th the "Libera me"
that he wrote to Verdi urging him to compose the entire requiem.

About this time (1873) Alessandro Manzoni, the founder of the romantic
school in Italian literature, died, and was universally mourned by his
countrymen. The requiem which had been intended for Rossini was now
written by Verdi for his friend, the great Italian patriot and poet, the
immortal author of "I promessi Sposi," and the "Libera me" was
transferred to it. It was performed for the first time at Milan, May 22,
1874, the anniversary of Manzoni's death, with Teresa Stolz soprano,
Maria Waldmann alto, Giuseppe Capponi tenor, and Ormondo Maini bass, a
chorus of a hundred and twenty voices, and an orchestra of a hundred and
ten. It was next given in Paris, in the following month, under the
composer's direction and since that time has been frequently given in
Europe and in the United States.

The mass is divided into seven parts, with solos, choruses, and full
orchestra, as follows: No. 1. "Requiem" and "Kyrie" (quartet and chorus).
2. "Dies Irae;" thus divided: "Dies Irae" (chorus); "Tuba Mirum" (chorus);
"Liber scriptus" (chorus and fugue); "Quid sum miser" (trio for soprano,
alto, and tenor); "Rex tremendae" (quartet and chorus); "Recordare" (duo
for soprano and alto, and chorus); "Ingemisco" (solo for tenor);
"Confutatis" (solo for bass); "Lacrymosa" (quartet and chorus). 3.
"Domine Jesu," offertory, by quartet. 4. "Sanctus" (fugue with double
chorus). 5. "Agnus Dei" (duet for soprano and alto, and chorus). 6. "Lux
aeterna" (trio for alto, tenor, and bass). 7. "Libera me" (solo for
soprano, chorus, and final fugue).

The "Requiem" opens, after a few measures of prelude, with the chorus
chanting the appeal for rest sotto voce, the effect being carried as
pianissimo as possible until the basses, by an abrupt change of key, give
out the theme of a fugue ("Te decet hymnus"), written in pure religious
style. The introductory "Requiem" is repeated, and leads to the "Kyrie,"
the theme of which is stated by the tenor, and in turn taken up by the
other soloists, the chorus shortly joining, a double sextet interwoven
with it, and the whole closing pianissimo, as the "Requiem" opened.

The second part, the "Dies Irae," is in strong contrast with the first,
and is more broadly and dramatically worked up, and with freer
accompaniment. The opening chorus is one of startling power. The tenors
and basses open the number, immediately followed by t