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
Georges Bizet - Carmen Suite No. 2
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This suite, Georges Bizet includes some orchestral adaptations from the opera, tells the story of Carmen, as she is torn between her love for Don Jose and the arrogant matador hero. The suite contains two particularly "Spanish" compositions" the seductive, exotic Habanera and the moorish music of Gypsy dance.
Carmen Suite No. 2 was published in 1887.
- March of the Smugglers
The "March of the Smugglers" is eerie, as flutes accompanied by the pizzicato of the strings simply introduce the theme. Soon, the bassoons are heard playing distant, preserving the eerie atmosphere. The music sometimes gets dark and sometimes it lights up, but soom the persistent march returns.
- Habanera
Habanera, the most famous melody in the suite, is based on a Cuban dance song. In Bizet's hands, however, the song transforms into a wavy and extremely appealing melody, which masterfully sums up Carmen's character.
Change of mood
- Nocturne
On the contrary, Nocturne is in a completely different mood, calm and romantic. From the start with the horns, the follow-up to the expressive interpretation of the deep strings, to the aftermath of the horn at the end.
- Chanson du Toreador
The Chanson du Toreador opens with an aggressive mood, the matador is represented by the horn. Finally, the theme that was previously heard in Toreador, comes back and the part ends with the entire orchestra in a thrilling climax.
- Changing of the Guard
The Changing of the Guard is announced by the call of the horns. Then two flutes play a lively little march. They are met with sporadic cries of the cornet and are accompanied here and there by the pizzicato of the strings, until the brass instruments and the triangle are heard. As the march rises, a wonderful conversation is heard between the two flutes and the orchestra, before the march is quietly extinguished away.
- Gypsy dance
At the Gypsy Dance, Bizet uses styles of Spanish gypsy music to make this exotic and vigorous dance. Here, flute and piccolo are highlighted and compete against the background of the string and harp, which gives the illusion of guitar chords. After that, the brass instruments perform the melody and the dance takes a wild, fast and frenzied form before it suddenly stops.
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