LLUC Verdi Requiem Concert Program - Loma Linda University ...

VERDI
REQUIEM 1

Giuseppe Verdi
Messa da Requiem
(“Requiem”)
Requiem
Dies irae
Dies irae
Tuba mirum
Mors stupebit
Liber scriptus
Quid sum miser
Rex tremendae
Recordare
Ingemisco
Confuntatis
Lacrymosa
Offertory
Sanctus
Agnus Dei
Lux aeterna
Libera me
About the Music
Messa da Requiem
Composed 1873–1874
Orchestration: piccolo, 2 flutes, 2 oboes, 2 clarinets, 4 bassoons, 4 horns,
4 trumpets, 4 off-stage trumpets, 3 trombones, ophicleide*, timpani, bass
drum, strings, chorus, and soloists. (*Obsolete bass instrument replaced by
a tuba.)
In 1873, the year he composed his Requiem, Giuseppe Verdi had reached
an enviable position among his compatriots. Born in 1813 in humble
circumstances, he had slowly but steadily risen to become the most famous
Italian composer of his time. His operas were the most popular ones in his
home country, his name was familiar in all households, and his melodies
were sung in the streets of every Italian city. His works had triumphed not
only in Italy but had conquered all the capitals of Europe and beyond. They
were performed in all the major theaters from Madrid to St. Petersburg and
from London to Cairo.
When Verdi received the news that Alessandro Manzoni, the great man of
Italian letters and respected political figure, had died on 22 May 1873, he
was deeply saddened and he decided to compose a work to pay homage to
a man he venerated as a writer and patriot. For this purpose he turned to a
piece he had composed four years earlier as part of another commemorative
project. This consisted of a Requiem mass to which a number of Italian
composers, including Verdi, had contributed and that was to be performed
on the anniversary of Gioachino Rossini’s death. The performance of this
work, however, never took place, and Verdi set aside the piece he had written.
In 1773, wishing to honor Manzoni on the anniversary of his death, he began the composition of a complete Requiem Mass using
his earlier piece, the Libera me, as the starting point. The work received its first performance on 22 May 1874 in the church of San
Marco in Milan under Verdi’s conductorship. On 25, 27, and 29 of the same month the work was performed to great acclaim at the
Teatro alla Scala in Milan. And in little more than a year it was performed with great success in Paris, New York, London, and Vienna.
Why did Verdi choose the text of the Mass for the Dead for a commemorative work, one may ask. All the evidence indicates that Verdi
did not intend the work to be a confession of faith but rather a public ceremony of homage. Before Verdi, Cherubini and Berlioz had
used the text for musical Requiems designed for political celebrations. The Requiem Mass provided a ready-made text that gave Verdi
ample opportunities to apply his vast experience as a composer of vocal dramatic music.
Throughout the history of Requiem Mass settings, composers have shown particular attraction to the text of the Sequence “Dies
irae” because of the possibilities it offers for dramatic musical expression. The “Dies irae” is a long poetic text attributed to Thomas of
Celano (died about 1250). The poem consists of seventeen three-line stanzas, all lines in each stanza rhyming together, and a four-line
stanza at the end (the final two unmetrical lines are later additions). The poem paints in solemn terms the awe-inspiring events of
the Last Judgment, the sound of trumpets, the burning of the earth, and the gathering of humankind before the Judgment Throne. In
contrast to this picture, the text is also a prayer for deliverance from eternal punishment and for admittance to God’s kingdom with
all the redeemed. The student of the Bible will notice the varied imagery drawn from Scripture throughout the poem.
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VERDI
REQUIEM

REQUIEM
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem:
Exaudi orationem meam,
ad te omnis caro veniet.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Eternal rest grant them, O Lord;
and let perpetual light shine upon them.
A hymn is owed to Thee, O God, in Zion:
and a vow shall be returned to Thee in Jerusalem.
Hear my prayer:
to Thee shall come all flesh.
Eternal rest grant them, O Lord;
and let perpetual light shine upon them.
The movement, marked Andante, opens with a descending melodic idea in the lower strings anticipating the somber mood of the
text. The chorus pronounces, almost like a murmur, the first words “as soft as possible,” according to Verdi’s instructions. Then an
unexpected change to the major mode, like a ray of sunshine parting the clouds, underlines the words, “et lux perpetua” (perpetual
light).
The music presents an abrupt dynamic and tonal shift with the entrance of the chorus, unaccompanied, proclaiming the praises of
God: “Te decet hymnus” (A hymn is owed to Thee). This is one example of Verdi’s skillful use of sudden loud dynamic changes for
expressive as well as dramatic purposes. For the repeat of the first words, Verdi restates the music of the beginning almost intact.
The main change comes at the very end of the section when a rapid crescendo leads without interruption to the “Kyrie eleison.”
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Lord, have mercy.
Christ, have mercy.
Lord, have mercy.
The “Kyrie” marks the entrance of the quartet of soloists. First introduced by the tenor and then repeated by the other solo voices,
a new melodic idea describing a broad, soaring arch gives modern expression to the ancient text. One writer has characterized this
passage as “the most moving passage in all Verdi’s works; unquestionably, one of the greater monuments of musical pathos.” The
impression on the listener is unforgettable. Verdi entrusted the opening text of the movement to the chorus; now he gives the words
“Kyrie eleison, Christe eleison” (Lord, have mercy; Christ, have mercy) to the solo voices, making them more personal and thus
drawing the individual listener to identify with the soloists’ plea for mercy. In the “Kyrie,” the chorus takes on a supportive role.
DIES IRAE
Dies irae
Dies irae, dies illa,
Solvet saeclum in favilla:
Teste David cum Sibylla.
Quantus tremor est futurus,
Quando judex est venturus,
Cuncta stricte discussurus!
Day of wrath, that day
will dissolve the world into ashes
as David and the Sibyl bear witness.
How great a trembling there shall be
when the judge shall come
to separate everything strictly.
