My first acquaintance with Verdi Requiem Bernstein was Melodiya LP re-issue of the Columbia recording. Technically superb, very limited edition. The Sony CD of this recording with prince Charles (now king) cover art is also quite good, IMO.
The Requiem is the work that really stands out in Verdi's output. I don't care about his tram-pam-pam operas, which IMHO cater to the tastes of Italian low classes. I believe the Requiem is Verdi's move to beat his rival Wagner on his own turf, quite successful one.
I have it on cd. We will get there, there is about half a dozen composers ahead chronologically.
I do not listen to it much either.
Another favorite of mine is Saint-Saens. Contemporaneous with Verdi's. Killer Tuba Mirum with organ - to rival the Organ Symphony. Agnus Dei is such tear-squeezer. It is short, a bit over half an hour. My fav recoding is naturally French, Jasques Mercier (link). Sorry, adason, for running ahead of your historic timeline.
Saint-Saens Requiem Mercier
Saint-Saens Requiem Mercier
Last edited:
No problem. Timeline is not a must, just a help.
Besides i do not have all the requiems, i hope others will fill in.
Besides i do not have all the requiems, i hope others will fill in.
Another requiem I've heard live was Durufle. It was in 1970s in Leningrad (now St. Petersburg) Russia. The venue was the Academic Capella (the Small Hall of Leningrad Philharmonic). The participants were members of Leningrad Philharmonic Orchestra and Yurlov Chamber Choir. I forgot who the conductor was, but at the organ was Anastasia Braudo, the daughter of the famous Russian organist Isaya Braudo. The music is interesting combination of 20th century and Gregorian chant. Cannot say I am much impressed with this piece, but it is definitely worth listening.
Last edited:
MORTEN LAURIDSEN! LUX AETERNA! IN LATIN! 1997!
I believe that Morten Lauridsen's Latin-Language (but non-Liturgical) Requiem Lux Aeterna has been the most-often-performed large, for lack of a better word, religious composition for chorus and orchestra, of both the 20th and 21st centuries. (That qualification is to null out Carmina Burana, obviously.)
It was more than 10 years ago that I was told that Morten's publisher, the predecessor company of which had published Haydn when Haydn was alive, said that the largest-selling item in their catalog, GOING BACK TO DAY ONE, was the vocal score of Lux Aeterna--back then, more than 300,000 copies.
It was such an amazing under-the-radar cultural phenomenon that the Wall Street Journal wrote about it. Lux Aeterna is Lauridsen's homage to Brahms's Requiem. Each of Morten's chosen Biblical texts has something to do with Light. When the "Requiem" tune reprises at the very end, I reach for my hankie.
Oh, Morten's total sheet-music sales more than 1,000,000 copies total for all works.
The Unique Selling Proposition for Lux Aeterna is that it is for orchestra and chorus, but NO SOLOISTS. So, a community chorus can pay the publishing royalties and not have to stretch to hire a Nightingale and a Raven, or whatever <smirk>.
BTW, Morten dedicated his only arrangement for string quartet... to me. It was my idea, and he went for it, and I helped a bit.
john
I believe that Morten Lauridsen's Latin-Language (but non-Liturgical) Requiem Lux Aeterna has been the most-often-performed large, for lack of a better word, religious composition for chorus and orchestra, of both the 20th and 21st centuries. (That qualification is to null out Carmina Burana, obviously.)
It was more than 10 years ago that I was told that Morten's publisher, the predecessor company of which had published Haydn when Haydn was alive, said that the largest-selling item in their catalog, GOING BACK TO DAY ONE, was the vocal score of Lux Aeterna--back then, more than 300,000 copies.
It was such an amazing under-the-radar cultural phenomenon that the Wall Street Journal wrote about it. Lux Aeterna is Lauridsen's homage to Brahms's Requiem. Each of Morten's chosen Biblical texts has something to do with Light. When the "Requiem" tune reprises at the very end, I reach for my hankie.
Oh, Morten's total sheet-music sales more than 1,000,000 copies total for all works.
The Unique Selling Proposition for Lux Aeterna is that it is for orchestra and chorus, but NO SOLOISTS. So, a community chorus can pay the publishing royalties and not have to stretch to hire a Nightingale and a Raven, or whatever <smirk>.
BTW, Morten dedicated his only arrangement for string quartet... to me. It was my idea, and he went for it, and I helped a bit.
john
Of the 20th century requiems, it is worth mentioning the one by Dmitry Kabalevsky. Composed in 1962, it is dedicated, as Britten's War Requiem, to the victims of the 2nd World War. It is not a true requiem in a sense that it doesn't contain standard Catholic parts and the verses are in Russian. But musically all the parts are there. Brahms' German Requiem is not a true requiem as well, but Kabalevsky went even further, completely dispensing with God. Worth listening.
