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Home , Alessandra Marc, Barbara Frittoli, Elena Nikolaidi, Ferruccio Furlanetto, Ildar Abdrazakov, Riccardo Muti

Program

One Hundred Twenty-Third Season Chicago Symphony Music Director Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO

Thursday, October 10, 2013, at 7:30

Riccardo Muti Conductor Tatiana Serjan Soprano Daniela Barcellona Mezzo-soprano Mario Zeffiri Tenor Director Verdi Mass Requiem and Kyrie Dies irae Dies irae Tuba mirum Mors stupebit Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrimosa Offertory: Domine Jesu Christe Sanctus Agnus Dei Lux aeterna Libera me Tatiana Serjan Daniela Barcellona Mario Zeffiri Ildar Abdrazakov Chicago Symphony Chorus

There will be no intermission. Thanks to the generous support of Matthew and Kay Bucksbaum, people around the world will watch and listen to this concert tonight through a free live video stream on the Internet. After tonight, you may watch, for no charge, a video recording of the entire concert at www.cso.org/verdi or www.riccardomutimusic.com.

This special performance of Verdi’s Requiem is sponsored by Sylvia Neil and Dan Fischel. Sponsorship of the music director and related programs is provided in part by a generous gift from the Zell Family Foundation.

This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by Phillip Huscher

Giuseppe Verdi Born October 10, 1813, Le Roncole, near Busseto, Italy. Died January 27, 1901, , Italy. Requiem Mass

erdi was a man of great spir- verdict. Wagner attended a performance ituality. But, after his in in 1875 without comment; childhood—when he “It would be best to say nothing,” Vwalked three miles to church his wife Cosima explained, with every Sunday morning, some- customary tact. The prevail- times barefoot, to his job as ing Viennese response was organist—he wasn’t a church- enthusiastic—“into the torrid goer. Later, when he was zone,” according to Verdi’s wife famous and wealthy, he would Giuseppina, but performances drive his wife Giuseppina had been sparsely attended to church, but wouldn’t go six months earlier in , in with her. He was never an and Verdi skipped town in a foul atheist—simply, as Giuseppina put mood. The Italian public, who it, “a very doubtful believer.” Like revered Verdi as people today idolize Brahms’s A German Requiem completed movie stars and sports figures, couldn’t five years earlier, Verdi’s Requiem Mass is a get enough of his newest work; Verdi’s publisher deeply religious work written by a great skeptic. finally had to crack down on unauthorized When Hans von Bülow, whose acrid opinions arrangements. Early in the twentieth century, on music have outlived his importance as a con- Bernard Shaw, who had always admired Verdi’s ductor, stole a look at the requiem score just days music, suggested that none of Verdi’s before the Milan premiere, he offered his famous would prove as enduring as the requiem. snap judgment, “Verdi’s latest , though Before the requiem, Verdi was known exclu- in ecclesiastical robes,” and decided to skip the sively for his operas. The early success of concert. When he finally heard it, at a mediocre in 1842 made his name; the melody of its grand parish performance eighteen years later, he was “Va, pensiero” chorus swept the nation. In the moved to tears. Bülow wrote to Verdi to apolo- early 1850s, a great midcareer trio of operas— gize, and Verdi replied, with typical generosity, , , and La traviata—made that Bülow might have been right the first time. Verdi the most popular composer in all Europe. By then, after a fifty-year career in the public After that, with a series of increasingly inventive eye, Verdi had grown accustomed to critical stage works—including , Un disdain, especially from the followers of Richard ballo in maschera, , the revised Wagner. And he knew that Bülow, who once , , and —Verdi continued switched his allegiance from Wagner to Brahms, to stretch his talents in new directions, testing wasn’t the last listener who would change his the expressive possibilities of Italian opera. After mind about this music as well. the great success of Aida in 1871, Verdi seemed Verdi’s Requiem Mass has often provoked dis- set on retirement; he spent his days growing sension. Brahms and Wagner, who shared little wheat and corn, raising chickens, and puttering aside from their dislike for each other’s music, in the garden at Sant’Agata, his farmhouse south took predictably opposing views. “Only a genius of Milan. could have written such a work,” Brahms wrote, By then, however, part of a requiem mass was angered already written. The story begins in 1868, with by Bülow’s the death of Rossini in Paris. Verdi suggested Above: Verdi in 1870 original that the city of Bologna, where Rossini grew up

