Giuseppe Verdi - Messa da Requiem

Although Requiem was a religious work, it was presented more in concert halls than in churches. Giuseppe Verdi wrote the famous Requiem in honour of his close friend, Alessandro Manzoni, the great Italian poet, writer, and humanist, who died in 1873. It is a powerful fusion of intense drama and passion, with moments of reverent simplicity. Verdi conducted the first performance at St. Mark's Church in Milan on May 22, 1874, the first anniversary of Manzoni's death. Revolutionary composition Verdi's Requiem has been revolutionary in two respects: First, because while the traditional requiem is a prayer of the living for the dead, Verdi's work was a function as much for the living as for the dead. As Verdi would expect, it's a dramatic, theatrical play. Written for four solo voices (soprano, mezzo-soprano, tenor and bass) with full choir and orchestra, it follows the typical Roman Catholic Latin mass for the dead. The "libretto" certainly comes from the dram

Schumann - Symphony No. 1 in B-flat major, “Spring Symphony”, Op. 38

The Spring Symphony is one of Schumann’s most joyful and carefree works, as is this depiction of a joyous tarantella by Pietro Fabris.

The Spring Symphony was Schumann's first attempt to compose an extensive musical work. It was written in early 1841, just five months after his marriage to Clara Wieck. She encouraged him to expand beyond the safe area of short chamber music works - such as songs and piano works - into compositions better suited to concert halls and capable of securing him some income.
After just four days of feverish work, from 23 to 27 January, he had planned the entire symphony. He started the score the next day and wrote all the parts for a full orchestra in a month. He completed the deal on February 20th and named it "Spring" to commemorate the time he had just raised.

A month later, on March 31, 1841, it premiered in Leipzig with Felix Mendelssohn as a conductor.

The symphony is overflowing with a joyous alertness, a happy sense of life that rarely relaxes, from the inaugural fanfare of the bronze winds of the first part, to the carefree finale of the fourth last part.

The whole project runs through a prosperity of energy. Schumann captures the restlessness of new life - the young leaves triumph in the strong March wind and the creatures of nature, rested after hibernation, rush to meet their reborn world.

The work is full of surprises, from unusual instruments, such as the triangle in the first part, which had never been heard in concerts before, from sudden changes of mood, to the most unexpected moments. The light dance music of the first part is suspended for a while by an introverted melody, warning of the dangers of Spring, to immediately meet its dizzying rhythm. When the music calms down preparing for a peaceful and thoughtful finale, it suddenly regains its intensity and returns to the original happy rhythms.

The second and third part are echoed by the style of Schumann's songs and pianistic compositions. Largetto is slow with idyllic endings, while Scherzo, nicknamed "happy companions" given by the composer himself, creates a convincing impression of a rustic dance.

The symphony is not just a presentation of rural life, but rather an expression of the feelings presented by daily life. What remains as an overall impression is triumph and pure happiness.