Requiem, Op. 48
Gabriel Fauré (1845-1924)
Introit & Kyrie; Offertory; Sanctus; Pie Jesu; Agnus Dei; Libera me; In Paradisum
Considering Gabriel Fauré’s Requiem was first performed in 1888, it is astonishing how little is known about that performance or why the piece underwent so many alterations afterwards. We do know that its première took place in the fashionable church of the Madelaine, in Paris, under Fauré’s direction and that Fauré said he wrote the Requiem ‘for the pleasure of it’. The original version comprised five rather than the seven sections known today. It was an intimate affair using a very small orchestra, probably a chamber group, in support of the organ as principal accompaniment. The second version (1893) included two extra movements: Offertory and Libera me, the latter having been written in 1877 as a free-standing composition. The newly-added woodwind and brass instruments are used sparingly. It seems that Fauré was keen to preserve the intimate character of the Requiem by ensuring the orchestra did not outweigh the voices. His choir at the Madelaine consisted of a mere 20 singers. The third version (1900) is more mysterious than the other two. First, the reasons for rewriting it again are unknown; second, it seems very likely that it was done by a pupil of Fauré because of the abundance of errors and misprints; third, the additions and adjustments do very little more than double up the lines of the second version.
The text of the Requiem provides further evidence that Fauré envisaged the work as a personal rather than a public utterance. The first version omits ‘The Day of Judgement’ altogether, thus excluding the ‘wrathful God’ who features so strongly in other Requiems. In contrast, Fauré included, as a final movement, In Paradisum, which is part of the burial service, not the requiem service. However, the later versions of the Requiem include ‘The Day of Judgement’ within Libera me, thus bringing the work more into line with the conventional expectations of a requiem mass.
The scoring of the work is unusual. Members of the audience will see many members of the orchestra patiently waiting to play. For example, the violins are omitted in favour of violas at several points; all of the wind players are silent in a majority of the movements. The dominant instrument is the organ. Other instruments reinforce the musical lines of the organ, giving the overall sound a quality that is unique to this enchanting work.
Gabriel Fauré (1845-1924)
Introit & Kyrie; Offertory; Sanctus; Pie Jesu; Agnus Dei; Libera me; In Paradisum
Considering Gabriel Fauré’s Requiem was first performed in 1888, it is astonishing how little is known about that performance or why the piece underwent so many alterations afterwards. We do know that its première took place in the fashionable church of the Madelaine, in Paris, under Fauré’s direction and that Fauré said he wrote the Requiem ‘for the pleasure of it’. The original version comprised five rather than the seven sections known today. It was an intimate affair using a very small orchestra, probably a chamber group, in support of the organ as principal accompaniment. The second version (1893) included two extra movements: Offertory and Libera me, the latter having been written in 1877 as a free-standing composition. The newly-added woodwind and brass instruments are used sparingly. It seems that Fauré was keen to preserve the intimate character of the Requiem by ensuring the orchestra did not outweigh the voices. His choir at the Madelaine consisted of a mere 20 singers. The third version (1900) is more mysterious than the other two. First, the reasons for rewriting it again are unknown; second, it seems very likely that it was done by a pupil of Fauré because of the abundance of errors and misprints; third, the additions and adjustments do very little more than double up the lines of the second version.
The text of the Requiem provides further evidence that Fauré envisaged the work as a personal rather than a public utterance. The first version omits ‘The Day of Judgement’ altogether, thus excluding the ‘wrathful God’ who features so strongly in other Requiems. In contrast, Fauré included, as a final movement, In Paradisum, which is part of the burial service, not the requiem service. However, the later versions of the Requiem include ‘The Day of Judgement’ within Libera me, thus bringing the work more into line with the conventional expectations of a requiem mass.
The scoring of the work is unusual. Members of the audience will see many members of the orchestra patiently waiting to play. For example, the violins are omitted in favour of violas at several points; all of the wind players are silent in a majority of the movements. The dominant instrument is the organ. Other instruments reinforce the musical lines of the organ, giving the overall sound a quality that is unique to this enchanting work.