2 and first tasted success, honor him with a com- unification. Knowing that Manzoni treasured posite requiem, commissioning separate move- his privacy as much as he himself, Verdi never ments from Italy’s leading composers. The idea attempted a meeting. Even after his wife was was approved, the various movements assigned— introduced to Manzoni through a mutual friend, diplomatically, Verdi was given the final Libera Verdi was satisfied with the autographed photo- me—and the mass completed. But a performance graph she brought home, inscribed “to Giuseppe never took place. (There were disputes, as there Verdi, a glory of Italy, from a decrepit Lombard often are, over scheduling and money.) writer.” Verdi hung the picture in his bedroom At the time of Rossini’s death, Verdi called and sent Manzoni his photo, writing across the him “one of the glories of Italy,” asking, “When bottom, “I esteem and admire you as much as the other one who still lives is no more, what one can esteem and admire anyone on this earth, will we have left?” The other one was Alessandro both as man and a true honor of our country Manzoni, a celebrated poet and the author of the so continually troubled. You are a saint, Don landmark nineteenth-century novel, I promessi Alessandro!” The two men didn’t meet until the sposi (The betrothed); and when he died, on spring of 1868, when Verdi visited Milan for the May 22, 1873, Verdi returned to the idea of first time in twenty years. Verdi reported to the a requiem. Countess Maffei, who arranged the meeting, “I Verdi first read I promessi sposi at sixteen; it would have knelt before him if it were possible to remained his favorite novel throughout his life. adore mortal men.” Manzoni was a great national hero in Italy, a dis- Verdi didn’t attend Manzoni’s funeral, prefer- tinction poets in our time can scarcely imagine. ring instead to visit the grave “alone and unseen.” To Verdi, Manzoni was a personal hero; he was He proposed that “after further reflection and both a great artist and a great humanitarian—a after taking stock of my strength,” he might leader, like Verdi, in the Risorgimento, the “suggest a way of honoring his memory.” In fact, movement for Italian independence and the very night of his visit to Manzoni’s grave, he

Composed MOST RECENT Instrumentation 1874 CSO PERFORMANCES solo quartet, mixed chorus, and an January 15, 16 & 17, 2009, Orchestra orchestra consisting of three flutes and First performance Hall. , , piccolo, two oboes, two clarinets, four May 22, 1874; Church of San Marco, Mario Zeffiri, and Ildar Abdrazakov bassoons, four horns, four trumpets Milan, Italy as soloists; the Chicago Symphony (with four additional trumpets Chorus (Duain Wolfe, director); offstage), three trombones and tuba FIRST CSO PERFORMANCES Riccardo Muti (replacing the obsolete ophicleide), June 4, 1910; timpani, bass drum, strings Gymnasium, Evanston, Illinois. Jane CSO RECORDINGS Osborn-Hannah, Rose Lutiger-Gannon, 1977. , Dame Janet Approximate Evan Williams, and Allen Hinckley Baker, Veriano Luchetti, and José performance time as soloists; the North Shore Festival van Dam as soloists; the Chicago 88 minutes Chorus (Peter C. Lutkin, director); Symphony Chorus (Margaret At this performance, Maestro Muti uses Peter C. Lutkin conducting Hillis, director). Sir the new critical edition of the Requiem conducting. RCA February 14 & 15, 1952, Orchestra Hall. Mass from The Works of Zinka Milanov, Elena Nikolaidi, David 1993. Alessandra Marc, Waltraud edited by David Rosen and published Poleri, and as soloists; Meier, Plácido Domingo, and jointly by the University of Chicago the Combined Choral Organizations as soloists; the Press and Casa Ricordi (, of Northwestern University Chicago Symphony Chorus (Margaret general editor). (George Howerton, director); Bruno Hillis, director). Walter conducting conducting. Erato 2009. Barbara Frittoli, Olga Borodina, Mario Zeffiri, and Ildar Abdrazakov as soloists; the Chicago Symphony Chorus (Duain Wolfe, director). Riccardo Muti conducting. CSO Resound

