Greetings ...
The Chancellor's Second Annual Festival of Music offers us another opportunity to focus attention on the importance of the creative and performing arts as an essential part of a great university.
Academic institutions represent society's most concerted effort to advance knowledge and understanding which encompass more th~n material needs. Now that we have the power to alter significantly and even destroy our environment, we must place increasing emphasis on our ability to live together sensibly and sensitively.
Music and other creative and performing arts give us just such an emphasis. Simply being on a campus where cultural opportuni ties exist enhances the quality of a student's life. It is also imperative that a great university, dedicated to leading humankind to the finest things in life, prepare the liberally educated artist and provide students in all other fields the opportunity of educational exposure to the arts.
We welcome you to this excellent series of musical events, thank you for your continuing support for our programs in the arts, and wish for you an enjoyable and memorable time at this scholarship benefit performance.
Herbert W. Schooling Chancellor
Cover Adaptation of Michelangelo's Last Judgment by Betty Scott and Katie Kane University of Missouri-Columbia Department of Music
presents
Requiem Mass
In Memory of Manzoni by Giuseppe Verdi
Otto-Werner Mueller, conductor Veronica Tyler Waldie Anderson soprano tenor Malka Kaspi Gary Kendall mezzo-soprano bass
Sunday, March 12, 1978 Jesse Auditorium 8:15 p.m. Guest Artists
OTTO-WERNER MUELLER is presently Professor of Conducting at the Yale School of Music where he is the Music Director of one of the finest graduate student orchestras in the United States-The Philharmonia Orchestra of Yale. Born in Bensheim, Germany, he received his early musical training in the Musisches Gymnasium in Frankfurt. After his debut as Music Director of Radio-Stuttgart at the age of nineteen, he was conductor-founder of the now-renowned Chamber Chorus of Radio Stuttgart. Mr. Mueller came to Canada in 1951. From 1951 to 1963 he conducted CBC Orchestras in Montreal, Toronto, and Vancouver, includ ing the CBC production of The Barber of Seville, which was the first to receive an Emmy in the new category of Foreign Productions. In 1963 he was at the Tchaikovsky Conservatory as Guest Professor for three months. Among his conducting students in Moscow were Maxim Shostakovitch, son of the noted Russian composer, and Rudolf Barshai, conductor of the Moscow Chamber Orchestra. Mr. Mueller returned to the Soviet Union in 1968 and 1970 as guest conductor of the Moscow, Leningrad and Riga Symphony Orchestras. In 1963 he was named Music Director of the Victoria Symphony and he founded and acted as Dean of the Victoria School of Music. He assumed the post of Professor of Music at the University of Wisconsin in 1967 and since 1968 he has taught conducting and directed the orchestra for the summer Choral Institutes sponsored by the National Foundation on the Arts and the Humanities and the American Choral Foundation. Mr. Mueller continues to make guest appearances with major orchestras in the United States, Canada and abroad, and he served as conductor for the performance of Mendelssohn's Elijah during the Chancellor's Annual Festival of Music at UMC in 1977.
A Visiting Associate Professor of Voice at the University of Missouri Columbia, VERONICA TYLER was the 1966 winner of the Tchaikovsky International Vocal Competition in Moscow. Among her other prizes and awards is the 1963 first prize of the Munich International Competition. She has appeared with the New York Philharmonic on televised Young People's Concerts and with the orchestras of Boston, Philadelphia, New Jersey, Chicago, Pittsburgh, Los Angeles, and San Francisco. She also performs regularly with the New York City Opera Company and has sung at the White House. In the summer of 1975, Miss Tyler was chosen for a featured soprano role in the Central City, Colorado Opera Festival revival of Cavalli's Scipio Africanus.
