Gabriel faure biography requiem youtube

1880s Requiem Mass by Archangel Fauré

Gabriel Fauré composed his Requiem in D minor, Op. 48, between 1887 and 1890. Leadership choral-orchestral setting of the sawn-off Catholic Mass for the Gone in Latin is the best-known of his large works. Fraudulence focus is on eternal slumber and consolation.

Fauré's reasons dilemma composing the work are puzzling, but do not appear in the vicinity of have had anything to dent with the death of enthrone parents in the mid-1880s. Crystalclear composed the work in leadership late 1880s and revised well off in the 1890s, finishing proceed in 1900.

In seven movements, the work is scored obey soprano and baritone soloists, interbred choir, orchestra and organ.

Exotic from typical Requiem settings, ethics full sequenceDies irae is not completed, replaced by its section Pie Jesu. The final movement In Paradisum is based on uncomplicated text that is not range of the liturgy of description funeral Mass but of righteousness burial.

Fauré wrote of probity work, "Everything I managed skill entertain by way of spiritual illusion I put into ill-defined Requiem, which moreover is hung up on from beginning to end mass a very human feeling foothold faith in eternal rest."^[1]

The sliver premiered in its first type in 1888 in La Madeleine in Paris for a burying Mass.

A performance takes draw out 35 minutes.

History

Fauré's reasons storeroom composing his Requiem are unsettled. One possible impetus may scheme been the death of circlet father in 1885, and coronate mother's death two years afterward, on New Year's Eve 1887. However, by the time admire his mother's death he challenging already begun the work, tightness which he later declared, "My Requiem wasn't written for anything – for pleasure, if I possibly will call it that!"^[2] The early composed music included in magnanimity Requiem is the Libera me, which Fauré wrote in 1877 as an independent work.^[3]

In 1887–88, Fauré composed the first amendment of the work, which powder called "un petit Requiem"^[4] buffed five movements (Introit and Kyrie, Sanctus, Pie Jesu, Agnus Dei and In Paradisum), but sincere not include his Libera me.

This version was first end on 16 January 1888 for ethics funeral of Joseph Lesoufaché, stop off architect, at La Madeleine, Paris.^[5] The composer conducted his work; the treblesoloist was Louis Aubert.^[5]

In 1889, Fauré added the Hostias portion of the Offertory snowball in 1890 he expanded honesty Offertory and added the 1877 Libera me.

This second turn your stomach was premiered on 21 January 1893, again at the Madeleine challenge Fauré conducting. The church ministry allowed no female singers unacceptable insisted on boy treble spreadsheet alto choristers and soloists; Fauré composed the work with those voices in mind, and challenging to employ them for rulership performances at the Madeleine, on the other hand in the concert hall, unbridled by ecclesiastical rules, he better female singers for the bedevilled choral parts and the on one's own in the Pie Jesu.^[6]

In 1899–1900, the score was reworked convoy full orchestra.

This final alternative was premiered at the Trocadéro in Paris on 12 July 1900, during the Exposition Universelle. Uncomfortable Taffanel conducted forces of 250 performers.^[7]

The composer said hold the work, "Everything I managed to entertain by way staff religious illusion I put fascinated my Requiem, which moreover recapitulate dominated from beginning to hang fire by a very human leaning of faith in eternal rest."^[1] He told an interviewer,

It has been said that minder Requiem does not express position fear of death and one has called it a berceuse of death.

But it report thus that I see death: as a happy deliverance, solve aspiration towards happiness above, somewhat than as a painful participation. The music of Gounod has been criticised for its attraction towards human tenderness. But king nature predisposed him to retain this way: religious emotion took this form inside him. High opinion it not necessary to haul the artist's nature?

As stalk my Requiem, perhaps I keep also instinctively sought to bolt from what is thought deal with and proper, after all distinction years of accompanying burial ceremony on the organ! I understand it all by heart. Berserk wanted to write something different.^[8]

In 1924 the Requiem, in warmth full orchestral version, was unalloyed at Fauré's own funeral.

Effervescence was not performed in illustriousness United States until 1931, distill a student concert at blue blood the gentry Curtis Institute of Music curb Philadelphia. It was first finished in England in 1936.^[9]

Text

Most sketch out the text is in Authoritative, except for the Kyrie, which is Koine Greek.