3 Many words, but none of them deeply felt.” Verdi was a man of few words and genuine expression. The requiem he com- posed to honor two men for whom he had the greatest admiration is a work of the most highly concentrated emotion. Seldom had he traversed the range of human feeling in so few pages. Music so direct and powerful was unex- pected, and therefore disquieting, in a somber religious work; Bülow Manzoni and Verdi. Engraving. Raccolta Bertarelli, Milan was only the first to refer, patronizingly, to the theatricality of a work designed for the church. wrote to Giulio Ricordi, head of the publishing The very beginning of this requiem might be house, of his intention to compose a requiem mistaken for a moment from a Verdi opera—a mass to be performed on the first anniversary of dark cloister, a procession of mourners, a few Manzoni’s death. (He offered to conduct himself strands of melody to set the scene. But the and to assume the costs of copying the parts.) movement quickly grows and blossoms in ways Shortly before the premiere of Aida in Cairo unknown to the opera house; the chorus makes a in 1871, when the critic and composer Alberto fugue of “Te decet hymnus,” and then the music Mazzucato reminded Verdi of the Libera me he opens heavenward as the soloists enter one by had written for the Rossini Requiem, he dis- one. It’s music of an almost unimaginable sweep missed the idea of setting the entire text: “There and grandeur and would be out of place even in are so many, many, many requiem masses; there’s opera, except in a grand finale. no point in adding one more.” But now, clearly, The Dies irae, the largest of the seven pieces in there was, and Verdi moved quickly. On June 25, this requiem, has ten small sections, each one a Verdi and Giuseppina left for Paris, where he vivid scene. In writing opera, Verdi had quickly began work on the requiem. He continued writ- learned to seek the parola scenica—the key word ing at Sant’Agata in the fall and in Genoa that in each passage that would unlock his imagi- winter. On February 28, he wrote to Camille du nation. The “Dies irae” explodes with its sheer Locle, his librettist for Don Carlos, “I feel as if force and rage—the ffff thunderbolts of the bass I’ve become a solid citizen and am no longer the drum are particularly alarming; Verdi increases public’s clown who, with a big bass drum, shouts the drama by adding offstage trumpets in the ‘Come, come, step right up.’ ” The deadline, “Tuba mirum.” May 22, the first anniversary of Manzoni’s We next hear from various individuals, each death, swiftly approached. Verdi handpicked his a commentator, an observer, or an eyewitness— four soloists, including Teresa Stolz and Maria what is known today as human interest. At the Waldmann, the original Aida and Amneris end of the bass’s “Mors stupebit,” sung quietly at in 1872. The work was finished on and full of terror, his voice catches repeatedly on April 10; rehearsals began early in May. the word “death.” “Liber scriptus,” a powerful Reading Manzoni’s obituary notices, Verdi aria for mezzo-soprano, was written for the noticed that “not one speaks the way it should. London premiere in 1875 to replace a choral

4 fugue that marred Verdi’s sense of pace and (for a moment, at the words “Righteous judge drama, particularly since a brief outburst of of vengeance,” their voices join as one). Two the “Dies irae” music directly follows. “Quid arias follow—the tenor’s “Ingemisco” and the sum miser” is a trio of lamentation. (A solo bass’s “Confutatis”—before the chorus again bassoon provides a haunting accompaniment.) interjects the refrain of “Dies irae.” The lament “Rex tremendae” is a dialogue between chorus “Lacrimosa” (based on a duet withdrawn from and the four soloists, reaching some common Don Carlos) brings together chorus and soloists in ground only in the final measures. The prayer a magnificent, sobering conclusion to a move- “Recordare” is the duet Verdi conceived with ment that began with fire and fury. The final the voices of his favorite Aida and Amneris in “Amen” momentarily lifts the music into full mind, though here they don’t sing as adversaries sunlight, but darkness quickly falls.