Mezzo soprano MALKA KASPI was born in Poland and spent her early years in Siberia, emigrating to Israel with her family, where she began her vocal study. Awards and scholarships were early tributes to her talent. After only two years of study, Malka Kaspi was awarded first prize in the Marian Anderson Scholarship Competition in Israel. The Juilliard School of Music gave her a scholarship and also awarded her the Juilliard Alumni Scholarship. Miss Kaspi has received acclaim on three continents for her performances. The government oflsrael sent her to Sao Paulo and Rio de Janeiro for concerts, television and radio performances. She was soloist in theLiebeslieder Waltzes and Midsummer Night's Dream both at Covent Garden in London and at the New York State Theatre, Lincoln Center. With the Westminster Choir, Malka Kaspi was soloist in Elijah, and she also appeared as soloist in this work with the Camerata Singers in New York. Under the auspices of Columbia Artists Management's Community Concerts she has concertized extensively throughout the United States.
WALDIE ANDERSON has appeared in all the major oratorio tenor roles, has mastered a wide concert repertory for solo recitals and has been acclaimed a successful singing actor in opera. His experience includes numerous appearances with the Detroit Symphony, the Philadelphia Orchestra, the Chicago Symphony, and many other orchestras. A graduate of Central Washington State College and the University of Michigan, he studied with John McCollum while doing doctoral work in vocal perfor mance and music education. A national winner of the Metropolitan Opera Auditions, he made his Meadowbrook Music Festival debut in 1976. Mr. Anderson is a Visiting Professor of Music at the University of Texas in Austin.
GARY KENDALL, the first prize winner at the Geneva International Competition, has in recent years proved himself an outstanding bass of international calibre. As a result of the competition, this eminent vocalist appeared in concert and with orchestras throughout Switzerland and France. Kendall enchanted audiences at the Spoleto Music Festival in Italy. Elsewhere in Europe, he has made many guest appearances, including performances with the Orchestra de la Suisse Romande in Geneva, the Vienna Volksoper, and at the Aix-en-Provence Festival. Kendall's record of achievement in the United States is no less impressive. He has appeared in major roles with the opera companies of Philadelphia, Milwaukee, Louisville, and San Antonio, and as a soloist with the symphony orchestras of Chicago, Philadelphia, Pittsburgh, Indianapolis, Cincinnati, and Seattle. Gian Carlo Menotti personally selected Kendall to premier two works composed in commemoration of the American Bicen tennial, Landscapes and Rememberances and The Hero. Prior to the beginning of his career in Philadelphia, Gary Kendall received bac calaureate and master's degrees from the University of Missouri Columbia with a concentration in both instrumental music and voice. University Chorus Ira C. Powell, conductor Jack Franck, rehearsal accompanist