In this movement, appropriately marked Allegro agitato, Verdi unleashes all the instrumental, choral, harmonic, rhythmic, and
dynamic resources at his disposal to dramatize the frightfulness of “that day,” the Day of Judgment. Powerful hammering chords,
chromatic lines, rushing scales, calls to attention on the brass instruments, all paint a terrifying picture. Gradually the music
subsides into soft dynamics but without losing its inner energy. This leads to the second stanza (“Quantus tremor”) in which the
chorus utters the words haltingly, in hushed tones, like someone that can hardly speak. (Verdi brings back the words and music of
the Dies irae two times in the course of the Sequence as a means to unify the entire movement.)
VERDI
REQUIEM 3

Tuba mirum
Tuba mirum spargens sonum
Per sepulchra regionum,
Coget omnes ante thronum.
A trumpet, spreading its wondrous sound
through the graves of the earth,
will summon all before the throne.
Directly connected with the preceding section, the “Tuba mirum” begins with a series of fanfarelike calls by the brasses. For this Verdi requires
four off-stage trumpets that dialogue with the orchestra brasses, first softly but then with growing intensity and increasing rhythmic activity. The
effect of the trumpets summoning the dead to appear before the judgment throne is overwhelming. The listener is forcefully made aware of the
gravity of the moment. With the support of the brasses, fortissimo, the choral basses present the text first and then the sopranos pronounce the
syllables slowly on a long, sustained note as if unable to overcome their astonishment at the scene. The section ends abruptly with a loud chord.
Mors stupebit
Mors stupebit et natura,
Cum resurget creatura,
Judicanti responsura.
Death and nature will stand stupefied
when the dead arise
to answer Him who judges.
The “Mors stupebit,” allotted to the bass soloist, is a short section characterized by a short, insistent motive whose notes are broken by rests and
long pauses. This melodic idea in the orchestra vividly portrays Death’s amazement before the judgment throne. The soloists intones the words
with a dotted-note rhythm, ascending by steps with ever growing urgency only to sink down into almost complete speechlessness and silence at
the end.
Liber scriptus
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit
Quidquid latet, apparebit:
Nil inultum remanebit.
[Dies irae, dies illa,
Solvet saeclum in favilla:
Teste David cum Sibylla.]
The written book shall be brought forth
in which all is contained
whereby the world is judged.
When the judge, therefore, takes his seat,
all that is hidden shall appear;
nothing shall remain unpunished.
[Day of wrath, that day
will dissolve the world into ashes
as David and the Sibyl bear witness.]
The mezzo-soprano soloist brings to mind Daniel’s vision of the Judge, who will open the books to judge the world according to the deeds
recorded in them. At the beginning the accompaniment, punctuated by soft timpani rolls, is ominous, but then becomes agitated with a fast
rumbling bass. The orchestra brasses come again into prominence to announce the presence of the Judge (“Judex ergo”). The section ends
with another passage broken up by rests in which the spectator falters under the weight of the scene. Throughout the section the choir recalls
the “dies irae” motive in dark, subdued tones. After the soloist’s final outcry, the orchestra grows in intensity and agitation, leading to the first,
abbreviated, return of the “dies irae” music.
Quid sum miser
Quid sum miser tunc dicturus,
Quem patronum rogaturus,
Cum vix justus sit securus
What am I to say then, wretch that I am
Whom shall I call as patron
when scarcely the just may be secure
With this section, the poem turns to the first person. The individual is no longer a spectator narrating the scene unfolding before his eyes but a
participant in the events of the drama. The music introduces a characteristic ascending figure in the solo bassoon that dominates much of the
section. The tempo is Adagio and thus it introduces a moment of respite in the intensely unsettling music of the preceding sections. The three
soloists—mezzo-soprano, tenor, and bass—state the text four times, the first three times ending with a beautiful cadential gesture that fails,
however, to come to a complete closure. At the conclusion of the section, the soloists, unaccompanied, repeat the words, one line at a time. The
music, ending with no resolution, thus graphically portrays the desolation of the penitent standing alone without apparent protection. From a
musical point of view, the stark nakedness of this conclusion sets in high relief the vision of the “King of great majesty” in the ensuing section.
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VERDI
REQUIEM

Rex tremendae
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
King of great majesty,
who freely save those worthy of salvation,
save me, fount of mercy.
The penitent, having found no succor elsewhere, turns to God to ask for salvation. Like the Kyrie in the first movement, the four soloists and the
chorus join forces once again to present their pleas to God. Here Verdi uses two contrasting melodic ideas. The first is a marchlike descending
line announced by the choral basses. In its rapid descent and decrescendo dynamics, this idea seems to represent the repentant sinner who
falls prostrate before the “King of terrible majesty.” The second idea, first introduced by the bass soloist, is a short, lyrical melody expressing the
soul’s cry for deliverance: “Salva me, fons pietatis” (Save me, fount of mercy). The two ideas are initially presented in succession but are soon
superimposed, the entire musical structure leading to expansive climaxes as if bringing the whole of humankind together in a fervent prayer for
salvation. The section, which exhibits a rich harmonic palette, comes to an end with a final, hymnlike restatement of the “salva me” motive that,
in its simplicity, seems to summarize humanity’s longing for deliverance. The section proceeds to the next one through a transitional passage that
anticipates the accompaniment in the music to follow.
Recordare
Recordare, Jesu pie,
Quod sum causa tuae viae:
Ne me perdas illa die.
Quearens me sedisti lassus:
Redemisti crucem passus:
Tantus labor non sit cassus.
Juste judex ultionis,
Donum fac remissionis
Ante diem rationis.
Remember, merciful Jesus,
that I am the cause of Thy journey;
do not destroy me on that day.
Seeking me, Thou didst sit weary;
Thou didst redeem me, having suffered the cross.
May such suffering not be in vain.
As the just Judge of vengeance,
grant the gift of remission
before the day of reckoning.
