he four parts
announcing the Day of Wrath in high, sustained notes, while the second
sopranos, altos, and tenors accompany them with immense sweeps of sound
that rise and fall like the waves. There are nine numbers in this part
which have been already specified, the most effective of them being the
adagio trio ("Quid sum miser") for soprano, alto, and tenor, upon which
Verdi has lavished his melodious inspiration. The trio is continually
interwoven with the chorus shouting fortissimo the "Rex tremendae
majestatis," until it takes another form in the prayer, "Recordare," a
duet for soprano and alto in Verdi's best operatic vein. A very effective
tenor solo, "Ingemisco," followed by a very solemn and majestic bass
solo, "Confutatis," lead to the stirring measures of the Day of Wrath
again, and close this part in an ensemble of immense power, both vocal
and dramatic.

The offertory ("Domine Jesu") is a quartet with three motives,--the first
andante, the second allegro, and the third adagio in Gregorian form, the
three themes being admirably worked up and accompanied. The "Sanctus"
(the fourth part of the mass) is a very impressive allegro double chorus,
followed by the "Agnus Dei," a duet for soprano and alto which is full of
melodious inspiration, illustrated with charming instrumental color; it
is the gem of the mass, and one of the happiest numbers Verdi has ever
scored. The sixth part is the "Lux aeterna," a trio for alto, tenor, and
bass which is very dramatic in setting; and this leads to the "Libera,"
the final division and the climax of the work. It is in its general
effect a soprano obligato with chorus. After a monotone recitative and
solo, the "Dies Irae" is repeated, likewise the "Requiem aeternam" (which
forms the introduction of the mass), and closes with a fugue of majestic
proportions that finally ends in the same pianissimo effect as
characterizes the opening of the work.

Thus much of the work in detail. It remains to look at this mass as a
whole. The first thought that will strike the listener is its utter
dissimilarity to any other of Verdi's works, except "Aida." Like that
opera, it is in his latest style,--an attempt to show the world that he
can write something besides melodies. Hence we find more decided
contrapuntal effects, the canon and fugue forms, and even the plain,
serious style of the early devotional music of the Church in the days of
Gregory and Palestrina. The second thought is that this