world in ashes,
So spake David and the Sibyl.
Oh, what great trembling there will be
When the Judge appears
To examine everything in strict justice!
Tuba mirum
(Bass and Chorus)
Tuba mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.
Mors stupebit et natura,
Cum resurget creatura
Judicanti responsura.
The trumpet, sending its wondrous sound
Across the graves of all lands,
Shall drive everyone before the throne.
Death and nature shall be stunned
When all creation rises again
To stand before the Judge.
Liber scriptus
(Mezzo-Soprano and Chorus)
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit,
Quidquid latet apparebit,
Nil inultum remanebit.
A book of writing will be brought forth,
In which everything is contained,
From which the world will be judged.
So when the Judge is seated,
Whatever is hidden shall be made known,
Nothing shall remain unpunished.
Quid sum miser
(Soprano, Mezzo-Soprano and Tenor)
Quid sum miser tunc dicturus?
Quem patronum rogaturus,
Cum vix justus sit sicurus?
What shall such a wretch as I say then?
To which protector shall I appeal,
When even the just man is barely safe?
Rex tremendae
(Soloists and Chorus)
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis!
King of temendous majesty,
Who freely saves those worthy of salvation,
Save me, fount of pity!
Recordare
(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.
Recall, dear Jesus,
That I am the reason for Thy time on earth.
Do not cast me away on that day.
Seeking me, Thou didst sink down wearily,
Thou hast saved me by enduring the cross;
Such travail must not be in vain.
Righteous judge of vengeance,
Award the gift of forgiveness
Before the day of reckoning.
Ingemisco
(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 hoedis me sequestra,
Statuens in parte dextra.
I groan like the sinner that I am.
Guilt reddens my face. Oh God,
Spare the supplicant.
Thou, who pardoned Mary
And heeded the thief,
Hast given me hope as well.
My prayers are unworthy,
But Thou, good one,
In pity let me not burn in the eternal fire.
Give me a place among the sheep
And separate me from the goats.
Let me stand at Thy right hand.
Confutatis
(Bass and Chorus)
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sibylla.
When the damned are cast away
and consigned to the searing flames,
call me to be with the blessed.
Bowed down in supplication
I beg Thee, my heart as though ground to ashes:
help me in my last hour.
This day, this day of wrath
shall consume the world in ashes,
so spake David and the Sibyl.
Lacrimosa
(Soloists and Chorus)
Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus;
Huic ergo parce Deus.
Pie Jesu, Domine,
Dona eis requiem. Amen.
Oh, this day full of tears
When from the ashes arises
Guilty humanity, to be judged:
Oh Lord, have mercy upon him.
Gentle Lord Jesus,
Grant them rest. Amen.
OFFERTORY
(Soloists)
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
Representet eas in lucem sanctam,
Quam olim Abrahae promisisti
Et semini ejus.
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.
Lord Jesus Christ, King of glory,
Deliver the souls of the faithful departed
From the pains of hell and the bottomless pit.
Deliver them from the jaws of the lion,
Lest hell engulf them,
Lest they be plunged into darkness;
But let the holy standard-bearer Michael
Lead them into the holy light,
As Thou didst promise Abraham
And his seed.
Lord, in praise we offer to Thee
Sacrifices and prayers.
Receive them for the souls of those
Whom we remember this day:
Lord, make them pass
From death to life,
As Thou didst promise Abraham
And his seed.
SANCTUS
(Chorus)
Sanctus, sanctus, sanctus,
Dominus Deus Sabaoth!
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!
Benedictus qui venit in nomine Domini!
Hosanna in excelsis!
Holy, holy, holy,
Lord God of hosts!
Heaven and earth are full of Thy glory.
Glory to God in the highest!
Blessed is he who comes in the name of the Lord.
Glory to God in the highest!
ANGUS DEI
(Soprano, Mezzo-Soprano and Chorus)
Agnus Dei, qui tollis peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
dona eis requiem sempiternam.
Lamb of God, that takes away the sins of the world,
Grant them rest.
Lamb of God, that takes away the sins of the world,
Grant them eternal rest.
LUX AETERNA
(Mezzo-Soprano, Tenor and Bass)
Lux aeterna luceat eis, Domine,
Cum sanctis tuis in aeternam,
Quia pius es.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
Cum sanctis tuis in aeternam,
Quia pius es.
May eternal light shine upon them, O Lord,
with Thy saints forever,
For Thou art good.
Grant them eternal rest, O Lord,
And let perpetual light shine upon them.
With Thy saints forever,
For Thou art good.
LIBERA ME
(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.
Tremens factus sum ego et timeo,
dum discussio venerit atque venture ira:
quando coeli movendi sunt et terra.
Dies irae, dies illa,
calamitatis et miseriae,
dies magna et amara valde,
dum veneris judicare
saeculum per ignem.
Requiem aeternam dona eis,
Domine, et lux perpetua luceat eis.
Libera me, Domine, etc.
Deliver me, O Lord, from eternal death
On that awful day
When the heavens and earth shall be shaken,
When Thou shalt come to judge the world by fire.
I am seized with fear and trembling,
Until the trial shall be at hand and the wrath to come:
When the heavens and earth shall be shaken.
That day, that day of wrath,
Of calamity and misery,
A great day and exceedingly bitter,
When Thou shalt come
To judge the world by fire.
Grant them eternal rest, O Lord,
And let perpetual light shine upon them.
Deliver me, O Lord, etc.
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