While the minor mode has dominated the music of the movement up to this point, the “Recordare” is anchored in the major mode. The poem
leaves behind the imagery of the dread-filling judgment and awe-inspiring King and turns to the “merciful Jesus.” The words are set to a serene
melody first introduced by the mezzo-soprano soloist and then repeated by the soprano. The second stanza, with its allusion to Jesus’ suffering,
temporarily reintroduces the minor mode but ends in the major. The last stanza, although recalling the vision of the avenging Judge (“Juste
judex”), is set to the opening music. Towards the end the voices break out in an expressive cadenza and continue with increasing urgency to a
final climax. The music ends quietly.
Ingemisco
Ingemisco tamquam reus:
Culpa rubet vultus meus;
Supplicanti parce, Deus.
Qui Mariam absolvisti
Et latronem exaudisti,
Mihi quoque spem dedisti.
Preces meae non sunt dignae:
Sed tu bonus fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
I groan like a criminal;
blame reddens my face.
Spare a supplicant, O God.
Thou who didst absolve Mary [Magdalene]
and didst harken to the thief,
to me also Thou gavest hope.
My prayers are not worthy,
but, Kind One, grant
that I may not burn in everlasting fire.
Give me place among the sheep
and separate me from the goats,
placing me by Thy right hand.
This section, for the tenor soloist, comprises four stanzas, each receiving its own musical treatment. The first is set in a declamatory style, only
the word “supplicant” receiving special emphasis by being stated twice and sung to the highest note of the passage. The music thus puts the
focus on the individual bowing before God. The next stanza, which claims God’s mercy as He had been merciful to Mary and the thief on the
cross, presents a more confident melody supported by an assertive orchestral accompaniment. The third stanza, bringing an acknowledgment
of the speaker’s own unworthiness and recalling the specter of eternal perdition, reverts again to a more anxious, halting utterance of the
words. And finally, the fourth stanza, reflecting a more positive picture, is set to a lyrical melody that recalls that of the second stanza. The soft
accompaniment with high strings seems to anticipate the heavenly bliss promised to those placed with the sheep. At the end the singer’s assured,
decisive ascent towards the concluding cadence, becomes an affirmation of trust in God’s right hand.
VERDI
REQUIEM 5

Confutatis
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
Oro supplex et acclinis,
Cor contritum quasi cinis:
Gere curam mei finis.
[Dies irae, dies illa,
Solvet saeclum in favilla:
Teste David cum Sibylla.]
When the damned are confounded
and given over to bitter flames,
call me with the blessed.
I pray, supplicant and prostrate,
heart contrite as if in ashes,
safeguard my end.
[Day of wrath, that day
will dissolve the world into ashes
as David and the Sibyl bear witness.]
As soon as the tenor soloist reaches its final note in the preceding section, the orchestra introduces an ominous chord followed by a threatening
ascending chromatic line that leads directly to the entrance of the bass soloist. The text of this section paints two opposing views. The initial
two lines bring to mind once again the terrible fate of the damned while the last four lines renew the contrite penitent’s pleading with God
for salvation. Verdi represents the contrast with correspondingly contrasting music. He expresses the imagery of the condemned through a
note repeated with an insistent rhythm and underlined by menacing loud chords or rushing scales. And he conveys the words of the penitent
kneeling before God through a smooth, lyrical melodic line, supported by an accompaniment of softly repeated chords. The last note of the
soloist is savagely interrupted by an abrupt shift of key and the return of the pounding chords of the “dies irae” music. This is the third and last
appearance of this music in the movement. (The final recurrence occurs in the closing movement of the work.) It is clear that Verdi reintroduced
the text and music of the beginning here to present a dramatic interruption that effectively endows the following, concluding prayer for salvation
with a deeper meaning.
Lacrymosa
Lacrymosa dies illa,
Qua resurget ex favilla
Judicandus homo reus:
Huic ergo parce, Deus.
Pie Jesu Domine,
Dona eis requiem. Amen.
Mournful shall be that day
when arises from the ashes
guilty man to be judged;
therefore spare him, O God.
Merciful Lord Jesus,
grant them rest. Amen.
While the “dies irae” music immediately preceding vividly depicts the “day of wrath,” this concluding section reflects the sentiments of
that “mournful day.” Here Verdi once again brings the quartet of soloists, chorus, and orchestra together to round off the movement. The
“Lacrymosa,” marked Largo, is appropriately cast in the minor mode; it opens with the mezzo-soprano soloist singing the first four lines of
the text with a melody that reappears complete or in fragments throughout the section. When the bass soloist repeats the melody, the mezzosoprano
superimposes a slowly ascending line that breaks off each syllable as if sobbing. A similar treatment is given to the words a few measures
later when the soprano sings a countermelody, marked “lamenting,” above the main theme carried by the choral tenors and basses. Throughout
the first part of this section Verdi gives the soprano soloist extended melodies that soar high above the rest of the ensemble. At the entrance of
the “Pie Jesu Domine,” sung by the quartet of soloists without accompaniment, the music shifts to the major mode to convey a sense of trust in
Jesus’ mercy. This music is most expressive and harmonically rich involving an unexpected tonal detour. In the concluding measures the soloists
and chorus sing in subdued, low tones while the orchestra shifts from the minor to the major mode. This modal change confers the music a
peaceful mood that is in utter contrast to the tumultuous, angry music at the beginning of the movement. The final “amen” is sung to a chord
quite unrelated to the surrounding harmony; it is as if a beam of light, like a blessing, descended upon the praying assembly.
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VERDI
REQUIEM

OFFERTORY
Domine Jesu Christe, Rex gloriae
libera animas omnium fidelium defunctorum
de poenis inferni et de profundo lacu:
libera eas de ore leonis,
ne absorbeat eas tartarus, ne cadant in obscurum:
sed signifer sanctus Michael
repraesentet eas in lucem sanctam:
Quam olim Abrahae promisisti
et semini ejus.
Lord Jesus Christ, King of glory,
deliver the souls of all the faithful departed
from the torments of hell, and from the bottomless pit;
deliver them from the lion’s mouth,
lest hell swallow them, lest they fall into the darkness:
But let Saint Michael, the standard-bearer,
bring them forth into the holy light.
