Giuseppe VERDI Messa da Requiem Version for small ensemble per Soli SMsTB, Coro SATB Como, Timpani, Gran Cassa, Marimh Piano, Contrabbasso eingerichtet von /arrange Michael Betzner-P’ & auf der Grundlage der Ecttio, RS) und des Klavierat n oF based on th." SX in and th an ov Carus 27.303/50ON Inhalt 1. Requiem 1 esetzng Kye 7 sol sequentia Soprano 2 Disiae 20 -Mezzosoprano “Tuba mirum 530 Tenore Mors supebit 36 Basso Liber scripts ” Quid sum mser 48 cor: Rex vemendae 34 Soprano Recoréare 6 Contelto ingemisco 70 Tenore Conta 7 Basso tacimosa & (auch Summchor in Nr 3. Offetonio 98 Como inFa/E i NY 4. anc 1 ead oer ENCON Timpani”. 5, Agnus Dei Communi 6, Luxaeterna 7. Libera me ‘Zu diesem Werk ist folgr J. Fact Carer oa ¢ Kavierauszug des Orn dazu Einlegeb! CChorparstur?//“ dazu Eine sintumen (Gn). x b stnmen der essa da LS wim is ef ee ep? eal vale: : &: al composion Cas 27 303/08, sas SP sing chow (Cars 27 303/53), Yas gate er eee er 7 SS ear (Cans 27 303/58), \? re “pans ee, Carus 27 308/69), Pon the full score and orchestral parts forthe orginal Messa da 15 sem are avalable forsale (Canis 27 303 and Carus 27 308/19),Vorwort ‘Das Verdi-Requiem wird manchmal als Verdis beste Oper bezeich ret. Charakteristisch far dieses Werk sind de Energie und die Dy- ‘namik des groten symphonischea Orchesters im Zusammenspiel ‘mit Chor und Solisten. Mancher Kammerchortréumt davon, auch tinal sole ein chorsinfonisches Werk aufeufohren, Denn die um- fangreiche Chorpartie ist sehr fligran und Klangschan gestaltet lund zudem singerfreundlich gesett. Die Idee war nun, das eine mit dem anderen zu verbinden, also groBes Werk (und auch mal roe Stimme) mit kammecmusikalischem Musizieren in der kle- neren, gewohnten Gruppe. Durch die Reduktion des Orchesterap- parats fr fn instrumentalisten soll das Werk auch miteinem ke ‘nen Chor und den vier Gesangssoliten auffahroar sen, sowohl in stimmlicher als auch in organisatorischer und finanzieller Hnsicht. Das Verdi-Requiem ietet sich durch le vielen sensibel gearbelte- ten, Klein besetzten Passagen flr dle Bearbeitung als ,Kammerora torium” an. Aber anders als zum Be'spel das Deutsche Requiem von Johannes Brahms, kann man das Verdi-Requiem nicht unbe- dingt ,nur” mit Begleitung des Klavirs auffuhren. Ein ,Dies irae" ‘ohne Gran Cassa bleibt nur eine Andeutung seiner selbst, Wie las sen sich also die Klangfarben und die Wueht des Orchestertuts, auch mit weniger Instrumenten dartellen? Und vor allem: Mit wel- ‘chen? Bei der hier voriegenden Fassung ist dle Wahl auf Horn, Kon: ‘rabass,Pauken, Klavier sowie Marimba und Gran Cassa gefallen, Das Horn ist Klanglich sehr wandlungstihig und kana an dramat schen Stellen durch ,Schmettern” einen ganz essentillen Beitrag, zueinem volen Tutiklang eisten oder die kantablen Melodien an- derer Bliser, zB. der Oboe imersten Satz, gutnachempfinden und. \ blserisch gestalten, Der Kontrabass gibt stellvertretend fr alle Streicher den ristschen Klang gestrichener oder gezupfterSaiten wie” det in Verstrkung bew. Erginaung delinken Hand ©) das Kanglche Fundament des ganzen Werks. Zuwebs\— Kontrabass auch so, als ware er ein Cel. Die Paukenstimme ist fast uaverindert ve "rip, ‘iberommen. Die Pauken wurden als + well sie ganz charakteristisch far die" ddaneben aber auch wie kaum ein ar _getine mit Wirbelnhalten Kenn” Das Klavier ist das Ruckerat @ ichamonsh and oe Vet wenden enol ore © ) se ecntag sen ered NO en at wereesce ( ~ \\ QBasic cordare” (Satz | (a5) oO ee ‘Mari \\ Sy we “ntierung. Dieses viel