Lumen de lumine by Martin, Pizzetti, Puccini, Ó (2024/2024), Seoltóir Christoph Siebert, Trinitatiskirche, Cologne, Germany

Frank Martin's Mass for two four-part choirs a cappella and Ildebrando Pizzetti's “Messa di Requiem,” both begun in 1922, are among the most remarkable and haunting Mass settings of the 20th century. “A thing between God and me,” is how Martin described his only foray into liturgical music and kept the Mass in the drawer for a whopping 40 years. It was not premiered until 1963 and subsequently became one of the most popular sacred choral works for a cappella choir of the 20th century. Ildebrando Pizzetti's double choir “Messa da Requiem” can also join this ranks. His student Mario Castelnuovo-Tedesco described the composer, born in 1880, as “undoubtedly the greatest vocal polyphonist Italy has had since the glorious 16th century”. In fact, his Requiem, which is audibly committed to Gregorian chant, is also characterized by the clear architectural transparency that is characteristic of early vocal polyphony. With his six-minute Requiem for choir, viola and organ, Giacomo Puccini paid posthumous musical homage to his fellow composer Giuseppe Verdi on the fourth anniversary of his death. Despite the extreme reduction in musical means, the result was heartfelt, expressive mourning music that, quite unfairly, is rarely performed.