Kabalevsky conducting Kabalevsky
Kabalevsky conducting Kabalevsky
Funny, Kabalevsky wrote some student pieces for violin that I vaguely recall. My principal teacher, between episodes where the Nazis tried to kill him, briefly studied at the Moscow Conservatory. But before the War broke out, he was a student of Jacques Thibaud's. And before that, his teachers included a classmate of Heifetz's--Maia Bang.
Anyway, here is a YT of the first recording of Lauridsen's Lux Aeterna.
john
Anyway, here is a YT of the first recording of Lauridsen's Lux Aeterna.
john
I'll also put in a vote for Karl Jenkins "The Armed Man - A Mass for Peace", a dramatic and accessible piece (no pun) written in 1999 in memory of those who died during the Kosovo conflict. The piece has medieval, Christian, Muslim and Hindi texts.
This excerpt is just beautiful:
Geoff
This excerpt is just beautiful:
Geoff
Berlioz Requiem by Robert Shafer
https://tidal.com/browse/album/12349197?u
Splendid recording, expansive performance.
https://tidal.com/browse/album/12349197?u
Splendid recording, expansive performance.
It’s a three way tie!
Mozart - Because its flawless elegance and the total fury unleashed in Dies Irae.
Faure - Because its emotional beauty and simplicity.
Brahms - Because it’s so bombastic and gloriously German! 🇩🇪
Mozart - Because its flawless elegance and the total fury unleashed in Dies Irae.
Faure - Because its emotional beauty and simplicity.
Brahms - Because it’s so bombastic and gloriously German! 🇩🇪
My voice instructor, David Ralph, was a CIM grad and early in his career organist at St. James Anglican Catholic Church on E55th near Payne. He also worked for Shaw when he was in Cleveland under the great George Szell.
Sadly Ralph passed away. In his later years he was an accompanist for voice instructors at the Met Opera.
Over the years I have performed (as a tenor) in a number of requiems. Chorus, not a soloist! Berlioz, Brahms, Faure and Mozart come particularly to mind. The most-recent Faure performance was this May 2025, and went well. But my long-time favorite is the Mozart Requiem. I've performed it a number of times and it's always been very moving.
The Berlioz Requiem I recall was the signature performance of a choral symposium that was periodically held in Europe, called the "Europa Cantat". It was my first trip to Europe, and the symposium was hosted in Strasbourg. That was (around) 1984. I remember the Berlioz as being a gigantic production -- huge choir, large orchestra, LOUD. Perfect for a bunch of singers trying to out-compete each other for volume......
I also remember the Gewurztraminer wines there in the Alsace. Yum. But the eau de vie made from Gewurtz....nope. That would be a good contender for paint remover. WAY too spicy.
The Berlioz Requiem I recall was the signature performance of a choral symposium that was periodically held in Europe, called the "Europa Cantat". It was my first trip to Europe, and the symposium was hosted in Strasbourg. That was (around) 1984. I remember the Berlioz as being a gigantic production -- huge choir, large orchestra, LOUD. Perfect for a bunch of singers trying to out-compete each other for volume......
I also remember the Gewurztraminer wines there in the Alsace. Yum. But the eau de vie made from Gewurtz....nope. That would be a good contender for paint remover. WAY too spicy.
That Mozart conceptually pilfered his Requiem from Michael Haydn there is no question. Here is my favorite of Michael Haydn's Requiem. Resolute and dramatic.
M. Haydn Requiem Rafael Pichon
Next we have Verdi, 1813. I got two sets, each is two cd's. That tells you i like it. Yes, its long, just like his operas, yes, its bombastic. Some call it too operatic, not very religious. Its all personal opinions. Its a masterpiece.
Composed for choir of 120 and 100 musicians. Can certainly scare the hell out of you. Composed as death mass for Rossini.
Composed for choir of 120 and 100 musicians. Can certainly scare the hell out of you. Composed as death mass for Rossini.
Attachments
I like it - unusual side of Liszt, not the brilliant yet somewhat superficial piano virtuoso the audiences are accustomed to. Of course, there are elements of Mazepa and Mephisto Waltz in this Requiem, but deep spirituality is unquestionable. Reminds me of one of his piano pieces, God's Benediction Over the Solitude played at this year's Cliburn piano competition.