Benjamin Britten's War Requiem, crafted in the years 1961-1962, stands as a remarkable non-liturgical requiem, showcasing its brilliance through a composition that involves three soloists (soprano, tenor, and baritone), a mixed choir, a boys' choir, an organ, and the harmonious collaboration of two orchestras - namely, a symphony orchestra and a chamber orchestra. Widely regarded as one of the most impressive classical works of the twentieth century, the War Requiem weaves together various elements to create a poignant and thought-provoking musical narrative.
This masterpiece found its genesis in the context of the inauguration of Coventry's new cathedral on May 30, 1962, an event of symbolic significance given the complete destruction of the original fourteenth-century cathedral during the Second World War. Britten, with a keen sense of artistic purpose, selected a traditional Latin funeral mass as the foundation, skillfully performed by the choir and a soprano soloist. However, the composition takes an innovative turn as liturgical sounds intermittently recede, giving way to a chamber orchestra accompanied by two male soloists. Herein lies the transformative aspect of the War Requiem, where nine war poems penned by Wilfred Owen - himself a soldier who met his fate in the trenches of France just a week before the armistice in November 1918 - are interwoven into the fabric of the musical tapestry. The boys' choir, making sporadic appearances, adds another layer of emotive depth.In the initial movements of the composition, the three distinct
groups - the choir and soprano, the chamber orchestra with male soloists,
and the boys' choir - seem to maintain a certain independence. However, as
the piece unfolds, a mesmerizing fusion occurs, blurring the boundaries
between these entities and creating a cohesive and immersive experience
for the listener.
Benjamin Britten, an avowed atheist and ardent pacifist, imbued the War
Requiem with a profound exploration of the futility of war and the
hypocrisy of the church during times of conflict. The choice to
incorporate Wilfred Owen's war poems, saturated with Christian allusions
owing to Owen's earlier training as a priest, adds a layer of poignant
reflection on the profound internal struggles faced by the poet
throughout his life. In essence, the War Requiem not only serves as a
testament to Britten's artistic genius but also stands as a powerful
critique of the human condition, encapsulating the themes of war, faith,
and their complex interplay.
The thematic core of the War Requiem finds its most poignant expression
in the Offertory, where the choir delivers a stirring fugue, chanting
the words "Quam olim Abrahae promisisti, et semini eius" (What is
promised to Abraham, and to his posterity). The subsequent incorporation
of Wilfred Owen's poem on Abraham's sacrifice seamlessly aligns with
this musical narrative. However, it is only in the closing lines of the
poem that the profound message emerges:
'...sacrifice the ram of pride instead of him.'
But the old man would not do so, but slew his son,
and half the seed of Europe, one by one.
Following this nuanced confrontation with church authority, the choir
gradually dissipates, revisiting the same fugue. Yet, this time, the
jubilance with which the choir commenced is notably absent, replaced by a
somber resonance that echoes the weight of the thematic exploration.
An intricately woven tapestry of motifs further enriches the
composition. Notably, the recurrent interval of C and F#, known as the
augmented fourth or tritone, manifests throughout the piece. This
distinctive interval makes its presence felt in the resonating church
bells at the commencement of "Requiem aeternam" and resurfaces
poignantly in the concluding moments of "Libera me." Another notable
motif is the octatonic ladder, initiating a seismic shaking of heaven
and earth during the climactic "Libera me."
In the Sanctus, where the text professes "Pleni sunt coeli et terra
gloria tua" (Heaven and earth are full of Your glory), the choir takes
center stage, engaging in an eight-part harmony that employs all twelve
notes. Adding an element of chaos, each choir member independently
intones the text at varying tempos, creating a cacophony of sounds that
mirrors the tumultuous themes embedded in the requiem. This masterful
layering of musical elements not only underscores Britten's
compositional prowess but also serves as a profound vehicle for the
exploration of war, sacrifice, and the complex interplay between faith
and humanity.
Listen to: John Eliot Gardiner, conductor
Luba Orgonasova, soprano
Anthony Rolfe Johnson, tenor
Boje Skovhus, baritone
NDR Elbphilharmonie Orchestra
Monteverdi Choir London, NDR choir & Tölzer Boys' Choir
Recording from the SHMF final concert in 1992, St. Marienkirche in Lübeck