tee \ SF sieristmentenpr re o } <> vga gemeiosam rit dem kt v & -sitzichen) vier Ferntrompeten BN 239) Deine de J \_ SGP nike eae Cd Semen esl Wwede sen “ina gr Denn an a er San SS < Ss {tien ind eine vituose Herausorderang fr ie WA > & ‘sowotl solistisch als auch als Orehestermusiker stan pS entand gfordert sin. En wets cinrument, das Inder © ginafasung so nicht vorkont. st de Chov, der an zwei Stellen (Satz 2, Takt 270fF. und Takt 624ff) summend die Funktion eines Steicherleppichs dbecrimmt. Die vorlegende Fassung bietet somit manche bearbeteischen Ef- {ekte, die von der bisherigen HOrgeweohnheit abweichen. Viele -! cher Stellen sind geeignet, die Aufmerksamkeit u scharfen ‘Werk mit neuen Ohren 2u haven sowie andere Bilder une tionen dazu 2u entwickeln. Ahalich wie man auf ein Wwei6-Fatografie neue Schatiecungen, scharfere Konturen und Oberhaupt eine andere Atmosphé \ lichen Mots entdecken kann, \ a SS VY Ich danke den Instrumentalist, die be ) > eseaaet rene penn hanen nS é deen Fan Denmer Wom Re KONA min Ulich (Pauken), Marion” Sune af tnd vor allem Ron Lepinat ”\. tie ae ven intensiv beget hat une rite > wake nemeegennen OS at terich von 200 © Nis asF at teses Projet einzular Cau) 2 Zeit unserer Zusammenath we GN dichael Betzner Brandt ae ee, Bein “YYForeword ‘The Verdi Requiem is sometimes described as his best opera. What, characterizes the work is the energy and dynamism of the large symphonic orchestra in ensemble with chorus and solos, Some ‘chamber choirs dream of also being abe to perform such a choral symphonic work one day, for the extensive chorus part contains, ‘beautiful filigree-ike writing, ands also rewarding to sing. Theidea hhere was to combine the one with the other: that i to say a major ‘work (and sometimes great voices) with chamber musi-lke playing Jn smaller, more familar group. By reducing the orchestral forces, 1 five instrumentalists, the work becomes performable by a small choir and the four vocal soloists, nat only with respect tothe vocal forces, but aso from an organizational and financial standpoint. ‘The Verdi Requiem lends itself to arrangement asa “chamber ora- {orio” through its many sensitvely-wrought passages, scored for small forces. But unlike, for example, Brahms's German Requiem the Verdi Requiem definitely cannot be performed with ust piano accompaniment, A "Dies irae” without bass drum would be a pale imitation of itself. But how can the tonal colors and the force of the ‘orchestral tutti be portrayed with fewer instruments? And, above all, with which instuments? In the version published here, the choice has fallen on hoen, double bass, timpan, plano, and marim- ‘ba and bass drum, In its tonal characteris, the horn is very adaptable, and it can ‘make a most essential contribution to afl tut sound at dramatic points by playing “cuiveé" (brassy with a forced tone). ILis we" Suited to recreating and depicting the cantabile melodic sty! ‘ther wind instruments, e.g, the oboe inthe fist movement. \ The double bass, representing all of the stringed instru”. \ trays the characteristic sound of bowed and plucked st“ inforcing or supporting the piano lefthand, forms tk forthe entice work. At times the double bass fils. ‘The timpani part taken from the original versio Consequently, this version presents some effects in the arrange- ‘ent which deviate from previous listening habits. Many ofthese passages serve to heighten attention and enable Isteners to hear the work with new ears, as well as developing other