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Giovanni Bottesini
1821 - 1889
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G. Bottesini
Giovanni Bottesini (22/12/1821 - 07/07/1889), an Italian double-bass virtuoso, conductor and composer. He was born in Crema (Lombardy). He studied at the conservatory of Milan. As a soloist Bottesini really was the "Pagannini of the double bass". He was widely acclaimed in many countries in both Europe and America. As a conductor he was highly talented and was even chosen by Verdi (his friend and mentor) to premier his opera "Aida" in Cairo, Egypt.
Source:Grove's dictionary of music and musicians
Messa da requiem
Composed in:1880
Musical form:mass
Text/libretto:Latin mass
Label(s):Naxos 8.572994
Fonit/Cetra LMA 3015 (LP)
Messa da requiem contains:
01. Introit: Requiem aeternam - Kyrie (Solo Quartet, Chorus) 09:20
02. Sequence: Dies irae (Chorus) 06:25
03. Sequence: Quid sum miser (Tenor) 05:12
04. Sequence: Quaerens me (Chorus) 04:07
05. Sequence: Ingemisco (Bass) 04:52
06. Sequence: Confutatis (Solo Quartet, Chorus) 04:23
07. Sequence: Lacrymosa (Solo Quartet, Chorus) 05:08
08. Offertory: Domine Jesu (Soprano) 04:41
09. Sanctus (Chorus) 01:38
10. Benedictus (Solo Quartet) 02:56
11. Agnus Dei: Agnus Dei (Soprano, Alto) 03:40
12. Agnus Dei: Requiem aeternam (Chorus) 05:01
13. Agnus Dei: Libera me (Alto, Chorus) 04:47
14. Agnus Dei: Dies illa (Solo Quartet, Chorus) 04:14

♫ 02. Dies irae
Naxos 8.572994
Source:booklet of cd: Naxos 8.572994
Messa da requiem is for solo voices, mixed choir and orchestra. There is also a transcription for piano and solo voice.
Bottesini's Requiem, first heard in 1880, is an unusual work in many respects. For one thing, it is larger than many other such pieces from his period. Its last number is not the usual 'Requiem aeternam...' (which in Bottesini's work is actually entitled 'Finale'). Instead, the formal finale is followed by a 'Libera me' and a dramatic 'Dies illa'. Elsewhere, too, there are many departures from the norm. These include a richly melodic 'Ingemisco' for bass solo, a 'Domine Jesu' for soprano solo, and a solo quartet (as opposed to the more customary chorus) for the 'Benedictus'.
The scoring is often operatic in nature--in this regard, the work resembles Verdi's more famous requiem. At intervals, the composer seems to have gotten carried away with trumpets, drums, and such, but for the most part this is a lovely work that treats its subject matter with considerable sensitivity.
Author:John W. Lambert
G. Bottesini