Requiem (Verdi) in the context of "Requiem"

Giuseppe Fortunino Francesco Verdi (/ˈvɛərdi/ VAIR-dee, Italian: [dʒuˈzɛppe ˈverdi]; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto, a small town in the modern province of Parma (at the time a department of the French Empire), to a family of moderate means, receiving a musical education with the help of a local patron, Antonio Barezzi. Verdi came to dominate the Italian opera scene after the era of Gioachino Rossini, Vincenzo Bellini, and Gaetano Donizetti, whose works significantly influenced him.

In his early operas, Verdi demonstrated sympathy with the Risorgimento movement which sought the unification of Italy. He also served briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi did not seek to ingratiate himself with popular movements. As he became professionally successful, he was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He found further fame with the three peaks of his 'middle period': Rigoletto (1851), Il trovatore and La traviata (both 1853). He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).

Music for the Requiem Mass is any music that accompanies the Requiem, or Mass for the Dead, in the Catholic Church. This church service has inspired hundreds of compositions, including settings by Victoria, Mozart, Berlioz, Verdi, Fauré, Dvořák, Duruflé and Britten. For centuries settings of the Mass for the Dead were to be chanted in liturgical service monophonically. Later the settings became polyphonic, Victoria's famous 1605 a cappella work being an example. By Mozart's time (1791) it was standard to embed the dramatic and long Dies irae (Day of Wrath) sequence, and to score with orchestra. Eventually many settings of the Requiem, not least Verdi's (1874), were essentially concert pieces unsuitable for church service.