Soprano * Anne-Marie Pickard Jan Haffey Elinor Powell Cindy Hall Paula Ashley Kathy Presson Carol Henrichs Ellen Baker Yvonne Prost Mary Huids Joyce Bender Denise Quinley Linda Horton Jane Berkelhammer Johanna Reed Connie Jo Johnson Margie Berman Beverly Rees Susan Johnson Linda Brigance Patricia Robertson Claudia Kaplan Paula Bohr Renee Robertson Terri Kennemer Diana Brown Carol Robinson Ann Kinroth Polly Brown *Mary Alice Rosenboom Lynn Krausberg Karlene Brynjulfson Leslie Royer Nancy Lacy Nancy Bryson Lorene Royer Julie Lake Kathryn Burlison Christa M. Smith Nancy Laun Janet Cardetti Valerie Smith Sharon LeDuc Cindy Cassel Nell Sanders Linnea Lilja Billy Chapman Andrea Tachman Patricia Madigan *Gail P. Denson Julia Tatum Janet Maurer Linda Dowell Sarah Tharpe Mary McMullen Candance Dowlin Cindy Toellner Allison Miller Nancy Edmondson Paula Westfall Debora Morrison Joy English *Linda Wright Marjorie O'Laughlin Nancy S. Evans Jeanie O'Neil Vicki Feldman Alto Janet Papageorge Kay Fish Mary Parish Laurie Fitzgerald Christine Alivernia Leticia Perez-Gutierrez Penny Frazier Donna Allen Alice Phillips Michelle Gaunt Mary Jane Allen Lela Price Mary Greene Julia G. Baker *Virginia Pyle Charlotte A. Grice Julia Bain Martha Jane Rees Angela Haywood Rosemary Batteiger Julie Reiner Rose Herbers Cheri Bender *Marti Rice Karen Horne Regina Boelson Bette Reichman Donna Hulett Mary Parker Buckles Sara Sadler Julia lmpey Laurel Burns Marilyn S. Santora Laurie Jick Marilyn Cheetham Roberta Scholes Dona Jones Lynn Compton Kelly Shelton Phyllis Kaser Carol Dallman Linda Sickler Terri Landgraf Mary Davis Elaine Sleper Alice Jane Lanier Molly Devlin Ilo Gene Smith Denise Lee Carolyn Dickinson Valerie L. Smith Charlyne Lenox Sarah Dixon Marilyn S. Snow Dorothy Markwort Sharon Dressler Amy Sokoloff Julie Maxwell Margaret Ann Durham Cindy Stahl Melanie Margreiter Mary Edmondson Lynda Stillwell Ester Mendoza Anna Margaret Fields Karen Stoner Helga Meyer Kathy Frerking Diane Strother Beverly Nick Julie Griffen Carol Swanson Mary Beth Nick Caren Griffin Margie Tarkow Kathy Peterman Lynita Guthrie Rita Terry Mitzi Terwilliger Vern G. Williamsen Section Rehearsal Leaders Susan Toalson Michael Webb Anne E. Trembley Soprano Linda Wright Tracey Underhill Sue Wasson Mary Alice Rosenboom Loretta Williams Bass Alto Betty Wilson Bob Bahr Virginia Pyle Laurie Wilson Scott Beard Marti Rice Jeanne Wixom Robert C. Becker Tenor Jeanne Wolters Tom Brintnall R. A. Patch Steve Brockman Dan Cotton Leonard Brubaker Bass Scott L. Burnett Harry S. Morrison Tenor Abe Cherrick John Chesmelewski Chris Abele Mark J . Dallman Section Rehearsal Ron Andrae Leon T. Dickinson Accompanists Paul E. Bacon Urie Dreckshage Jack Palmer David Bain Lawrence A. Eggleston Nora Hulse Jeff Beldon Paul Ehrlich Judy Powell Janet Brown *Norman Ertl Heather Swartout James Butt Gordon Franck Marilyn Capron Joshua Gettinger David H . Carlson Bill Hales *Dan Cotton Matthew Holt Gary Cox E. Clarendon Hyde Eric Cunningham Eugene Kelly Lon Daniel Keith Kolander Alan R. Everson Richard Kupferer *Ensemble soloists Robert J. Fischbach Barry Laiderman Jim Forbis Dwayne A. Lane Charles L. Gallagher Paul C. Langemach Paul Graham Richard LeDuc Terri Grossman Kit Lorentz Chris L. Hackett * Martin Loring Wayne E. Harris Norman Lucas Gale Hodges Scott Maledy Cheryl Jacobson Jeff McGinnes Nancy Johnson Donn Messimer Phillip H. Johnson James F. Mitchell Peter Klevorn David Minnick Judy Lavin * Harry S. Morrison *Mark Lee Alan Mueller David W. Lewis Edward E . Pickett Julia D. Moore Glenn Pickett Nancy Nelville Warren Prost Glyn Northington Don Raunikar Anthony Nowakowski Mark Sacco Jack Palmer Robert Shaw *R. A. Patch Mark L. Smith Kenneth Peterman Andrew Twaddle *David Raboin Charles Trelow Ray R. Rothenberger Paul Williams Michael Stevens Frank Wyatt Gerald Valet Robin G. Wyss University Orchestra Charles L. Emmons, conductor Violins Oboe Katherine Rollings * Susan Hicks Deborah Tomas Carla Dude Ann Bertus Frances Emig Clarinet Joe Ferry Jeanne Symes Carol Filer Christine Cramer Catherine