Music of The Requiem
Throughout the work, Verdi uses vigorous rhythms, sublime melodies, and dramatic contrasts—much as he did in his operas—to express the powerful emotions engendered by the text. The terrifying (and instantly recognizable) Dies irae that introduces the traditional sequence of the Latin funeral rite is repeated throughout for a sense of unity, which allows Verdi to explore the feelings of loss and sorrow as well as the human desire for forgiveness and mercy found in the intervening movements of the Requiem. Trumpets surround the stage to produce an inescapable call to judgement in the Tuba mirum (the resulting combination of brass and choral quadruple-fortissimo markings resulting in some of the loudest unamplified music ever written), and the almost oppressive atmosphere of the Rex tremendae creates a sense of unworthiness before the King of Tremendous Majesty. Yet the well-known tenor solo Ingemisco radiates hope for the sinner who asks for the Lord's mercy. Verdi also recycles and reworks the duet "Qui me rendra ce mort? Ô funèbres abîmes!", from act 4 of Don Carlos, in the beautiful Lacrimosa which ends this sequence.
The joyful Sanctus (a complicated eight-part fugue scored for double chorus) begins with a brassy fanfare to announce him "who comes in the name of the Lord" and leads into an angelic Agnus Dei sung by the female soloists with the chorus. Finally the Libera me, the oldest music by Verdi in the Requiem, interrupts. Here the soprano cries out, begging, "Deliver me, Lord, from eternal death ... when you will come to judge the world by fire."
Read more about this topic: Requiem (Verdi)
Famous quotes containing the word music:
“As I define it, rock & roll is dead. The attitude isn’t dead, but the music is no longer vital. It doesn’t have the same meaning. The attitude, though, is still very much alive—and it still informs other kinds of music.”
—David Byrne (b. 1952)