Which Thou didst once promise unto Abraham
and unto his seed.
After the turmoil that dominated large parts of the Dies irae the Offertory is characterized by a mostly quiet, contemplative mood. The
movement, assigned to the quartet of soloists, is divided into four main sections and a coda.
The short orchestral introduction—consisting of slowly ascending and descending arpeggios in the violoncellos punctuated by woodwind
chords—introduces the main melodic theme of the movement. The voices, a duet for mezzo-soprano and tenor, present short phrases
alternating with the theme played without accompaniment. The entrance of the bass places the theme in the voices for the first time; this
entrance opens a passage during which the voices interplay through dialogue and imitation. Then the soprano, in one of the greatest moments
in the work, enters with a long held note supported by an ethereal accompaniment high in the string register. Verdi could not have created a
better effect to express the shift from darkness to light in the text. At the end of the section all four soloists unite in singing the words “in lucem
sanctam” (into the holy light) to a most effective, luminous cadence.
In the brief second section, “Quam olim Abrahae,” the text is set to music in a faster tempo and extremely varied harmonization. The voices
build up the dynamic level to a fortissimo and rapidly dissolve into a pianissimo through a surprising modulation in preparation for the
“Hostias.”
Hostias et preces tibi, Domine, laudis offerimus:
tu suscipe pro animabus illis,
quarum hodie memoriam facimus:
fac eas, Domine, de morte transire ad vitam.
Quam olim Abrahae promisisti
et semini ejus.
To Thee, O Lord, we render our offerings and prayers with praise:
accept them on behalf of the souls
we commemorate this day;
make them, O Lord, pass from death unto life.
Which Thou didst once promise unto Abraham
and unto his seed.
The “Hostias” is based on a serene melodic idea—first given to the tenor voice—that more than any other melody in the entire work seems to
convey a religious sentiment. Short episodes in minor mode, reflecting the allusion to death, darken the tone of the music, but in the end the
major mode triumphs in a delicate passage for a high flute and pianissimo tremolo strings while the voices enunciate the words in muted tones
as if speaking. “Quam olim Abrahae” is restated to the original music.
Libera animas omnium fidelium defunctorum
de poenis inferni:
fac eas, Domine, de morte transire ad vitam.
Deliver the souls of all the faithful departed
from the torments of hell;
make them, O Lord, pass from death unto life.
The coda brings back the melodic theme of the opening section sung pianissimo by the four solo voices in unison. At the end the soprano rises
to a high sustained note signifying the transition from death to life, and the orchestra closes with the shimmering sound of the high strings.
VERDI
REQUIEM 7

SANCTUS
Sanctus, sanctus, sanctus, Dominus Deus Sabaoth!
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.
Holy, Holy, Holy, Lord God of Hosts!
Heaven and earth are full of Thy glory.
Hosanna in the highest.
Blessed is he that cometh in the name of the Lord.
Hosanna in the highest.
Unlike many other composers, who in their settings of this text strive to convey a solemn mood, Verdi creates here exhuberant, joyous music
that dwells not on a sentiment of awe but rather on the idea that “heaven and earth are full of Thy glory.” The movement opens with a short
introduction in which trumpet fanfares announce the initial threefold acclamation “Sanctus, sanctus, sanctus.” The music then embarks on
a fugue for double chorus permeated by a thematic idea first sung by the sopranos. The head of this subject—five ascending notes outlining
the tonic chord—recurs persistently endowing the music with great vitality and forward drive. The continuous entrances of this motive, being
tossed from voice to voice, seem to portray a great multitude of angels in heaven who vie with each other as they render their praises to God.
The dialoguing voices eventually come together and sing in more sustained notes, the two choruses alternating and responding to each other in
hymnlike fashion. Meanwhile the orchestra fills the background with lively figuration to maintain the momentum of the music. At the end all
voices and orchestra join together, fortissimo, in a final “Hosanna in the highest.”
AGNUS DEI
Agnus Dei, qui tollis peccata mundi:
dona eis requiem.
Agnus Dei, qui tollis peccata mundi:
dona eis requiem.
Agnus Dei, qui tollis peccata mundi:
dona eis requiem sempiternam.
Lamb of God, that takest away the sins of the world,
grant them rest.
Lamb of God, that takest away the sins of the world,
grant them rest.
Lamb of God, that takest away the sins of the world,
grant them eternal rest.
In this movement, marked Andante, Verdi maintained a uniform expression by using a single melodic period that is repeated with varying
harmonies and instrumental accompaniments. The soprano and mezzo-soprano soloists sing the simple, expressive melody in octaves conveying
a deep sense of serenity and confidence. There are no outbursts of despair or expressions of doubt, only a quiet confidence in that the Lamb of
God is already disposed to granting the petitioner’s prayers. Following each of the soloists’ three entries, the chorus responds with a restatement
of the melody. The dynamic level throughout the movement is subdued hardly rising above piano.
LUX AETERNA
Lux aeterna luceat eis, Domine:
Cum sanctis tuis in aeternum,
quia pius es.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Cum sanctis tuis in aeternum,
quia pius es.
Lux perpetua luceat eis, Domine:
Let eternal light shine upon them, O Lord.
With Thy saints in eternity,
for Thou art merciful.
Eternal rest grant them, O Lord,
and let perpetual light shine upon them.
With Thy saints in eternity,
for Thou art merciful.
Let perpetual light shine upon them, O Lord.
The words of the Lux aeterna partially restate the text of the opening movement. Verdi, nevertheless, did not repeat the same music, preferring
instead to reserve the original musical setting for the reprise of the text in the final movement of the work. Written as a trio for the mezzosoprano,
tenor, and bass soloists, the music progresses mostly through episodes of dialogue among the voices. There are two passages in which
Verdi presents the voices without accompaniment. As in previous movements, Verdi introduces marked contrast between the ideas of light and
death. At the beginning the mezzo-soprano intones “Lux aeterna luceat eis” (Let eternal light shine upon them) to the sound of high pianissimo
tremolos in the strings. Then the bass sings, in the minor mode, the words “Requiem aeternam dona eis” (Eternal rest grant them) to the dark
sound of the bassoons, trombones, and timpani rolls.