Luna Bassoon George Ann McN ames Katherine Kossmann Patricia Cumbie Martha Lou Polkey Jerry Leeper Rebecca Pringle Karl Swanson Janet Rowe *Barbara Wood Katherine Searles Horn Rodney Scheumaker Mark Guetlich * Sander Strenger Margaret Klug Kristine Swanson *Peter Kurau *Eva Szekely Daniel Patterson Violas Tracy Turner Beverly Jean Kane Trumpet Mary Anne Lappin Lisa Gibson *Carolyn Kenneson Randy Olmstead Loraine O'Connor * Alexander Pickard Cynthia E. Tooley Bryan Williams Sandra Lee Wallace Off-Stage Trumpets Cellos Gary Garner Linda Kruger Mark Blackmore Marion Bacher Jack Gallagher Carrie Corbett Scott Goehri Jane Darigo Carl Drewel Trombone Lee Ann O'Brien John Broadfoot William Schneider Curtis Jones *Carleton Spotts John Rosenboom Sylvia Spotts Debbie Stark String Bass Tuba David Johnson Bruce Hamilton Martin D. Laser Nader M. Ostadi Timpani Paul Schult Sheri Broyles *Sue Stubbs Percussion Flutes Keven Kelly Jane Brown *Thomas Wubbenhorst Vickie Smith Rehearsal Assistants Sherri Lopatin (Piccolo) *George DeFoe * Richard Hills *Betty Scott *Faculty Member, UMC Department of Music Text and Translation
I. Introit and Kyrie Chorus Requiem aeternam dona eis, Domine, Eternal rest grant unto them, 0 Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. Te decet hymnus, Deus, in Sion, There shall be singing unto Thee in Sion, et tibi reddetur votum in Jerusalem. and prayer shall go up to Thee in Jerusalem. Exaudi orationem meam, Hear my prayer, ad te omnis caro veniet. unto Thee all flesh shall come. Quartet and Chorus Kyrie eleison, Lord have mercy upon us, Christe eleison. Christ have mercy upon us.
II. Sequence Chorus Dies irae, dies illa, Day of wrath, day of mourning, sol vet saeclum in favilla, earth in smouldering ashes laying, teste David cum Sibylla. so spake David and the Sibyl. Quantus tremor est futurus, How great the trembling shall be, quando Judex est venturus, when the Judge shall come, cuncta stricte discussurus! by whose sentence all shall be bound! Chorus Tuba mirum spargens sonum, The trumpet, sending its wondrous sound, per sepulchra regionum, through the tombs in every land, coget omnes ante thronum. shall bring all before the throne. Bass Mors stupebit et natura, Death shall stun and nature quake, cum resurget creatura, when all creatures rise again, Judicanti responsura. to answer to the Judge. Mezzo-soprano and Chorus Liber scriptus proferetur, The written book shall be brought forth, in quo totum continetur, in which all is recorded, unde mundus judicetur. whence the world shall be judged. Judex ergo cum sedebit, Therefore, when the Judge shall be seated, quidquid latet apparebit, nothing shall be held hidden any longer, nil inultum remanebit. no wrong shall remain unpunished. Dies irae, dies illa, Day of wrath, day of mourning, solvet saeclum in favilla, earth in smouldering ashes laying, teste David cum Sibylla. so spake David and the Sibyl. Mezzo-soprano, Tenor and Soprano Quid sum miser tune dicturus? What shall I, a poor sinner, say? Quern patronum rogaturus, What patron shall I entreat, cum vix justus sit securus? when even the just need mercy? Quartet and Chorus Rex tremendae majestatis, King of tremendous majesty, qui salvandos salvas gratis, who sends us free salvation, salva me, fons pietatis. save me, fount of mercy. Soprano and Mezzo-soprano Recordare, Jesu pie, Remember, gentle Jesus, quod sum causa tuae vitae, that I caused Thy earthly life. ne me perdas ilia die. Do not forget me on that day. Quaerens me, sedisti lassus, Seeking me, Thou sat down weary, Redemisti crucem