Messa da Requiem contains:
01. Requiem (Quartet, Chorus) 08:47
02. Kyrie (Chorus) 02:39
03. Requiem (Chorus) 02:55
04. In memoria aeterna (Chorus) 03:32
05. Dies irae (Chorus) 02:29
06. Tuba mirum (Tenor, 2 Basses) 03:11
07. Judex ergo (Tenor, Bass) 05:17
08. Rex tremendae majestatis (Soprano, Bass, Chorus) 05:08
09. Ingemisco (Tenor) 06:01
10. Praeces meae (Alto, Tenor, Bass) 02:55
11. Confutatis maledictis (Quintet, Chorus) 02:08
12. Oro supplex (Bass) 03:11
13. Lacrymosa (Chorus) 05:35
14. Domine Jesu Christe (Bass, Male Chorus) 05:00
15. Lux aeterna (Chorus) 02:36
16. Libera me Domine (Quartet, Chorus) 08:24

♫ 01. Requiem
© Dynamic CDS 7813


♫ 02. Kyrie
© Dynamic CDS 7813


♫ 03. Requiem
© Dynamic CDS 7813


♫ 04. In memoria aeterna
© Dynamic CDS 7813


♫ 05. Dies irae
© Dynamic CDS 7813


♫ 06. Tuba mirum
© Dynamic CDS 7813


♫ 07. Judex ergo
© Dynamic CDS 7813


♫ 08. Rex tremendae majestatis
© Dynamic CDS 7813


♫ 09. Ingemisco
© Dynamic CDS 7813


♫ 10. Praeces meae
© Dynamic CDS 7813


♫ 11. Confutatis maledictis
© Dynamic CDS 7813


♫ 12. Oro supplex
© Dynamic CDS 7813


♫ 13. Lacrymosa
© Dynamic CDS 7813


♫ 14. Domine Jesu Christe
© Dynamic CDS 7813


♫ 15. Lux aeterna
© Dynamic CDS 7813


♫ 16. Libera me Domine
© Dynamic CDS 7813

Unfinished requiem for 3 soloists in D minor, chorus & orchestra (for his friend and composer Bellini; unfinished) contains: "Judex ergo", "Domine Jesu Christe" and "Ingemisco". The requiem is dedicated to Donizetti's friend Vincenzo Bellini (1801 - 1835). In this requiem, Donizetti brings into play the tradition of Italian church music and a new style, thoroughly inspired by music drama, like that which was to stamp Verdi's requiem forty years later. The work is broadly laid out, and its alternation of solo and choral parts is entirely operatic in nature. However, Donizetti could not disavow his training as a church musician, which emerges in the heavily word-oriented interpretation of the liturgical text and in repeated reminiscences of the rigorous compositional style. Although the work lacks the dramatic tension and power characteristic of Verdi's requiem, it nevertheless contains a number of strikingly concise effects, especially in the alternation of the typically Donizettian cantilenas and of the powerfully surging, dramatic choral sections. Particularly impressive is the "Dies Irae" with its vividly contrasting sections, which are nonetheless formally integrated into a larger context.

Originally begun as a work in memory of Bellini, this mass was never finished, only published as it existed in 1870 and, ironically, its first performance occurred on the occasion of the removal of Donizetti's remains to a grander site. Lacking a "Sanctus", "Benedictus" and "Agnus Dei", the work is nevertheless a large-scale (lasting more than an hour), powerful and compelling work which is one of Donizetti's most important non-operatic compositions.

Pietro Coppola wrote a requiem on the occasion of the removal of the ashes of the composer Vincenzo Bellini (03/11/1801 - 23/09/1835) from Paris to his native city Catania.

Requiem, for chorus & orchestra for benediction of tomb of Alfonso della Valle di Casanova.

Written in memory of Nicola Zingarelli. Donizetti hoped to succeed him as director of the Collegio di Musica, but owing to various intrigues he could neither get his appointment confirmed nor his resignation accepted.