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VERDI
REQUIEM

LIBERA ME
Libera me, Domine, de morte eterna,
in die illa tremenda:
quando coeli movendi sunt et terra.
Dum veneris judicare saeculum per ignem.
Tremens factus sum ego et timeo,
dum discussio venerit atque ventura ira,
quando coeli movendi sunt et terra.
Deliver me, Lord, from eternal death
on that terrible day
when heaven and earth are moved,
when Thou shalt come to judge the world through fire.
I am made to tremble and I fear
when the separation and the anger shall come,
when heaven and earth are moved.
The Libera me is an extended movement for soprano soloist and chorus. It is divided into four distinct sections. The opening section is a
declamatory solo for the soloist (the chorus echoes the speechlike entrance of the soprano only in four bars sung pianissimo). The mood is one
of agitation created both by the melody being broken off by frequent rests and by an unsettled orchestral accompaniment. Despite the last words
“tremens factus, sum ego et timeo” (I am made to tremble and I fear) that the soloist sings to close the section, Verdi writes a soft, quiet ending
evidently to enhance the dramatic effect of the music that he is about to unleash.
Dies irae, dies illa, calamitatis et miseriae
dies magna et amara valde.
Dum veneris judicare saeculum per ignem.
Day of wrath, that day of calamity and wretchedness,
great and bitter day,
when Thou shalt come to judge the world through fire.
The second section, written for the chorus, bursts out with great power as earlier in the work. This section is an almost exact reprise of the “dies
irae” music, but not all the same words, from the second movement. As the music subsides towards the end, the soprano enters in an agitated
state to bring to the fore the words “Dum veneris judicare saeculum per ignem” (when Thou shalt come to judge the world through fire) while
the chorus softly repeats “dies irae, dies illa” (day of wrath, that day) like a refrain. Following the last words of the chorus, the orchestra prolongs,
pianissimo, the final harmony in preparation for the next section.
Requiem aeternam dona eis, Domine:
et lux perpetua luceat eis.
Eternal rest grant them, O Lord;
and let perpetual light shine upon them.
The third section is a reprise of the “requiem aeternam” music from the opening movement of the work but now rescored as a solo for the
soprano with choral support only. The orchestra is silent. Here Verdi’s music is one of the loveliest moments in the entire Requiem. Like the
first appearance of this music, the dynamic level fluctuates between pianissimo and piano, only once surging to a forte. Beginning in the minor
mode, the section soon turns to the major mode but always infused by minor-mode inflections that confer on the music an aura of nostalgia and
melancholy. The music ends softly, the soprano singing ethereally a high note.
Libera me, Domine, de morte eterna,
in die illa tremenda:
quando coeli movendi sunt et terra.
Dum veneris judicare saeculum per ignem.
Deliver me, Lord, from eternal death
on that terrible day
when heaven and earth are moved,
when Thou shalt come to judge the world through fire.
The final section brings back part of the text from the first, but the music is new. Written for the chorus, with important solo passages for
the soprano soloist, the section is an energetic fugue based on a melodic subject that recalls the subject of the Sanctus fugue in an upsidedown
form. As it approaches the end, the chorus builds to a climax in which the rhythmic drive of the music seems to acquire a life of its
own independently of the text as it distorts the natural accents of the words. Concerning this fugue, a commentator wrote that the piece is “so
dynamic and insistent that one seems to sense the clamour of a multitude intent on achieving salvation by violence;” such is the force of this
music. In its final bars, the music grows in intensity to the last climax as the soloist ascends to a high note with the support of the entire chorus
and orchestra: “Libera me de morte eterna” (Deliver me from eternal death) is the fervent prayer. But the music does not end loud; almost all of
a sudden it becomes subdued, decreasing to a pianissimo, all the voices in unison repeating the final plea: “Deliver me.” In the end it is not the
commotion of loud cries but the “still small voice” that reaches God’s ear.
René M. Ramos
Loma Linda, 2012
For much of the material in the notes, I am indebted to David Rosen, Verdi: Requiem, Cambridge Music Handbooks (Cambridge
University Press, 1995).
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REQUIEM 9

About the Artists
Conductor, pianist, and composer Ariel Quintana, was born in Libertador San Martin, Entre Rios, Argentina.
He began his piano studies at the age of three. He earned a Master degree in music in piano performance from
the National Conservatory of Music in Buenos Aires, Argentina, and a doctorate in choral conducting from the
University of Southern California. The list of his teachers and mentors includes Estrella Steger, Perla Brugola,
Julio Fainguersh, Valdo Sciammarella, Waldemar Wensell, Paul Salamunovich, Morten Lauridsen, and William
Dehning. The Los Angeles Master Chorale under maestros Paul Salamunovich and Grant Gershon have sung
some of his arrangements and premiered his Hodie Christus natus est in December 2000. This piece was also
performed at the National Convention of the ACDA in New York in February of 2003. The list of his compositions
and arrangements includes Ave verum corpus, Mass from Two Worlds, Here I Am, La farolera tropezó, All
Creatures of our God and King, and soon to be published Ave maris stella. Dr. Quintana has appeared as a
conductor at the Hollywood Bowl, Dorothy Chandler Pavilion, Ebel Theatre, and Walt Disney Concert Hall. In
2006 he was appointed assistant conductor of the Los Angeles Master Chorale, a position that he kept for four
years. Currently he is minister of music at Loma Linda University Church and associate minister of music at
First Presbyterian Church of Hollywood. Besides his activities as a conductor and composer, he maintains an active schedule as a clinician and
adjudicator. A catalog of Ariel’s choral works can be found at www.arielquintana.com.
Kimo Smith, organist and collaborative pianist, began music studies in his home state of Hawaii at age four.