The Verdi Requiem in Chicago

In June of 1874, the Chicago Daily the Requiem again the following gave isolated performances of the Tribune ran news of the premiere of November, an orchestra consisting Requiem with the Apollo Chorus (and Giuseppe Verdi’s new Requiem Mass, of forty of the best musicians in the under the Chorus director’s baton), which had been given less than a city was employed, “the scores having beginning in 1918, including one in month before at the Church of San been procured from London at large April 1919 at the Auditorium Theatre Marco in Milan. “The clock struck 11. expense to the Society.” “in memory of the heroes of the U.S. Verdi took his place at the conductor’s The Beethoven Society presented and Allied nations,” and another the desk and the mass began,” the Tribune Verdi’s Requiem several times over the next month at Bartlett Gymnasium at reported, giving Chicago music lovers following years, the last time in 1883. the University of Chicago, dedicated the sense that they were there for Then, in May 1891—five months after to university members who died in one of the music world’s most eagerly Verdi’s death—the Apollo Chorus pre- the war. The Orchestra introduced awaited events. sented the Requiem at Louis Sullivan’s the work to Ravinia audiences in July Chicago waited less than three vast Auditorium Theatre. It was a 1951 under William Steinberg (with years to hear Verdi’s Requiem. In milestone musical and social event. the Northwestern University Summer March 1877, the Beethoven Society “I do not believe that we have ever Chorus). But the Orchestra’s first presented the local premiere at the handled a bigger crowd for a musical subscription concert performances Plymouth Congregational Church. “The performance,” the theater manager of Verdi’s Requiem came only in Society has now given the work three told a reporter. The packed hall (“more February 1952, under the legendary months’ study,” the Tribune reported than 700 carriage checks were given Austrian conductor in advance of the concert, “and will out,” the Daily Tribune reported) was (the cast included soprano Zinka undoubtedly be able to introduce it “a jumble of flowers and jewels and Milanov and bass Cesare Siepi, with with a degree of success that will make shoulders and fluttering programs and the “combined choral organizations” of it exceedingly interesting.” The Society serious persons who studied musical Northwestern University). boasted 145 singers (“almost as large scores of the Requiem,” and there was was the first of the a chorus as that which first produced a general enthusiasm “that ricocheted Chicago Symphony’s music directors the work in Milan”), although women from box to gallery.” to program Verdi’s Requiem, during outnumbered men nearly two to one. the inaugural season of the Chicago Rehearsals apparently were often he Chicago Symphony, which gave Symphony Chorus, in April 1958. rough going (more than once the T its inaugural concert (also in the Since then, the Verdi Requiem has conductor said he wished he had Auditorium Theatre) that October, been led in Orchestra Hall under all never undertaken the work), and the was slow to program Verdi’s music. the Orchestra’s subsequent music performance itself was uneven (the The Orchestra’s first documented directors: (in 1968), Sir tenors sang flat, according to the performance of the Requiem Mass was Georg Solti (in 1975 and 1977), Daniel Tribune, and the soloists were “less given in the Northwestern University Barenboim (in 1993 and 2001), and effective” than the chorus), but the Gymnasium, on June 4, 1910, with the Riccardo Muti—it was the first work he event was a great public success, and North Shore Festival Chorus, Peter C. conducted as music director designate, the Sanctus was even “enthusiastically” Lutkin conducting. (Oddly, there in January 2009. A recording of those encored. Both the premiere and a are no known performances under performances, released the following second performance later in the week the Orchestra’s founder Theodore year, won two Grammy awards—for were sold out. At those performances, Thomas, even though he owned three Best Classical Album and Best the work was accompanied only by scores of the Requiem.) In downtown Choral Performance. organ, but when the Society presented Chicago, the Chicago Symphony —P. H.

5 Abrahae” the music gathers force (maintaining tradition, it behaves like a fugue); the central “Hostias” is quiet and utterly still. Verdi’s Sanctus is a brilliant double fugue for split choirs, moving quickly and with great energy straight through the “Hosanna” and “Benedictus” texts that detain most composers. The Agnus Dei begins with thirteen measures for the soprano and mezzo-soprano soloists, unaccompanied, singing in octaves. The melody is a nineteenth-century version of plainchant— it’s diatonic, rather than modal—and it’s repeated, alternately by the two soloists and the chorus, to an increasingly rich accompaniment. The soprano solo withdraws, leaving the three lower solo voices to the Lux aeterna, a trio of urgent drama and death-scene tremolos. The soprano now reenters, unaccompanied, declaim- ing the text of the Libera me. This powerful final scene, for soprano and chorus, is based on the music Verdi wrote for the Rossini Requiem in 1869. It could only have been composed by someone steeped in opera, yet it’s unlike anything else in Verdi’s output. The music moves freely from dramatic recitative to soaring arioso, reprising both the “Dies irae,” in all its concentrated terror, and the opening Requiem Verdi (center) with the first performers of the Requiem. aeternam, here magically rescored for soprano Engraving by Ettore Ximenes. Raccolta Bertarelli, Milan and unaccompanied chorus. The last stretch, climaxed by the urgent pleas of the soprano, and finally dissolving into hushed and desperate Domine Jesu Christe is scored for solo quartet, prayer, is as compelling as anything Verdi ever though Verdi saves the soprano solo for a breath- put on the stage. taking moment well into the movement, when the entire fate of the music hangs, seemingly for- Phillip Huscher is the program annotator for the Chicago ever, on her one sustained note. At “quam olim Symphony Orchestra.