images and as- sociations just as you can discover new shadows, sharper” “ter, contours, and a completely different atmosphere in v_—" otherwise be the same motfin a black-and-white pt” | wish to thank the jasteumentalsts who per mire of this version for their valuable 1 \ Berner ro Karen take (ou) (Gmpan), Marion Hafen (marimba an / ly Ron Lepinat (pian), who was ir i XS ~ xp as répétiteur, and made mane Dee we wish fo thank the Consort ON AS rector | was from 2001 wie 7 eaze ths project andabove Ne CP vation sein oeenber / SX \\ 7 gb sansa Translation: EP PT Ne Ne oe tered, The tpani were considered indsp sible, bec as abst characte energy’ 8S > eS ation cn is ok tan, other instrument can, 8 le = ae Cnus 2720950 3ef. _ tumin Je ft ora o-nem me = am oma = * ‘tac subito 56 Come prima J = 80 quattro Sopra wm, do cans 2730950Toni we Ppp doeisine cars 2730950 5Kyrie 7 animando un poco cae PESRESE 2S] — Ss J cnn 6 (cas 2730950a peri eee P cars 2730050 eee coasenceceee oxo peanBP legge PP leswer cans 2730950conus 2720950 9Chri- tee 10 (caus 2720950Chri can 27305150 n2 cans 2730050a — 4 caus 273095019 cra 4 Sopan in. 9 Stel rccetee one tt an 2Coneali_gypp-————~" caus 2720950 1516 cars 2730950cars 2720950 ”18 cas 27.3050poco allarg. ee 1 mo crm 27309150 19Sequentia 2. Dies irae Allegro agitato J = 80 Soprano Contato Coro Tenore Basso ‘Timpani Gran Cassa Piano Contabbasso ea) cans 2730950* DasFll uss ut out ein dat ser Zeng Ko wn sak ig /he skin mas Be ight ated a ihe fea sounds short aver fo caus 2730950 212 cara 27.3090(Cares 2730950 2B24 cans 2730950stent. un poco inf - ville te-ote Da-vid cum Bi - (cas 2730950 2526 caus 2720950al Pim tor pan x PP encore din PP encore din (BP encore din caus 2720950sempre pit Pa 7 a ‘ancora pl Tenore tt co = nr dg dark md 28 caus 27.30050caus 27.3050 2»Tuba mirum Allegro sostenuto ¢ = 88 Marin ai, Vibraphon 30 caus 2720950ra fora wa for as for Corus 2730950 31‘animando 16 Bassotti "Spar = gens so 2 caus 27.3050Can 27 50150 33u can 773045035Mors stupebit ‘Molto meno mosso 4 = 72 140 Basso solo Ge. Gee. lle le conde * Piano ‘Das Fell ocean the in, 36 cans 2730050Liber scriptus x S Allegro motto sostenuto d= 88 LY VS Mezzosoprano solo 192 7 Cans 27.3050 3”Br ‘mun dus.unde mun = dus ju- = 7 * Aunt se, mit steer Stine nd sb rari /Esremes 38 caus 2730150 with ark vole and very saMezzosoprano ss Me » rn Di- te i- rae, (Cans 2730950 39i poco accel, ——$__—— yecbit, quidquid la-tet ap-pa - re.bit,nil in = ultum, mil in P ke Aipoie? ) OP at inal tam nit Ma-al tum roma - oe 40 Cas 27.3050pits pro » ree oN ‘cars 2720903 4‘ars Mezz0sopeano tude oa. gam os de - biqud piv ad remene bt cap =e i senor i al23 moreno GP eee col canto ber seri-ptus pro fe ~ "re 229 atempo er sempre capo e BP. immer distr nd PP) caus 27.209150 48“4 Cae 27. 50950cars 2720950 45pi. vel Pain a Carus 2720950(corws 27 20950 47po erento or. eminent Quid sum miser Adagio 2 = 100 220, Soprano 48 cans 2720950cars 27.309150 49teen rey _——_ ‘Quid sum 50 can 7730050me Quem pa (caus 2730950 72 Cas 2730950tone diet mi ser tune di-ct ‘quid eum mi - ver tune ai - {Caras 27,3050 33a7 pone Quem pa - tro - mum ro ga tu Rex tremendae Adagio maestoso J =72 322, Soprano ‘Mezzosoprano ‘Tenore Basso a . i eee tre-men- dae ma je 54 cans 2730950Sal - va me,fonspi-e - ta sal-van os sal-vas gra - ts, crus 270950 35ae Oaig Pie ~~ STS eee 56 caus 27309503758 cans 2730950(Carus 2730950 |va me, fons pie va me, fons pe ‘veme,fons pi-e - ta ~ tis oo caus 27305150ar ft, al 2, val Lamm 5 