Following his graduation from Hawaiian Mission Academy, he attended the University of Hawaii, La Sierra
University, the University of Southern California, and the University of California, Los Angeles. A student of Ladd
Thomas at USC, he completed his Bachelor and Master degrees, magna cum laude, in organ performance. He was
selected to receive the Organ Department Outstanding Achievement Award on both occasions. He completed his
doctoral studies at UCLA in organ performance as a student of Thomas Harmon. Dr. Smith is a past winner of
several competitions sponsored by the American Guild of Organists and Music Teachers National Association.
Dr. Smith is currently associate professor of music at La Sierra University and past chair of the Department of
Music. He is an active recitalist, performing locally, nationally, and abroad. As organist, he has appeared as a
guest artist with several Southern California orchestras and choral ensembles, including the Glendale Symphony,
Riverside County Philharmonic Orchestra, Redlands Symphony Orchestra, William Hall Chorale, Los Robles
Master Chorale, Angeles Chorale, and Los Angeles Master Chorale. He is featured organist on a 2010 recording
of the L.A. Master Chorale performing the choral works of emerging young composer Nico Muhly. This was the
first recording of the Master Chorale in Walt Disney Concert Hall, and their first for the world-renowned Decca label. He will appear once again
with the LAMC in the opening concert of their 2012–2013 season. Dr. Smith has also been consistently involved in church music since he was
twelve, and is the organist at the First Presbyterian Church of Hollywood and the University Church of Seventh-day Adventists in Loma Linda.
His professional music activities also include a great deal of collaborative performing which has taken him throughout the United States, Europe,
South America, and Asia with touring groups and solo artists. Dr. Smith and his wife, Cheryl, also a professional musician, reside in Loma
Linda, California. They have three children, two grandsons, and a granddaughter.
Soprano Fabiana Bravo made her professional debut in 1996 as Lucia in Lucia di Lammermoor with Luciano
Pavarotti at the Academy of Music in Philadelphia after winning the fifth Luciano Pavarotti International Voice
Competition. Since then she has achieved recognition throughout the United States, Canada, Europe, and Asia for
her operatic and oratorio performances. Highlights of her stellar operatic career include Mimi in La Bohème with
the New York Metropolitan Opera, Madame Butterfly with the San Francisco, Dallas, and Los Angeles Operas,
and the title role in Tosca with the Shanghai Opera in the first ever performance of that opera in China. Her
versatility has garnered her work with various opera companies performing such leading roles as Donna Anna in
Don Giovanni, Leonora in Il Trovatore and Oberto, and the title role in Norma. She made her Carnegie Hall debut
as Fiora in L’amore dei tre re by Montemezzi with the Opera Orchestra of New York. Ms. Bravo toured as soprano
soloist with L’Orchestre Métropolitain of Montreal in performances of Verdi’s Requiem. She presented a recital
at Castle Gandolfo, Italy, for Pope John Paul II, and also appeared in Verdi galas in Prague, and Oviedo, Spain,
as well as in Germany for Operalia with Placido Domingo. In 1999, the Congress of Argentina honored Fabiana
Bravo by declaring her Argentine Woman of the Year for her outstanding contribution to the arts as a young
artist. Ms. Bravo’s future engagements include Oh My Son by Marcos Galvany to be performed at the Vatican for Easter 2013 and appearances as
Santuzza in Cavalleria Rusticana as part of the Metropolitan Opera season 2013–14. She is currently a Professor of Voice at Catholic University
of America in Washington, D.C. Her recently released album CD Verdi and Verismo for Helicon Records has received high critical acclaim.
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Growing up in Patagonia, Argentina, mezzo-soprano Helene Urigu Quintana began her musical studies at a
very early age. She is a graduate of the National Conservatory of Music of Buenos Aires with a Master of Arts in
piano performance and a Master of Arts with honors in harpsichord performance. She has dedicated over thirty
years to studying the art of classical singing. Ms. Urigu Quintana has appeared as soloist on several occasions
with the Los Angeles Master Chorale under the baton of maestros Paul Salamunovich and Grant Gershon, most
recently in Handel’s Messiah, Whitacre’s Cloudburst, and in both the Christmas Oratorio and the Magnificat by J.
S. Bach. As an operatic singer, she sang the role of Ines in Il Trovatore at the National Opera Theatre in Georgia,
and has sung several roles with the Los Angeles Opera including: The Bridesmaid in Le Nozze di Figaro, Second
Taube in Die Vogel, a Lady in Nicholas and Alexandra, and cover roles for Rosita and Mariana in the zarzuela
Luisa Fernanda. She has been recognized for “…a winning performance…” by the Los Angeles Times, “…strong,
ardent musicality…” by the Beverly Hills Outlook, and “…admirable clarity and power…” by the Monterey Herald.
In June of this year Ms. Urigu Quintana will perform as soloist with the Angeles Chorale in the West Coast
premiere of Robert Cohen’s Alzheimer’s Stories. She maintains an active voice studio in Glendale, California,
where she resides with her husband and sixteen–year old daughter.
Born and trained in Southern California, tenor Tim Gonzales performs opera and oratorio on the national and
international stage. Mr. Gonzales has performed a variety of roles in opera, the most notable being Peter Doyle in
the West Coast premiere of Lowell Lieberman’s Miss Lonelyhearts with the USC Opera. Mr. Gonzales has sung the
roles of Le Doyen in Cendrillon, Arbace in Idomeneo, Tebaldo in Bellini’s I Capuleti e i Montecchi and Albert in
Albert Herring with USC Opera. He has also created the role of Harry Truman in Liliana Primani’s The Truman
Affair, presented at the 2006 Opera America convention in Seattle, Washington. Other performances include
Bach’s Passions and Mass in B Minor, Beethoven’s Ninth Symphony, and Mozart’s C Minor Mass and Requiem to
name a few. Mr. Gonzales performed as tenor soloist in the 2005 KMZT broadcast of a performance of Handel’s
Messiah by the Angeles Chorale and recorded Strimple’s Nativities with the London Symphony in September 2008
due out soon on the Naxos label. Mr. Gonzales is currently a member of the Los Angeles Master Chorale and the
Los Angeles Opera Chorus. He holds a BA in music from La Sierra University and currently studies voice as a
graduate student at the University of Southern California’s Thornton School of Music with noted mezzo-soprano
Cynthia Munzer.
