24-25 Program Book - Flipbook - Page 67
Messa da requiem (1874)
CONTINUED
ends quietly, personally. Verdi chooses to skip the Graduale movement from
the traditional requiem mass, normally expressing more appeals for peace and
forgiveness, and moves directly to the Dies Irae (The Day of Wrath).
This movement is the longest and most dramatic of the entire piece. Verdi divides
the text into nine sections, which describe the Day of Judgment and what will
happen as people will be saved or sent to hell based on their earthly lives. As
might be expected, this movement offers a major opportunity for operatic pacing.
First, the world seems to explode with the arrival of the Dies Irae text—it is clear
this day will not be pleasant. At the Tuba mirum, the trumpet sounds the Day
of Judgment, beginning quietly, ominously, and then building to a loud fanfare,
including four off-stage trumpets (making a total of eight!). The fear of judgment
is palpable as the chorus virtually shouts about what will happen on that day.
Liber scriptus describes what will happen when the book of record is brought
forward for reading the story of one’s life. Quid sum miser asks the question “Why
am I so miserable?” Perhaps it is the fear of how one’s life will be perceived.
Rex tremendae begins with a loud introduction, followed by all the majesty
deserving of a king who is also the source of mercy to those who are unworthy.
Recordare offers more pleading to Christ, asking him to remember how one
followed Him in life. Ingemisco expresses guilt of a sinful life and offers more
pleading for mercy. Confutatis describes how the wicked will be rebuked, and a
humble appeal is made for healing and salvation. Finally, Lacrimosa expresses
profound sadness. The music in this movement is equal to any opera he ever
wrote.
The next movement, the Offertory (Domine Jesu Christe) is a general appeal for
salvation, a sort of summary of past individual circumstances and an offering
of one’s life to Christ. There is also an urgent appeal to God regarding promises
made to Abraham, in hopes that others will receive the same promises. After
humble offerings of praise, this movement also ends quietly. The next movement,
Sanctus is short and celebratory in nature, befitting its text of praises, with active
fanfare-like figures in both orchestra and chorus.
Agnus Dei begins with a poignant unison with soloists and then chorus as the
granting of rest is requested for all. As the movement moves forward, it takes
on a more pleading character, but it is always peaceful and humble. Lux aeterna
(Everlasting Light) has a “heavenly” beginning, full of optimism and beauty,
contrasted by a dark reminder with the re-entry of the Requiem text. These
moods alternate to the end.
Finally, Libera me, the movement originally conceived for Rossini, begins
insistently, asking for one’s soul to be freed. This continues with increasing
intensity, reflecting the hopes and fears associated with deliverance, wrath,
CLASSICAL SERIES VERDI’S DEFIANT REQUIEM 67
