[CHAPTER VII]
REQUIEM MASS AND OTHER COMPOSITIONS
Verdi as a sacred music composer—Share in the "Rossini" Mass—Failure of a patchwork effort—Missa da Requiem produced—Splendid reception—Performed at the Royal Albert Hall—Structure of the work—Von Bülow's opinion—Divided opinions on its style and merit—Its character—Modern Italian Church style—Northern versus Southern Church music—Verdi's early compositions—E minor Quartet for Strings—L'Inno delle Nazioni—Its performance at Her Majesty's Theatre—Verdi's slender share in orchestral music—National temperament involved—Thematic method inconsistent with Italian national life.
Verdi must not be overlooked as a writer of sacred music. Hundreds of composers have contributed more freely than he has to the store of ecclesiastical music, and although strict Church musicians might contend that, from many points of view, any consideration of Verdi as a sacred composer would be unnecessary, yet, withal, there is ample reason for considering and comparing the religious, as distinct from the secular, musician in Verdi.
Like his great compatriot Rossini, who, towards the close of his career, composed a Stabat Mater that has provoked, perhaps, more criticism than any other piece of Church music, Verdi has signalled his later years with a sacred composition which has also been the subject of much discussion.
In order to do honour to Rossini, whose death was being deplored, some of Italy's sons conceived the notion of a grand Mass to be performed once every hundred years, on the centenary of Rossini's death, and nowhere else save at the Cathedral of Bologna. There was, at least, the charm of novelty in such an idea, and considering the period of time that was to elapse between the performances, the prospect of the music ever becoming hackneyed was certainly remote. But the greatest difficulty, the serious patchwork venture of such a mixed composition, does not appear to have entered the heads of the promoters. Thirteen numbers for a Mass were given out to the leading Italian composers, who entered into the spirit of the plan with an unanimity worthy of a better cause, and such numbers were duly completed; but when it came to the tacking together of these pieces, the result was a thorough Joseph's coat, as vari-coloured as that famous garment, and so unsatisfactory that the committee decided that it would never do, even for a once-a-century performance.
Then came the question of a way out of the difficulty. Who should be entrusted with the commission for a complete work? Now the thirteenth number—a lucky quantity on this occasion—was the Libera me in C minor, by Verdi, which so attracted the attention of Signor Mazzucato of Milan, that he begged Verdi to take upon himself the responsibility of composing a complete Requiem Mass. This suggestion seems to have clung to him, for, as all the world knows, he eventually gave us that magnum opus with which most amateurs in this country are already familiar. Strangely enough, Rossini's name dropped out of association with the new mass, which, when it was produced, was to honour the memory of Manzoni, Italian poet-patriot, who, full of years, joined the ever-increasing majority on 22nd May 1873.
The first performance of this Missa da Requiem took place in the church of San Marco at Milan on the 22nd May 1874, to mark the anniversary of the death of Manzoni, the composer's old friend, whom—to quote Verdi's own words—"I regarded so much as a writer, and venerated as a man—one who was a model of virtue and patriotism." Musicians and dilettanti from all parts of the world attended this notable performance, which Verdi conducted in person. There was an orchestra of one hundred executants, and a chorus of some hundred and twenty singers, while the soli parts were entrusted to Mesdames Stolz and Waldmann, with Signori Capponi and Maini; and since these musicians were leading performers, gathered from all parts of Italy, the effect of such a combined artist-effort was striking and enthusiastic indeed. The fine mass was splendidly performed, and as number after number was unfolded before the rapt congregation, its impressiveness and grandeur held every listener spellbound. The solemn beauty of the "Offertorium," "Sanctus" and "Dies Iræ" proved specially noticeable, and must have seriously suggested to the late Dr. von Bülow, who was present criticising the work, that beautiful part-writing was an art not altogether unknown to the Italian musician.
The pent-up interest in the score was, however, soon to give vent. In order to afford many others an opportunity of hearing the mass, and of expressing their feelings spontaneously, Verdi permitted it to be performed three times at La Scala Theatre, undertaking, good-naturedly, to conduct the first performance. Then on Monday, the 25th May, the theatre was crammed with an audience which—no longer restrained by sacred surroundings—shouted applause from beginning to end of the work. Several of the numbers were encored, and more than once the vast crowd of people rose en masse crying, "Viva Verdi!"
In 1874 (4th June) the work was given in Paris, at one of the Salle Favart "Matinées Spirituelles," when the same solo singers as at Milan rendered the mass superbly. Later on it was brought to England, and a memorable performance of it took place at the Royal Albert Hall, when Verdi himself wielded the bâton. This was on Saturday afternoon, 15th May 1875. The soloists were Madame Stolz (soprano), Madame Waldmann (contralto), Signor Masini (tenor), and Signor Medini (bass), who were supported by the powerful choral and instrumental resources for which this great music hall is famous. The exact complement of the band was 150, while the chorus numbered some 500 to 600 singers. Upon making his appearance Verdi, as may be imagined, received a tremendous ovation, for he had not been in London since 1847, when he attended the production of his opera I Masnadieri at the Royal Italian Opera. The master proved a good conductor, his style and method as a chef d'orchestre being as firm and assuring for his forces as it was attractive and instructive to the audience that watched his beat. The performance was in every sense a success, and marked with all that enthusiasm which the presence of a great artist always provokes, albeit the effects realised in Milan and Paris were, it was generally admitted, not attained in so vast a hall. The numbers that seemed to please most were the "Lachrymosa dies illa," the "Agnus Dei" duet, and the double chorus "Sanctus."