Baritone Nemeh Azzam is a native of Lebanon. He earned his Bachelor of Music and Master of Music
degrees at the Catholic University of America in Washington, D.C. Mr. Azzam has performed many
recitals and concerts throughout the United States, Europe, Central and South America, and the Middle
East. Mr. Azzam appeared as soloist in the Fauré and Duruflé Requiems and also sang in televised
performances of Handel’s Messiah and Orff ’s Carmina Burana with the Georgetown Symphony
Orchestra. Mr. Azzam’s recently sung the role of Sharpless in Puccini’s Madama Butterfly in Macedonia,
and the title role in Verdi’s Rigoletto with the Bel Cantanti Opera Company in Washington, D.C. The
Washington Post heralded his performance stating: “…a challenging role, musically, theatrically and
psychologically, but Azzam had it completely mastered…” Mr. Azzam has numerous other operatic
credits, including the roles of Amonasro in Verdi’s Aida, Germont in Verdi’s La traviata, Figaro in
Rossini’s The Barber of Seville, Enrico in Donizetti’s Lucia di Lamermoor, and Sarastro in Mozart’s
The Magic Flute. He has been the winner of numerous competitions, and recipient of many awards
including the Young Singer’s Foundation Award, The Presser Foundation Award, the Metropolitan Opera Regional Award, and
was a finalist in the Marian Anderson International Competition. Mr. Azzam is the featured singer on two solo recordings: The
Midnight Star, a Christmas Album, and Comfort Ye, a collection of sacred songs performed with the Army Band Orchestra. Future
engagements include Renato in Verdi’s Un ballo in maschera with Bel Cantanti Opera, Amanasro in Aida, and a concert recital at
the Petra ruins in Jordan.
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REQUIEM 11

The Sanctuary Choir of the Loma Linda University Church was established in the mid-1950s with the arrival of Dr. Oliver S.
Beltz, a retired professor of church music, who stressed classical church compositions including major oratorios. Shortly after his
arrival he was joined by Pat and Patsy Hicks, who eventually became full-time ministers of music. With Pat as the choral director
and Patsy as organist, the choir continued Dr. Beltz’s tradition of musical presentations. Patsy also formed multiple children’s choirs
beginning with the “Chirpers” and progressing upwards in age to “Cherubs,” and beyond. After the Hicks left in the early 1970s,
the choir was led by a number of directors, among them Estyn Goss, Bjørn Keyn, and Bailey Gillespie. With the appointment of
Phil Binkley, the choir continued the musical thrust of previous conductors. Binkley and his staff developed the format of the
beautiful Christmas Candlelight Concert still enjoyed by parishioners today. In 1987, Dr. Don Thurber became the music director,
holding this position for 23 years, his being the longest tenure in the history of the choir. Dr. Ariel Quintana, the present director,
was appointed in 2010. Under his leadership, the choir continues to thrive and play an integral part in Sabbath worship. Dr.
Quintana also serves as minister of music for the University Church.
The Sanctuary Orchestra of the Loma Linda University Church is an integral part of the church’s music ministry. Its
membership includes professional musicians, university and high school students, and local business, medical, and education
professionals, all of whom donate their time to enrich the music and worship experience of the University Church’s congregation.
The Sanctuary Orchestra participates in Sabbath worship services several times a year, including significant celebrations such as
Easter, Thanksgiving, and special Loma Linda University events. One of the central music ensembles featured yearly at LLUC’s
Christmas Candlelight Concert, the orchestra also presents an annual sacred concert of orchestral music and joins the Sanctuary
Choir in performances such as today’s. The Sanctuary Orchestra was founded by Oliver S. Beltz shortly after the formation of the
University Church in 1960. He was followed by Pat Hicks who also directed the Sanctuary Choir. During the 1970s, Raymond
Casey became the orchestra’s resident composer, arranger, and conductor. Mr. Casey composed a great volume of music, mostly
based on well-loved hymns, that was an important part of the orchestra’s repertoire for many years. One of the most significant
figures in the orchestra’s history was violinist Ardyce Koobs. A long time resident and former mayor of the city of Loma Linda,
Mrs. Koobs was perhaps the orchestra’s most ardent supporter and promoter. It is largely because of her dedication and untiring
work that this ensemble remains a strong part of the University Church’s music ministry. Other past conductors of the Sanctuary
Orchestra include Estyn Goss, Bailey Gillespie, Bjørn Keyn, Sylvia Goss, Philip Binkley, and Donald Thurber. The orchestra’s
current director is Adrian Dumitrescu, who shares conducting responsibilities with Dr. Quintana. A dentist by profession, Dr.
Dumitrescu also holds a Master of Music degree in violin performance from the University of Southern California.
The Cathedral Choir of the First Presbyterian Church of Hollywood began in 1941 under the direction of Dr. Charles
Hirt. He and his wife, Lucy, expanded the music program by introducing a graded choir system spanning young children through
adults. Many who sing in the auditioned Cathedral Choir today participated in one or more of the children’s choirs at Hollywood.
The Hirts remained at Hollywood until 1970. Since that time, the choir has been privileged to work with other fine conductors
including Ben Bollinger, Doug Lawrence, Dr. William Hatcher, Loren Wiebe, Dr. Fred Bock, and current conductor Dr. Ariel
Quintana, who has led the choir since 2003. Throughout its seventy-year tenure, the Cathedral Choir has served as the musical
anchor for one or more of the Sunday morning church services at Hollywood Pres, and shares a desire to serve God through the
ministry of music. Although the choir has had to adapt to many changes over the years, it retains the spiritual vision and focus
instilled from its beginnings. The Cathedral Choir has also enjoyed opportunities to sing with the Los Angeles Philharmonic,
participate in the Christmas Candlelight Concert at Disneyland, and record with many distinguished Christian artists. Prominent
conductor, the late Roger Wagner, led the choir in performances of works by Mendelssohn, Mozart and Duruflé. The choir has also
toured, with its message of the Lord through song, to the British Isles, Europe, Scandinavia, the northwest United States, and most
recently Argentina.
