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

Grieg - Sigurd Jorsalfar, Op. 56

This image of country tranquility captures the atmosphere it introduces to Borghild's Dream. The calm, however, is disturbed as the music suddenly reaps.

Grieg was passionate Norwegian. In addition to popular culture, he admired contemporary artists and playwrights, including the very famous Bjornstejerne Marinius Bjornson, whom he met in 1870. Grieg was inspired by Bjornson several lyrical works on local themes, but his most famous nationalist work is Sigurd Jorsalfar, originally written as stage music for Bjornson's eponymous work.

This composition presents the drama and emotions of the heroic Viking era and expresses the composer's love for his rich and diverse cultural heritage.

The complete play first presented in Christiania (Oslo's old name) on March 18, 1872, on Bjornson's 70th birthday. Grieg transcribed the music into three orchestral suites, published under the title Sigurd Jorsalfar Suites, twenty years later, in 1892.

- Introduction: In the King's Hall

Bjornson's work is inspired by Heimskringla Saga, a medieval Scandinavian legend who tells the story of two twelfth century kings who are mortal enemies: Eystein, a bureaucrat and legislator, does not want to leave Norway, while Sigurd is an explorer and crusader who loves to travel. The two brothers represent both sides of the Norwegian character and could be a description of Grieg himself.

The two brothers' rivalry for Borghild soon turns violent.

- Intermezzo: Borghild's Dream

Grieg told the story with a combination of orchestral and choral parts. The play begins gently and continues with Borghild's Dream as she is half asleep and becomes hectic when she wakes up abruptly, frightened by a nightmare caused by the unpleasant thoughts of the rivalry of the two brothers.

The following match is presented by a dialogue between the piano and the violin, the rants of the competition of the two rivals. As the work becomes more restless, we hear the call of the horns. This heralds the first choral work, the Scandinavians, where the shouting represents the two angry rivals who challenge each other in battle.

- Homage March

The masterful Homage March, with the magnificent introduction played by four cellos, calms terror as the sovereign intervenes and the play ends with the King's Ballad, where a soloist and a crowd of voices celebrate peace.