Tex tremen-daema-je gsi sabvan-doe al ye 61 (Cavs 2720950sempre animando - 7 - sempre animando —_ = sal ‘qe sabvan-dor ral - vas ea cans 2730950allarg. stentate Oe cater aeEe can 27.30050 6tempo Basso Solo ‘animando un poco 79 dole Die le) yen (Die Hale) i oa wecd ah Ten ot can 7730450Recordare ‘Stesso tempo 285 Soprano ‘Mezzosoprane Naas Soli ae ? < 399 emidite Ne can 27305150 setal ‘Quae-rens me Quae-rene me, 66 caus 2720950col eanto a col canto i 2 quac-rens me, So-de sth las sus: qume-rens me, fe-di-ath_ las us a cars 27.30950 oranimando sempre _sino _alla__fine ——— P dole ——, fe fe ret | P ce ae 68 Cas 27. 3050animando fate ai em, fem, Bn-te divem rath - tate diem, caus 27.3050 Cc)Ingemisco 47 Terr oo Inge mi = so, tam-quam re Corin eco meno nso \ dole cone <= DY enero 6 —— pp Cans 2730950ate spemde (conus 2720950 nfo-que - n cas 270950cans 2730950 BConfutatis: poco accelerando Andante J = 96 Basso solo ee ‘Con - furtetis ma-le - dt fis, flam-misa-er-basad- mae Soest a > tie Aa oo. - © 4 cans 2730950——— sup-plex et ae Ma (cas 2730950 15sar f,., (Con - fi-te - us male - di Timp 16 ‘cars 2730950P dolce canbe BP eprenive ‘eum be-ne = di = ets, cable ere caus 2.308150 ni secre gre eEPeEPerEerEErEREOSCSS=S sup-plex et ae = eli nls = eli= nis, cor con = 8 caus 2730950poco rallentando See rere conus 2730950 9Alllegro come prima d = 80 ‘Tenore roi Fr. crus 27303150cans 2730050 8vet see elum 2 cans 27300150cars 2730950 8307 84 caus 2720950Lacrimosa Largo d = 60 Mezzosoprano 24 P lunghee lanes Tung lament como expresione caus 27.30150 85633 Soprano Le aie Basso caus 2720950638 PP doesine cas 27.30050 87Pomubie_| Peamalile Peon z la 8866 menos Ta abe ta Ta ‘ie can 2750150 89je = di = can-dus homo re - ae ergo par-ce De rf parce De iu - di ~ can-dus ho-mo <—_- can-dus ho-mo 9 Cars 27.30950animando un poco Twi_2Py “ge § 7 Cars 2730950 91re he ‘come prima cans 2730050oa Carus 2720950 Poe dew pp dokissino Poe dem Do - Do = dos BP doeisine 93os PP doles me, pioe— de ™ de oy otis pp dois PP sols %, i y~ See Vo OSS Oh sea oath ps oo Yo > = a\ \ ~ «SS YE ° Pm et reac dem eo g om Caras 27.3090ost PP otcsina BP sohcisine kg? ep PR 95corp > ati atl eon pt PP > a eon pia PP cor pt BP re = a re = qui aa cor iP we atl caloulo _morendo ed allarg. doom > Te donna > ere ww doom ere cars 27309507 f (cars 2730950 73. Offertorio A quattro voci Andante mosso J. 65 Piano Sot \ YS WX? mre AL vO flor - a8, —— lw q i cas 27300150coma, ?>——= cans 2730150 ‘de fon 99be pro-fin = 100 caus 2730950a6, Re_ab-sor-be- at a ane camzousy "HP ailonan a vce state, es 102 cans 2720950crus 270950 103ss poco allarg. Quam 9 lim bra ~ hao, quam 0 tin a a caus 2720950on hae, quam 0 = Km hae (cas 2730950 osanimando 106 cae 2730950ua nate be seer, 130 Tenore doe’ * Die Seca! langsan./ The see notes slow Can 27. 50150 Adagio d = 66 .‘animando un poco ~ Me Do-mi-ne—_ lan dia of -fe 120 Soprano doesn, roogr Mezzosoprano dbeisina go os, cans 27308150eee ie ne — lau-dis of fe = cars 2720950 10910 caus 2720950190 soto vce mand Thee = as, Do-micne, =e Se Bear NY / 7 = ) xe sexo voce parka Tread w mormdo un£ z Quam o- tm ‘hee, quam o = tim nn cans 2730050= hae pro mt — pro - mi - sf pro - mi si - st ae pro mi Carus 27-308090 ae—— Pe na Carus 2720950Come prima d-= 65 “in PP ln PRP legato dolsine rend morendo P ‘novo is116 ‘morte trans i-te ad vi ——— ote Fae o-n5 de mor-tetrans-i-re ad wi = Fac e-s do more tranti-re ad vi ote —— Fac ets de more tranei-re ad vi = poco ‘more cars 27309504. Sanctus Alllegro d = 138, Soprano Contato ‘Tenore Basso SHS A ; : < a Soprano Contraito Tenore Basso Como Timpani Marimba Contrabbasso cars 2720950 nTAllegro d = 112 Ea San-etus, San-etus, San 118 can 27308150tus, San-etus, San - caus 2730050 9‘San - tus, San-etus, San legeree 120 Cans 27. 