Choral Union presents ‘War Requiem’

For 11 horrific hours on the night of Nov. 14, 1940, thousands of Luftwaffe incendiaries and tons of explosives and air mines pounded Coventry, England. When the all-clear sliced through the morning light, hundreds of civilians were dead and injured, the city in shambles. Among the homes, shelters, hospitals, churches and buildings destroyed was the Cathedral of St. Michael, its skeleton of walls still standing among piles of smoldering debris, where people lay buried in the rubble.

Also that morning, while grappling with shock and sorrow, a decision was made to rebuild the cathedral; not as an act of defiance, but rather a sign of faith, trust and hope for the future of the world, which, at that moment, seemed so fragile. The new cathedral was completed in 1962, built next to the preserved ruins of the old cathedral, a lasting reminder for future generations of the terrible devastation suffered.

British composer Benjamin Britten, a pacifist, was commissioned to write a piece for the ceremony commemorating the completion of the cathedral. Instead of a patriotic glorification of England or British soldiers, Britten wrote a war requiem, his statement on the wickedness, horror and human cost of war.

His requiem is modern, yet rooted in centuries of musical tradition. Britten combines the traditional Latin Catholic mass for the dead with the poetry of Wilfred Owen, a British WW I foot soldier killed a week before the Armistice was signed. Britten’s “War Requiem” instantly took its place among other notable requiems, such as those by Verdi, Mozart and Brahms.

Britten’s “War Requiem” is big, and because of its size and complexity, it is not performed as often as some others. It calls for a super-sized orchestra; a large chorus and a soprano soloist, who sing the mass; a baritone and a tenor soloist, representing two dead soldiers, one British, one German, who sing Owen’s haunting eyewitness poetry written from the trenches, accompanied by a separate chamber orchestra; and a boy’s choir stationed in the balcony, removed from worldly tumult, their innocence giving hope for humanity.

The challenge is not too big for Beverly Taylor, professor and director of choral activities at the School of Music. She should know — she conducted the piece here 10 years ago. “This is a fantastic work. I wanted to do it again the second I did it the last time. I’ve been waiting for enough time to pass in terms of not overdoing it and being able to afford it. We’re sort of at the middle or end of a war and it’s a chance for people to reflect on what is happening and the human cost of any kind of war,” says Taylor.

Taylor’s wish will be answered when the UW–Madison Choral Union and University Symphony Orchestra perform Britten’s “War Requiem” at 8 p.m. on Saturday, April 18, and at 7:30 p.m. on Sunday, April 19, at Luther Memorial Church, 1021 University Ave. Those two groups will be joined by the boys of the Madison Youth Choirs, a community group led by artistic director Michael Ross.

These days, though, Taylor is wrestling with nonmusical concerns, such as staging the musicians, finalizing copy for the programs, printing posters, planning publicity and seeing to the countless details that can sink a concert if not tended to. Taylor is quick to credit School of Music colleagues: choral coordinator Cheryl Olson; facilities manager Justin Richardson; and Rick Mumford, who handles publicity. “Once all those tasks are taken care of, I can bury myself in the music,” says Taylor.

Britten had the shape and acoustics of Coventry Cathedral in mind when he was composing the requiem. While Luther Memorial Church can’t duplicate Coventry Cathedral, it will “have an incredible surround-sound effect,” says Taylor. “The orchestras, choir and soprano are on the main floor, the soldier soloists are above them, and the boys choir is in the balcony, their innocence threading in and out.”

The requiem has many moods, from sorrow for fallen comrades that offer pity and consolation to outrage over death and destruction. Taylor says the work is intense and full of unusual meters and dissonances, reflecting the lack of comfort or rest. Sometimes the orchestra suggests gunfire and falling shells. Some sections are built upon the clashing interval of notes found in an ambulance siren. Britten creates musical edges that are then resolved and made perfect, representing our longing for peace, says Taylor.

Taylor admits to getting chills each time she hears some sections. “This work has something for everyone: music, history, poetry, peace, architecture. But even if people don’t know all that, they can walk in and be overwhelmed by the greatness of the music. The ending is so colossal, we arrive at love,” says Taylor. “I think people aren’t aware of the great richness that goes on here at the School of Music. If people haven’t ever attended a university concert, this will be a good one.”

Ten years ago, Taylor was worried no one would come to the performances. Three days before the concerts, few advance tickets had been sold. Surprise: Ticket sales at the door were phenomenal, with people coming from neighboring states to attend; they had to turn people away.

Taylor expects sellouts this time as well and advises those that know they want to come to get their tickets in advance so they will not be disappointed. Any remaining tickets will be available at the door. Tickets are available through the campus arts box office: 265-ARTS (2787), in person during regular hours at the Wisconsin Union Theater box office.

Performance schedule

“War Requiem” by Benjamin Britten

UW–Madison Choral Union, University Symphony Orchestra, and the boys of the Madison Youth Choirs

Soloists: James Doing, tenor; Michael Riley, baritone; Celeste Fraser, soprano

Saturday, April 18, 8 p.m.; and Sunday, April 19, 7:30 p.m.

Luther Memorial Church, 1021 University Ave.

Tickets $15; seniors and students $8. Available by phone, 265-ARTS (2787), online, or in person during regular hours at the Wisconsin Union Theater box office, 800 Langdon St.