passus; redeemed me on the cross of suffering; tantus labor non sit cassus. such labor should not be in vain. Juste Judex ultionis, Righteous Judge of retribution, donum fac remissionis grant the gift of absolution ante diem rationis. before the day of reckoning. Tenor Ingemisco tamquam reus, I groan, as one who is accused, culpa rubet vultus meus, guilt reddens my cheek, supplicanti parce, Deus. spare Thy supplicant, 0 God. Qui Mariam absolvisti, Thou who absolved Mary, et latronem exaudisti, and harkened to the thief, mihi quoque spem dedisti. has given hope to me. Preces meae non sunt dignae, My prayers are worthless, sed tu bonus fac benigne, but Thou, who art good and kind, ne perenni cremer igne. rescue me from everlasting fire. Inter oves locum praesta, With Thy sheep give me a place, et ab hoedis me sequestra, and from the goats keep me separate, statuens in parte dextra. placing me at Thy right hand. Bass and Chorus Confutatis maledictis, When the wicked have been confounded, flammis acribus addictis, doomed to the devouring flames, voca me cum benedictis. call me with the blessed. Oro supplex et acclinis, I pray, supplicant and kneeling, cor contritum quasi cinis, my heart crushed almost to ashes, gere curam mei finis. watch o'er me in my final hour. Dies irae, dies ilia, Day of wrath, day of mourning, solvet saeclum in favilla, earth in smouldering ashes laying, teste David cum Sibylla. so spake David and the Sibyl. Quartet and Chorus Lacrymosa dies ilia, Tearful that day shall be, qua resurget ex favilla, when from the ashes shall arise, judicandus homo reus. guilty man to be judged. Huie ergo parce, Deus, Spare him then, 0 God, pie Jesu Domine, gentle Lord Jesus, dona eis requiem. Amen. grant him eternal rest. Amen.
III. Offertorium Quartet Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory, libera animas omni um fidelium defunctorum free the souls of all the faithful departed de poenis inferni et de profundo lacu. from the pains of hell and from the deep pit. Libera eas de ore leonis, Free them from the lion's mouth, ne absorbeat eas tartarus, lest hell devour them, ne cadant in obscurum; or they fall into darkness; sed signifer sanctus Michael, let the standard bearer, St. Michael, repraesentet eas in lucem sanctam, lead them into the holy light, quam olim Abrahae promisisti et semini ejus. as you promised Abraham and his seed. Hostias et preces tibi, Domine, A sacrifice of praise and prayer, 0 Lord, laudis offerimus. we offer Thee. Tu suscipe pro animabus illis, Accept it in behalf of those souls, quarum hodie memoriam facimus. we commemorate this day; Fae eas, Domine, de morte transire ad vi tam, let them, 0 Lord pass from death to life, quam olim Abrahae promisisti et semini ejus. as you promised Abraham and his seed.
IV. 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 Thy glory. Hosanna in excelsis. Hosanna in the highest. Benedictus qui venit in nomine Domini. Blessed is he who cometh in the name of the Lord. Hosanna in excelsis. Hosanna in the highest.
V. Agnus Dei Soprano, Mezzo-soprano and Chorus Agnus Dei, Lamb of God, qui tollis peccata mundi, who taketh away the sins of the world, dona eis requiem sempiternam. grant them eternal rest.
VI. Communion Mezzo-soprano, Tenor and Bass Lux aeterna luceat eis, Domine, Let eternal light shine upon them, 0 Lord, cum sanctis tuis in aeternum, with Thy saints for ever, quia pius es. for Thou art merciful. Requiem aeternam dona eis, Domine, Eternal rest grant unto them, 0 Lord, et lux perpetua luceat eis. and let perpetual light shine upon them.
