Verdi’s Requiem is one of the major works in this genre in the 19th century. It demands just about everything of the choral singer: rapidly-changing harmonies, also in distant keys, and some tremendously fast tempi serve the liturgy, to which drama is added by musical means. The apocalypse has never sounded more beautiful than in the famous "Dies Irae"! But each choral singer must be in good voice so that he or she can give expression to the fear of damnation and the hope of redemption in equal measure.
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Performers: Elena Filipova (soprano), Gloria Scalchi (mezzo-soprano), César Hernández (tenore), Carlo Colombara (basso) – Hungarian State Opera Choir, Hungarian State Opera Orchestra – Pier Giorgio Morandi
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)1 Requiem (Coro)
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.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.Kyrie (Soli SSTB)
Kyrie eleison.
Christe eleison.
Kyrie eleison.Sequentia
2 Dies irae (Coro)
Dies irae, dies illa
solvet saeclum in favilla:
teste David cum Sibylla.Quantus tremor est futurus,
quando judex est venturus,... -
text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)
Foreword of the Edition Carus 27.303/03
Norbert Bolín
Translation: Elizabeth Robinson)In Verdi’s compositional output the Messa da Requiem occupies a special position. For with the exception of the Quattro pezzi sacri (Four sacred pieces), a cycle of vocal compositions to liturgical texts written in the late 1880s and 1890s, Verdi composed no significant church music works, nor did he compose church music with any consistency.
Two aspirations distinguish the history of the composition of the Requiem setting: the wish to create a composition as a memorial, and the intention of honoring a nationally and artistically important Italian figure. In the first instance Gioacchino Rossini (1792–1868) was the focus of a Messa per Rossini, which is closely related to the Messa da Requiem. Then, however, the Italian national poet Alessandro Manzoni (1785–1873) became the dedicatee of the present work.
Messa per Rossini
When Gioacchino Rossini died on 13 November 1868 in Paris at the age of 78, Verdi proposed to his publisher Giulio Ricordi in Milan the idea of a national Requiem composition in memory of the composer. In addition to Verdi himself, a further twelve leading Italian composers
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)
Vorwort der Ausgabe Carus 27.303
Norbert Bolin
Im kompositorischen Schaffen Verdis nimmt die Messa da Requiem eine besondere Stellung ein. Denn mit Ausnahme der Quattro pezzi sacri (Vier geistliche Stücke), einem Zyklus von Vokalkompositionen auf liturgische Texte, der in den späten 1880er und 1890er Jahren entstanden ist, hat Verdi keine bedeutenden kirchenmusikalischen Werke geschaffen, geschweige denn mit Kontinuität Kirchenmusik komponiert.
Die Entstehungsgeschichte der Requiem-Vertonung ist von zwei Aspekten gekennzeichnet: dem Wunsch, eine Komposition mit Memorialfunktion zu schaffen, sowie der Absicht eine national und künstlerisch bedeutsame italienische Persönlichkeit zu ehren. Zunächst war Gioacchino Rossini (1792–1868) Adressat einer Messa per Rossini, die in engem Zusammenhang zur Messa da Requiem steht. Dann wurde aber der italienische Nationaldichter Alessandro Manzoni (1785–1873) zum Widmungsträger des vorliegenden Werkes.
Messa per Rossini
Als Gioacchino Rossini am 13. November 1868 in Paris 78-jährig verstarb, unterbreitete Verdi seinem Verleger Giulio Ricordi in Mailand die Idee einer nationalen Requiem-Komposition zum Gedenken
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Composer
Giuseppe Verdi
| 1813-1901Giuseppe Verdi was born in Le Roncole on the 9th October 1813, the son of an innkeeper and small-scale farmer. Although he grew up in poor circumstances his extraordinary musical talent was soon recognized and he received organ lessons, then – assisted by a patron – he entered the Busseto Gymnasium. His benefactor Antoni Barezzi continued to assist him privately after the Milan Conservatoire had refused him admission. Following some years as organist and director of music in Busseto he made his breakthrough in Milan with the premiere of the opera "Nabucco" in 1842. The works which he wrote after 1850 are still among the principal pillars of the opera repertoire. Personal details
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Ensemble
Hungarian State Opera Choir
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Ensemble
Hungarian State Opera Orchestra
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Conductor
Pier Giorgio Morandi
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Soloist - soprano
Elena Filipova
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Soloist - mezzo-soprano
Gloria Scalchi
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Soloist - tenor
César Hernández
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Soloist - bass
Carlo Colombara
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