30950ft > Ho-san - nain ex - ol 2, Can 27.3050 13ont in ho mi-ne Do - mini, 14 cas 2730950‘mi fe Do mini smi = ne Do - mini, cas 2730950 125126 cans 2720950(Cas 2720950 127128 caus 27.3050caus 27.305150 129ae PPdvlising Pre Pre PP dolisine Phe BP doling Pre caus 2720950cans 2720950 BIexpressive 132 can 27 30450f 133BH tebe oie 4 134 cans 2730950yn t f {cars 27,3050 13s136 cars 2730150care 27. 30950 Woostn — ain o-stn To-stn 1375. Agnus Dei = a Andante d= ss olin {Ol lapecen - ta mun au Soprano A= gus De - Mezzosoprano| cans 27300150K Soprano, SEEPS “aN A = gnu De Mezzosoprano sui Stl tapes -ta mn qe se Ate ea Caras 2720950 139a 140 Cans 2750150tol lis poe-ea - ta mun tol = lis pee-ea = ta mun iw do crus 2730950 1412 caus 2720950Communi 6. Lux aeterna Aire voci ‘Molto moderato 4 = 88 ed Mezzosoprano8 sim athe lor oper pe wt ae ae z 4 144 ‘Cane 27 30150see im i. Pe. Woe me | is e-em ek Cum wan tis ‘can 27. 3050 145requiemae - ter requiemae ~ ter Sf ltt 146 cans 2730050$8 —— —= © o_ . is Cum— san-etis tu - is in eo ~ ter-mumin ae-ter of tome can27. 309150 147148 ‘cars 2720950cans 2730950 1492 sole voc pp S é tL MSE do i ZAKS non mec ee = Se ; 2 - ee 150 cans 27 30150quem, qui-em Caras 273050 Ist7. Libera me Moderato J = 72 senza misura * tempo —= Soprano solo da: quan-do coo - mo Li berame, Do-mi-ne, demor-te ge-ter-na, in die ila tre~ men Como ‘Timpani tempo ea NSS SSE SSEN Doin tre men — de = teks teen - a i SS de moe te ae - terme, in Li - be-ra me, Do- mi- ne, * shyt yay re 1529 Soprano solo atempo ‘ancora pip POPP sieve (canus 2730950 153Va i cine \ Xd NG ee SS = oy” me, ae 0. ancora ‘ae sco 8 a nconapio B < Gee i ks panne PEP moreno Andante « Vor 132 ape / = gi-em ae ‘qui-em, re = qui-emae - ter nam 166 Cane 27 30850Pa ers PP alii me. donate — is i i os con pie P stron ee tee pum ECC sre ar oe cue a goo J comple P do coreg do = na 6 acon pit P Requiem do - na € » acon pla as He-qucem ae-tr- nam do-nae- ie Do-mine is, et carws 2730350 167ox per = pe = tu Soprano 17 ngewe Tne ana fl a fore cas 2730350Allegro risoluto J = 116 Soprano 0 cares 2720950 169an do, quan - do re sae-eu-lam per 9 raiDum “ve-ne- rie y ve sae-culumper i SEND ve aae-cu - lumper i le 170 cas 2720950cans 27.3050 imMar PP doin Piano PP. es * men = tho-ven= di sunt quan do ee Cas 27.3050‘mo-ven-di sunt ft 1 mo-ven - di Cor Timp Caras 2720950 1732 ven ah sunt ven = db nt f, ce Dum te-ne - ris ju-di ~ ow 74 caus 27.3050260 Soprano Canto solo a ee pee caus 2720950 175176 cans 2730350a: quando da: quando a: quan-do cans 2730950 7a, quando aoe ‘quan = do coe a 178 Cars 2720950179 cans 2730150sue 180 Carus 2720950326 TM eerste te aera i be me, ‘Quatro sle wc © tre- men-da, ‘Sate vo = fo-ven- di i mo-ven- di sunt et ter-ra, cans 2730150 IsNe SctT reer cote \ NEV oes FS pid \ N= 182 cars 27.0950Soprano Satie Do Can 27 50150 183sor sete roce Dum ve = ne-tis Tui _9P soto ce Dam we eis, é Tui Pst ce none PR =o * miter Ste anand ny wih a sf ace aaa 184 cas 27.0150yr ancont cre Tee culm soe — eu-tim Tse eu-lum "ae > eiclum, sae 182, gy mafora pte Do - mi PP orig tum per Domi Psion, ¥ De grins can 2730150 185186 cas 27. 30950Can 27 50150 187ue senza misura Ti fo.ra me, Do-mi-ne, de mor-te ge-ter-na, in di-e i Iss caus 2730050