VII. Responsorium Soprano and Chorus Libera me, Domine, de morte aeterna, Deliver me, 0 Lord, from eternal death, in die ilia tremenda, on that dreadful day, quando coeli movendi sunt et terra, when the heavens and earth shall be moved, dum veneris judicare saeculum per ignem. when Thou shall come to judge the world by fire. Tremens factus sum ego et timeo, I am full of fear and I tremble, dum discussio venerit atque ventura ira. awaiting the day of account and wrath to come. Dies irae, dies ilia, Day of wrath, day of mourning, calamitatis et miseriae, day of calamity and misery, dies magna et amara valde. that day great and most bitter. Requiem aeternam dona eis, Domine, Eternal rest grant unto them, 0 Lord, et lux perpetua luceat eis. and let perpetual light shine upon them. Program Notes by James M. Burk The Requiem Mass In the liturgy of the Roman Catholic Church, the Mass for the Dead (Latin: missa pro defunctis; Italian: messa per i defunti; French: messe des mortes; German: Totenmesse) is a solemn mass. It is sung annually on All Soul's Day (2 November), at funeral services, on the anniversary of the death of particular persons, and other occasions. The name requiem comes from the opening text of the Introit, "Requiem aeternam dona eis Domine" (Eternal rest grant unto them, 0 Lord). The liturgical organization of the requiem mass includes sections from the Ordinary, the portion of the mass which remains constant without regard for the day it is performed (Kyrie, Sanctus, Agnus Dei), and the Proper, the portion which varies through the changing of texts and chant to fit the day or season (Introit, Gradual, Alleluia or Tract, Offertorium, and Communion). The joyful sections of the Ordinary (Gloria and Credo) are omitted in the requiem, and sometimes the Responsorium and Lectio are added. The Tract is followed by the sequence "Dies irae" (Day of wrath), attributed to Thomas of Celano (d. 1250). This movement did not become an integral part of polyphonic settings of the requiem mass until the middle ofthe 16th Century. Yet it is this part upon which much of the interest of the requiem mass is focused. The setting of the "Dies irae" text is quite dramatic in the requiem masses of Mozart, Cherubini, Gossec, Berlioz, and Verdi. Important requiem masses have also been written by Ockeghem, Palestrina, Victoria, Vecchi, Faure, Bruckner, Dvofak, and Durufle. Delius wrote a Requiem based on a pagan text compiled from Nietzche. Benjamin Britten's Sinfonia da Requiem, an instru mental work, has movements based on the principal sections of the mass. His War Requiem (1962) mixes the Latin text with nine poems by Wilfred Owen. Igor Stravinsky's Requiem Canticles (1966) is a condensed form of the requiem employ ing six passages from the Latin text in nine sections. Ein deutsches Requiem (1857-1868) by Johannes Brahms utilizes texts from the German Bible and is a sacred cantata rather than a mass. The Composer Giuseppe Verdi (10 October 1813 to 27 January 1901) was perhaps the greatest opera composer in history. His operas are among the finest and most popular works of all time in that genre. The son of a grocer, Verdi began his musical career as an organist at the village church in his native Busseto. He was also assistant conductor of the Busseto Philharmonic Society. Verdi studied composition with Ferdinando Provesi in Busseto for four years, then Antonio Barezzi, a Busseto merchant, made it possible for Verdi to continue his studies in Milan. Because he was older than the average entering student when he applied for admission to the Milan Conservatory, Verdi was required to take a special examination. He did not pass, so private study was arranged with Vincenzo Lavigna, the maestro al cembalo at La Scala. For the next four years, Verdi alternated living in Busseto and Milan holding various musical positions and continuing his musical studies. In 1836, he married Barezzi's daughter, Margherita. They had two children who died in infancy. Margherita died on 18 June 1840. Verdi's first opera, Oberto, conte di San Bonifacio, was successfully performed at La Scala in Milan on 17 November 1839. After a failure (Un Giorno di regno), he composed Nabucco which was a tremendous success at La Scala in 1842. After another successful opera, I Lombardi alla prima Crociata (1843), Verdi's standing was