From the Cambridge companion to Verdi

Although Verdi wrote religious music in many of his operas, he did

not return to it as an independent genre until 1869 when he composed
the “Libera me” movement for the collaborative Messa da Requiem to
honor Rossini (which was not performed as planned).33 The “Libera me”
served as the basis for his Messa da Requiem per l’anniversario della morte
di Manzoni written in 1873–74, through which Verdi’s sacred music is
best known today. The Requiem is scored for soprano, mezzo-soprano,
tenor, and bass soloists, chorus, and orchestra and consists of the following
movements:
1 “Requiem [Introit] e Kyrie,” in two linked sections: the first is an ABA design with
the antiphon “Requiem aeternam” surrounding the psalm verse; the second opens
with a soloistic declamation of “Kyrie” and “Christe” in alternation followed by
four sections (“Kyrie,” “Christe,” “Kyrie,” “Christe”).
2 “Dies irae,” in ten sections: “Dies irae,” “Tuba mirum,”“Mors stupebit” (bass solo),
“Liber scriptus” (mezzo-soprano solo in the definitive version, originally a fourpart
choral fugue), “Quid sum miser” (soprano, mezzo-soprano, and tenor trio),
“Rex tremendae majestatis,” “Recordare” (soprano and mezzo-soprano duet),
“Ingemisco” (tenor solo), “Confutatis maledictis” (bass solo), and “Lacrymosa.”
3 “Offertorio,” in ABCBA_ design.
4 “Sanctus,” a fugue for double chorus.
5 “Agnus Dei,” a theme and variations with coda, alternating soloists (soprano and
mezzo-soprano in octaves with theme fragments) with choral responses.
6 “Lux aeterna,” soloists and orchestra, in the design ABCB _DD_D__A_.
7 “Libera me,” in five sections: a recitative-like solo for soprano, a choral passage
including music from the “Dies irae” movement, an unaccompanied section for
soprano solo and chorus with a reprise of the “Requiem aeternam” antiphon, a
transition to the fugue for soprano solo and orchestra, and a closing fugue for
soprano solo, chorus, and orchestra.34
Verdi borrowed from himself twice in this work, in the “Libera me” and
in the “Lacrymosa” section of the “Dies irae.” For the latter Verdi crafted
the primary melody from a duet he had composed for Don Carlos but
had suppressed before the 1867 premiere of the opera in Paris. In adapting
it to his purposes in the Requiem, he revised it to accommodate the
new text, improve voice-leading, and emphasize cadences.35 In recycling
the 1869 “Libera me,” Verdi also made revisions, though none radical.
His alterations involved transposition, cadential placement, phrase expansion,
redistribution of performing forces, modified voicing, and some new
music.36 Moreover, he not only adopted the movement as a whole but also
appropriated passages from it for the “Requiem aeternam” and “Dies irae”
movements.
The Requiem had its first performance onMay 22, 1874, in the church of
SanMarco inMilanwith soloistsTeresa Stolz (soprano, the firstAida),Maria
Waldmann (mezzo-soprano, the first Amneris), Giuseppe Capponi (tenor),
and Ormondo Maini (bass); Verdi conducted. Although the Requiem was
first performed as part of a liturgical service, it soon moved to concert

halls and opera houses throughout Europe. Shortly after its premiere Verdi
conducted it at La Scala inMilan, and onNovember 17, 1874,Verdi’s former
student EmanueleMuzio directed the authorized United States premiere at
the American Academy of Music in New York. The version of the Messa da
Requiemperformed in these locations was the same as that heard today with
a single exception. The “Liber scriptus” section of the “Dies irae,” originally
a fugue for four-part chorus and orchestra, was rewritten by Verdi for the
London performance of 1875 (AlbertHall,May 15) as a mezzo-soprano solo
that became the definitive version. Although by the end of 1875 the work
had been heard in four Italian cities, elsewhere in Europe, and as far away
as Argentina, Egypt, and the United States, the number of performances
declined quickly in the following years.37 It seems tohave becomeestablished
in the repertory no earlier than the 1930s.38
Some controversy concerning the “genre” of the Requiem has surrounded
the work from its earliest years. Numerous writers have called
attention to the “operatic,” “dramatic,” and “theatrical” qualities of the
music. But themusical style of the Requiem differs in significant ways from
Verdi’s operas, as the composer himself impliedwhen he commented on the
manner in which theworkmust be performed: “onemust not sing thisMass
as one sings anopera, and therefore the coloriti [phrasing, attacks, dynamics]
that may be good for the theatre will not be tomy liking at all.” 39 Above all,
the Requiem has a “character,” perhaps resulting in part from the musical
systems imparting coherence to the work as a whole, as well as through
reprises of music from the “Requiem aeternam” and “Dies irae” movements,
subtle thematic connectionswithin and acrossmovements involving
intervallic motion, motivic figuration, “harmonic mystification,” and even
tempo.40 Verdi’s work surely deserves its hallowed position in the sacred
music repertory.