6 VERDI’S REQUIEM MASS

REQUIEM AND KYRIE Chorus and Solo Quartet

Requiem aeternam dona eis Domine: Eternal rest grant unto them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Te decet hymnus Deus in Sion, To you we owe our hymn of praise, O God, in Sion; et tibi reddetur votum in Jerusalem: to you must vows be fulfilled in Jerusalem. exaudi orationem meam, Hear my prayer; ad te omnis caro veniet. to you all flesh must come.

Requiem aeternam dona eis Domine: Eternal rest give to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Kyrie eleison. Lord, have mercy on us. Christe eleison. Christ, have mercy on us. Kyrie eleison. Lord, have mercy on us.

DIES IRAE

DIES IRAE Chorus

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla: when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

Quantus tremor est futurus, There will be great trembling Quando judex est venturus, when the judge descends from heaven Cuncta stricte discussurus! to scrutinize all things.

TUBA MIRUM Chorus

Tuba mirum spargens sonum The trumpet will send its wondrous sound Per sepulcra regionum, into the earth’s sepulchres Coget omnes ante thronum. and gather all before the throne.

MORS STUPEBIT Bass

Mors stupebit et natura, Death and nature will be astounded, Cum resurget creatura, when all creation rises again Judicanti responsura. to answer to judgment.

(Please turn the page quietly.) 7 LIBER SCRIPTUS Mezzo-soprano and Chorus

Liber scriptus proferetur, A book will be brought forth, In quo totum continetur, in which all is written, Unde mundus judicetur. by which the world will be judged.

Judex ergo cum sedebit, When the judge takes his place, Quidquid latet, apparebit: what is hidden will be revealed, Nil inultum remanebit. nothing will remain unavenged.

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla: when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

QUID SUM MISER Soprano, Mezzo-soprano, Tenor, and Chorus

Quid sum miser tunc dicturus? What shall a wretch like me say? Quem patronum rogaturus? Who shall intercede for me, Cum vix justus sit securus? when even the just ones need mercy?

REX TREMENDAE Chorus and Solo Quartet

Rex tremendae majestatis, King of tremendous majesty, Qui salvandos salvas gratis, who freely saves the worthy ones, Salva me, fons pietatis. save me, source of mercy.

RECORDARE Soprano and Mezzo-soprano

Recordare, Jesu pie, Remember, sweet Jesus, Quod sum causa tuae viae: that my salvation caused your suffering; Ne me perdas illa die. do not forsake me on that day.

Quarens me, sedisti lassus: Faint and weary you have sought me, Redemisti crucem passus: redeemed me, suffering on the cross; Tantus labor non sit cassus. may such great effort not be in vain.

Juste judex ultionis, Righteous judge of vengeance, Donum fac remissionis, grant me absolution Ante diem rationis. before the day of retribution.

8 INGEMISCO Tenor

Ingemisco, tamquam reus: I groan as one who is guilty: Culpa rubet vultus meus: owning my shame with a red face; Supplicanti parce Deus. suppliant before you, Lord.

Qui Mariam absolvisti, You, who absolved Mary, Et latronem exaudisti, and listened to the thief, Mihi quoque spem dedisti. give me hope, too.

Preces meae non sunt dignae: My prayers are unworthy, Sed tu bonus fac benigne, but, good Lord, have mercy, Ne perenni cremer igne. and rescue me from eternal fire.

Inter oves locum praesta, Give me a place with the sheep, Et ab haedis me sequestra, and separate me from the goats; Statuens in parte dextra. lead me to your right hand.

CONFUTATIS Bass and Chorus

Confutatis maledictis, When the accused are confounded, Flammis acribus addictis, and doomed to flames of woe, Voca me cum benedictis. call me among the blessed.