solidified at La Scala and other Italian opera houses. In dealing with impresarios and music publishers, his business abilities helped him become financially successful. During 1847 and 1848, Verdi traveled to London and Paris. In 1851 he completed Rigoletto, his first opera to be considered a masterpiece. With the addition ofll Trouatore (1843) and La Trauiata (1843), Verdi's reputation was securely established. Although he then became quite interested and involved in his country's efforts to gain independence, he continued to compose operas: Un ballo in maschera (1859),LaForze del destino (1862) and Don Carlos (1867). In 1869 Verdi was commissioned to compose an opera on an Egyptian subject to celebrate the opening of the Suez Canal in 1871. The result was Aida, a considerably advanced work. Aida became very popular through performances throughout Europe and in the United States. Verdi's next work was the Messa de Requiem, often called the Manzoni Requiem. After the success of A'ida, Verdi did not compose an opera for fifteen years. His last two operas, Otello and Falstaff, were completed in his 73rd and 80th years, respectively. Verdi's last work was a group of four sacred choruses. Few opera composers have had such a high percentage of their works remain in the standard repertoire as has Verdi. Verdi's Tribute to Manzoni After the death of the composer Giacchino Rossini (29 February 1792 to 13 November 1868), thirteen Italian composers wrote a composite Requiem Mass to honor his memory, each composing one movement. Besides Verdi, the other composers are not familiar names (Bazzini, Boucheron, Buzzola, Cagnoni, Coccia, Gaspari, Mabellini, Nini, Pedrotti, Petrella, Plantania, and Ricci). It is said that the score to the Rossini memorial requiem is in the archives of the Milan publisher, G. Ricordi. Only Verdi's movement, the concluding "Libera me," has been performed-and only as part of another work, his Requiem Mass for Manzoni. Verdi was impressed by the works of Alessandro Manzoni (7 March 1785 to 22 May 1873), especially his novel I Promessi Sposi (The Plighted Spouses, usually called The Betrothed).The work was an important historical novel and holds a position as one of the great literary works of its time, comparable in style to Goethe's Faust and Cervantes' Don Quixote. Verdi was so shocked by Manzoni's death that he could not bring himself to go to the funeral, but shortly thereafter, he wrote to the Mayor of Milan offering to compose a Requiem Mass to be performed on the first anniversary of the poet's death. The offer included composing the music and printing the music; the community was to subsidize the performance. The premiere took place in St. Mark's Cathedral in Milan on 22 May 1874 with Verdi conducting. The soloists were Teresa Stolz, soprano (the first Aida), Maria Waldmann, mezzo-soprano (of the Florentine Opera), Gino Capponi, tenor and Ormondo Maini, bass. One hun dred musicians were carefully picked for the orchestra and one-hundred twenty five singers for the chorus. Two thousand persons were in the audience and some three thousand persons were turned away. Verdi's Requiem Mass was an immedi ate success. The critic Filippo Filippi commented on each number, praising es pecially the "Dies irae." Numerous performances followed, including unauthorized performances (Bologna used a four-piano accompaniment instead of orchestra; Ferrara used a military band). Verdi's setting of the Requiem Mass is generally considered to be the most beautiful ever composed. The orchestration and use of voices is colorful and effective throughout. Several unaccompanied vocal parts are reminiscent of the style of plainsong or ofPalestrina. Often the vocal parts (solo or choral) are doubled by an instrument to provide an interesting, special musical color. Frances Toye has said that other liturgical works have been as dramatic (cf Requiem Masses by Berlioz and Cherubini, Beethoven'sMissa Solemnis and portions of Bach's Mass in b minor) but none quite as theatrical as Verdi's. However, it was the theatrical quality that prejudiced the conductor-pianist-critic Hans von Bulow against going to the premiere even though he was in Milan at the time. Bulow, a devout Wagnerite, later wrote to Verdi apologizing (letter of7 April 1892) for his mistaken prejudice and even became a champion of the "Manzoni Requiem." The Introit opens with muted strings setting the mood for the text ("Requiem aeternam") murmured by the chorus. The "Te decet" section (for unaccompanied chorus) has a flavor of plainsong. Supported by a gentle crescendo in the cellos, a lovely expressiveness occurs on the words "et lux perpetua" as the opening music and text return to make the movement ternary in form. The "Kyrie" is a definite appeal for mercy-an urgent prayer, but not melodramatic. It is interesting that the section closes with the "Christe" rather than the expected return of the "Kyrie." The "Dies irae" opens with punctuating orchestral chords. It has been suggested that it is a musical parallel to Michelangelo's painting of the Last Judgment in the Sistine Chapel. The brilliant antiphonal trumpets opening the "Tuba mirum" lead to a gradual crescendo for the chorus to enter. The "Mors stupebit" for bass solo displays Verdi's subtlety in the use of harmony and orchestration and is considered a masterpiece in its own right. It ends with a measure of silence before the "Liber scriptus" begins. This movement was originally set in fugal style but Verdi rewrote it as a solo for Maria Waldmann for a London performance. It is a well-planned setting with an especially effective strong accompaniment diminishing to nothing (nil) on "nil inultum remanebit." Note the similarity of the recitation on a single pitch to the writing for the bass in "Mors stupebit." There is a partial repeat of the "Dies irae" followed by the "Quid sum," imaginatively scored. The "Rex tremen dae" is an appeal for mercy to the King's fountain of grace ("fons pietatis") closing with the "Salva me" (save me). A tender, beautiful duet for soprano and mezzo-soprano on "Recordare, Jesu pie" includes a motive in the woodwinds (recalling the "salva me" motive) and a short cadenza for the voices. The "lngemisco tamquam reus" is a beautiful solo for tenor requiring simplicity and humility to match the prayer of the text. The bass arioso "Confutatis maledictis" also displays this simplicity. The return of the "Dies irae" follows with its pointed accents. This time it fades into a solo for the mezzo-soprano ("Lacrymosa") which is answered by the bass as the composer's orchestration supports the voices to a magnificent crescendo for all voices. The brief "Pie Jesu" (Gentle Jesus) has a purity of texture which can be compared to Palestrina's. Interesting chords close the movement as the chorus sings "Amen" (p
Concerts Other Festival Events Verdi Requiem Lecture: "The Conductor and His Sunday, March 12 Score" St. Louis Symphony Orchestra Otto-Werner Mueller Santiago Rodriguez, pianist Tuesday, March 7 Sunday, March 19 Voice Master Class: Requiem Soloists Canadian Brass Quintet Friday and Saturday, March 10-11 Tuesday, April 4 Composer's Symposium Missouri Contemporary Music Band Director's Workshop Competition Concert Saturday, April 22 Saturday, April 22 Pennsylvania Ballet Sunday, April 23
UNIVERSITY OF MISSOURI-COLUMBIA COLLEGE OF ARTS AND SCIENCE Armon Yanders, Dean
DEPARTMENT OF MUSIC FACULTY *Donald McGlothlin, Chairman, * Andrew Minor, Associate Dean Clarinet Graduate School, Collegium Avenel Bailey, Music History and Musicum Literature * Harry Morrison, Opera, Voice *James Burk, Music Theory Charles Nick, Music Theory John Cheetham, Composition, Music Perry Parrigin, Organ Theory Alexander Pickard, Director of George DeFoe, Low Brass Bands, Trumpet Charles Emmons, Orchestra, Concert Ira Powell, Choral Music Band *Virginia Pyle, Voice Jane Franck, Piano *Santiago Rodriguez, Piano Steve Geibel, Flute, Missouri Arts *Betty Scott, Trumpet Quintet Charles Sherman, Music History Helen Harrison, Music Education and Literature Raymond Herbert, Piano Carleton Spotts, Cello, Esterhazy Susan Hicks, Oboe, Missouri Arts Quartet Quintet Sander Strenger, Violin, Esterhazy Richard Hills, Clarinet, Missouri Quartet Arts Quintet *Eva Szekely, Violin, Esterhazy Carolyn Kenneson, Viola, Esterhazy Quartet Quartet Sue Stubbs, String Bass *Peter Kurau, Horn, Missouri Arts Edward Thaden, Piano Quintet Veronica Tyler, Voice Anne Manahan, Piano Barbara Wood, Bassoon, Missouri Thomas McKenney, Composition, Arts Quintet Music_ Theory Thomas Wubbenhorst, Percussion James Middleton, Music Education Thomas Mills, Choral Music, Voice *Music Festival Committee Members