Requiem (Cimarosa)
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| Requiem | |
|---|---|
| Requiem mass by Domenico Cimarosa | |
 Cimarosa in 1785, by Francesco Saverio Candido | |
| Key | G minor |
| Year | 1787 |
| Occasion | Funeral |
| Text | Requiem |
| Language | Latin |
| Dedication | Duchess of Serracapriola |
| Published | 1974 |
| Movements | 12 |
| Premiere | |
| Date | December 1787 |
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The Requiem in G minor is a musical setting of the requiem mass by Italian classical composer Domenico Cimarosa (1749–1801). Composed in 1787, it shows the composer's ability to part from his usual form (opera) and write for a commission.
Despite not being an overly popular work on its own, Cimarosa's Requiem is arguably one of the composer's most well-known and most performed compositions, along with his still largely-popular opera Il matrimonio segreto.
History[edit]
In 1787, Cimarosa arrived in St. Petersburg through the Duke of Serracapriola, the minister for Naples and Sicily to the city. He arrived on 2 December 1787, and only ten days later, on 12 December, the Duke's wife died, and for the funeral ceremony Cimarosa was commissioned to write a requiem mass. It was written rather hastily, although it's length of just under an hour doesn't reflect the pace at which the work was composed.[1]
The Requiem was first published publicly in 1974, in a version with figured bass. The original manuscript is currently in the collection of the Biblioteca del Conservatorio di musica San Pietro a Majella in Naples.[2]
Structure[edit]
Cimarosa's Requiem has twelve movements, and the structure is as follows:
- Introit
- 1. Requiem aeternam – Kyrie – Graduale
- Sequence
- 2. Dies irae – Tuba mirum – Rex tremendae
- 3. Recordare
- 4. Ingemisco
- 5. Preces meae
- 6. Inter oves
- 7. Lacrimosa
- Offertory
- 8. Domine Jesu
- 9. Sanctus
- 10. Benedictus
- 11. Agnus Dei
- 12. Lux aeterna
Scoring[edit]
The Requiem is scored for standard classical orchestra: strings (violin, viola, cello), 2 horns and continuo (harpsichord and double bass). The voices include standard SATB chorus and soloists (soprano, alto/contralto, tenor, bass), which alternate between movements.
Described by Gramophone as having (when comparing it to Mozart's Requiem): "little drama, even less terror or anguish (the Day of Judgement passes with barely a shudder). The prevailing tone is of dignified solemnity and muted sorrow, with the sequence of (mainly) brief movements given sufficient variety by the alternation of chorus and solos, block harmony and imitative textures".[3]
Recordings[edit]
- 1969 – Elly Ameling (soprano), Birgit Finnilä (contralto), Richard van Vroodman (tenor), Kurt Widmer (bass), Montreux Festival Chorus, Orchestre de Chambre de Lausanne, Vittorio Negri – LP/CD Philips Records
- 2010 – Adriana Kučerová (soprano), Terézia Kružliaková (contralto), Ludovit Ludha (tenor), Gustáv Beláček (bass), Lúčnica Chorus, Capella Istropolitana, Kirk Trevor – CD Naxos
- 2012 – Valérie Gabail (soprano), Katalin Várkonyi (contralto), Etienne Lescroart (tenor), Ronan Nédelec (bass), Chœur de Chambre des Musiciens du Louvre, La Chambre Philharmonique, Jérémie Rhorer – CD Ligia Digital (live recording from the Festival de Pâques de Deauville, 2002).
References[edit]
- ↑ "Requiemsurvey.org". www.requiemsurvey.org. Retrieved 2023-09-03.
- ↑ "Requiem in G minor (Cimarosa, Domenico) - IMSLP: Free Sheet Music PDF Download". imslp.org. Retrieved 2023-09-10.
- ↑ "Cimarosa Requiem". Gramophone. Retrieved 2023-09-03.
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