Oro supplex et acclinis, I kneel with submissive heart, Cor contritum quasi cinis: my contrition is like ashes, Gere curam mei finis. help me in my final state.

Dies irae, dies illa, Day of wrath, day of anger Solvet saeclum in favilla: when the world will dissolve in ashes, Teste David cum Sibylla. as foretold by David and the Sibyl.

LACRIMOSA Solo Quartet and Chorus

Lacrimosa dies illa, That day of tears and mourning, Qua resurget ex favilla when from ashes shall arise Judicandus homo reus: all humanity to be judged. Huic ergo parce Deus. Spare us by your mercy, God. Pie Jesu Domine Gentle Lord Jesus, Dona eis requiem. grant them eternal rest. Amen. Amen.

(Please turn the page quietly.) 9 DOMINE JESU CHRISTE Solo Quartet

Domine Jesu Christe, Rex gloriae, O Lord Jesus Christ, King of Glory, libera animas omnium fidelium defunctorum de deliver the souls of all the faithful departed from poenis inferni, the pains of hell et de profundo lacu; and from the bottomless pit; libera eas de ore leonis, deliver them from the lion’s mouth, ne absorbeat eas tartarus, that hell swallow them not up, ne cadant in obscurum: that they fall not into darkness, sed signifer sanctus Michael repraesentet eas in but let the holy standard-bearer Michael lucem sanctam: bring them into that holy light which you Quam olim Abrahae promisisti, promised of old to Abraham and to his seed. et semini ejus.

Hostias et precis tibi Domine We offer you, O Lord, sacrifices and prayers laudis offerimus: of praise; tu suscipe pro animabus illis, receive them in behalf of those souls we quarum hodie memoriam facimus: commemorate this day. fac eas, Domine, de morte transire ad vitam. Grant them, O Lord, to pass from death to that life Quam olim Abrahae promisisti, which you promised of old to Abraham and to et semini ejus. his seed.

Libera animas omnium fidelium defunctorum de Deliver the souls of all the faithful departed from poenis inferni. the pains of hell. Fac eas de morte transire ad vitam. Grant them to pass from death to life.

SANCTUS Double Chorus

Sanctus, sanctus, sanctus, Holy, holy, holy, Dominus Deus Sabaoth. Lord God of Hosts. Pleni sunt coeli et terra gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who comes in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.

AGNUS DEI Soprano, Mezzo-soprano, and Chorus

Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world: dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world: dona eis requiem. grant them rest. Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world: dona eis requiem sempiternam. grant them eternal rest.

10 LUX AETERNA Mezzo-soprano, Tenor, and Bass

Lux aeterna luceat eis, Domine: May eternal light shine upon them, O Lord, Cum sanctis tuis in aeternum, quia pius es. with your saints forever, for you are gracious. Requiem aeternam dona eis, Domine, Eternal rest give to them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them: Cum sanctis tuis in aeternum, quia pius es. with your saints forever, for you are gracious.

LIBERA ME Soprano and Chorus

Libera me Domine de morte aeterna, Deliver me, O Lord, from everlasting death on in die illa tremenda: that day of terror: Quando coeli movendi sunt et terra: When the heavens and the earth will be shaken. Dum veneris judicare saeculum per ignem. As you come to judge the world by fire.

Tremens factus sum ego, et timeo, I am in fear and trembling at the judgment and dum discussio vererit, atque ventura ira. the wrath that is to come. Quando coeli movendi sunt et terra. When the heavens and the earth will be shaken.

Dies irae, dies illa, That day will be a day of wrath, of misery, and calamitatis et miseriae, of ruin: dies magna et amara valde. a day of grandeur and great horror. Dum veneris judicare saeculum per ignem. As you come to judge the world by fire.

Requiem aeternam dona eis Domine: Eternal rest grant unto them, O Lord; et lux perpetua luceat eis. and let perpetual light shine upon them.

Libera me Domine de morte aeterna, Deliver me, O Lord, from everlasting death on in die illa tremenda: that day of terror: Quando coeli movendi sunt et terra: When the heavens and the earth will be shaken. dum veneris judicare saeculum per ignem. As you come to judge the world by fire. Libera me. Deliver me.

© 2013 Chicago Symphony Orchestra 11