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THE CHOIR
Soprano Alto Tenor
Stephanie Armes, CC Glenda Bailey, SC Stuart Bither, SC
Nila Barruga, SC Molly Berke, CC Leslie Ferguson, Jr., SC
Patt Bennett, CC Diane Bradley SC Jose Fuentes, SC
Reba Berdakin, CC Linda Brown, CC Mark Hawkins, SC
Aline Burdette, SC Susan Crowley, SC David Hempstead, CC
Susan Canjura, CC Myrna Dial, SC Donna Hickox, CC
Lois Case, SC Sonya Fargo, SC Roy Kim, SC
Annalisa Christensen, SC Lloyd Hansen, CC Dan Maljanian, CC
Gail Dalton, CC Miriam Hernandez, SC Carlos Mejia, SC
Sonya DeLange, SC Espe Idrisalman, SC Homer Mendoza, SC
Joyce Derrickson, CC Bert Jacklitch, CC Rudy Mjorud, CC
Lily Diehl, SC Lorraine Johanson, SC Byron Moe, SC
Nida Halversen, SC Marvelle Karahadian, CC Kevin Nick, SC
Karen Harris, SC Beth Massari, CC Jon Osbrink, CC
Lydia Hathcock, SC Patty McGhee, SC Gene Platt, SC
Natalie Hohensee, SC Belen Pachalian, CC René Ramos, SC
Elmiara Hutabarat, SC Olive Pratt, SC Ken Schmidt, SC
Lisa Iskander, SC Carolyn Ruddle, SC Travis Stehmeier, CC
Flavia Jorge, SC Victoria Sabonjohn, CC Ron Whittemore, CC
Eunice Jornada, SC Jeanette Schmidt, SC Steve Yerkes, CC
Ruth Kawamoto, CC
Janet Cooley Smith, SC
Bettye Kleovoulos, CC Cheryl Smith, SC Bass
Helen Lai Pang, SC Susie Sprouse, CC Jamie Anderson, CC
Elise Lancrain, CC Sue Tallboom, SC Bob Burbank, CC
Robin Lanham, SC Marilee Templeton, CC Del Case, SC
Emily Larsen, SC Patty Valentine, CC Todd Cochran, SC
Bronwen Larson, SC Debbie Whitaker, SC Paul Condon, CC
Debbie Lin-Shull, SC Linda Wreede, CC Chuck Constant, CC
Marjorie Lowe, CC Dorothy Zane, SC Mark DeLang, SC
Candice MacCulloch, CC
Nancy Mancini, CC
Mana Manoukian, SC
Vivian Mendez, SC
Julie Minasian, CC
Carolyn Moe, SC
Janice Mowery, CC
Laura Nelson, SC
Jan Nick, SC
Dawna Quittmeyer, SC
Clara M. Ramirez, SC
Lolita Santos, SC
Janette Smith, CC
Judy Smith, CC
Mary Sogard, SC
Pam Starr-Phillips, SC
Cheryl Updegraff, CC
Kim Walker, CC
Dorothy Wareham, SC
Lauren Joy Wareham, SC
Mary Whittemore, CC
Marina Williams, SC
Anne Wohlberg, CC
Ann Ekroth Yukl, SC
CC: Cathedral Choir, First Presbyterian Church of Hollywood
SC: Sanctuary Choir, Loma Linda University Church
Leo Ferrando, SC
Patrick Hare, CC
Dennis Hilliard, SC
Tim Hodgin, CC
Russell Hoxie, SC
Jim Jacklitch, CC
Jim Lewis, SC
Denny Lin, SC
Heinz Linser, SC
Ken Lowe, CC
Richard Mancini, CC
Gregg Owens, SC
Darold Retzer, SC
Andrew Riffel, SC
Steven Sabonjohn, CC
Adam Shaw, CC
Gerald Wareham, SC
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REQUIEM 13

THE SANCTUARY ORCHESTRA
THANK YOU
First Violins
Stephanie Popa, principal concertmaster
Adrian Dumitrescu, assistant concertmaster
Karen Thurman-Palmer
Richard Christopher Patchett
Greg Quo
Lisa Barcelo
Luis Cerrato
Hayden Cale
Second Violins
Miclen LaiPang, principal
Gina Javor
Zlata Grekov
Antonella Quintana
Carol Brooks
Meggie Evans
Summer Eller
Dorothy Wareham
Violas
Larry Kidder, principal
Melissa Kidder
Travis Losey
Lucy Taylor
James Wilson
Cellos
Jeff Kaatz, principal
Lauren Wareham
Darlene Tyler
Jolene Smith
Scott Kidder
Basses
Kimber Schneider, principal
Damian Berdakin
Marshall Hawkins
Flutes
Michelle Wall, principal
Alane Hegstad
Lauren Cho
Piccolo
Lauren Cho
Oboes
Rick Olsen, principal
Jenny Teruya
Clarinets
Steven Hardin, principal
Claudia Carmona
Bassoons
Ramon Gonzalez III, principal
Ashley Trammell
Theresa Treuenfels
Brynn Stirling
Trumpets
Chad DeLand, principal
Ben Gardner
Jim Testerman
Byron Moe
Trumpets Off Stage
Craig Mohr
Casey Hoen
Jacob Takamune
Richard Hofmann
Horns
Victor Wear, principal
Ben Eby, assistant Principal
Edwina Rao
Ellis Olson
Philip Roos
Trombones
Brett Walls, principal
Gerard Sabate
Ben Koo
Virgil Nielsen
Bass Trombones
Ben Koo
Virgil Nielsen
Tuba
Terry Douglas
Bass Drum
Brent Boyko
Timpani
Bruce Anderson
Design & Layout
K.C. Hohensee
Program Notes
René Ramos
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