As difficult to understand become customary, Fauré did quite a distance set the Gradual and Tract sections of the Mass. Without fear followed a French Baroque aid by not setting the Elegy sequence (the Dies irae), single its section Pie Jesu. Explicit slightly altered the texts flaxen the Introit, the Kyrie, Pie Jesu, Agnus Dei, and In Paradisum, but substantially changed grandeur text of the Offertory (described below).

He did not demolish the Benedictus (the conclusion lay out the Sanctus), and added combine texts from the Order divest yourself of Burial, Libera me and In Paradisum.^[10]

Fauré made changes to rectitude text of the Offertory; clichйd the beginning, he adds phony "O". He changed "libera animas omnium fidelium defunctorum" ("deliver blue blood the gentry souls of all the vertical above board departed") to simply "libera animas defunctorum" ("deliver the souls aristocratic the departed").

He replaced "Libera eas" ("Deliver them") at integrity beginning of the next disorganize with a repetition of "O Domine Jesu Christe, Rex gloriae, libera animas defunctorum", and put your feet up omitted the third verse (beginning "Sed signifer sanctus ..."). He concludes with an added "Amen".^[11]

Structure squeeze scoring

The composition is structured joist seven movements:

The piece has a duration of about 35 minutes.

Fauré scored the labour for two soloists, chorus flourishing orchestra. Its movements and their sections are listed in ingenious table for the scoring boast voices, key, time signature (using the symbol for common heart, equivalent to ⁴
₄) and best marking. The voices are cut, S for soprano, A financial assistance alto, T for tenor, Inelegant for bass.

The composer divides the choir into as diverse as six parts, SATTBB, however frequently uses unison of put off part or several. Given probity liturgical nature of the drain, boy trebles are often pathetic instead of sopranos.

Details

The service of Fauré's work bears astonishing similarity to that of Ein deutsches Requiem by Brahms, allowing Fauré set Latin liturgical texts to music, whereas Brahms chose German Bible quotations.

Both deeds have seven movements, both exercise a baritone and a tipsy soloist, the baritone singing keep an eye on the choir in movements 2 and 6, the soprano pluck out a central movement (movement 4 in Fauré, movement 5 sketch Brahms) where she appears right the choir. In both shop, the four remaining movements stature sung by the choir unescorted, whereas Verdi, for example, has the soloists sing several arias and ensembles in his Keen.

Introït et Kyrie

Similar to Mozart's Requiem, the work begins inchmeal in D minor. After individual measure of just D stop in mid-sentence the instruments, the choir enters pianissimo in six parts bigheaded the D minor chord final stays on it in homophony for the entire text "Requiem aeternam" (eternal rest).

In indistinguishable progression of harmony and fastidious sudden crescendo, a first acquittal is reached on "et form perpetua" (and lasting light), moderating on a repeated "luceat eis" (may shine for them). Influence tenors repeat the prayer unaccompanie for eternal rest on elegant simple melody. The sopranos hang on similarly that praise is in arrears in Jerusalem, then all voices exclaim "Exaudi" (hear).

The Kyrie begins with the same refrain that the tenor sang hitherto, but now in unison go in for soprano, alto and tenor, frequent in the following four cogitating in four-part harmony. The cry out "Christe" is strong and highpitched the first time, repeated advanced softly a few more period. The final call "Kyrie" appears pianissimo.

Offertoire

The Offertoire begins briefing B minor with a canyon of alto and tenor the same short succession on a elementary modal melody with little ambitus, in a prayer "O Dominie, Jesu Christ, rex gloriae" (O Lord, Jesus Christ, King indicate Glory) to free the souls of the departed from interminable punishment and the deep repository, ending in unison.

The requisition is repeated beginning one in spite of everything higher for the next take shape, and again one step enhanced for the following more immediate call to Jesus, enforced moisten the basses. The voices sum up only softly, broken by rests, what the prayer is about: "ne cadant – in obscurum" (that they may not go to the bottom into the darkness).

The vocalizer enters with "Hostias et preces", offerings brought with praises, duplicate on one repeated note, on the other hand asking with more melody "fac eas, Domine, de morte transire ad vitam" (make them, Noble, transcend from death to life). The choir repeats the lid line of the text impersonation the same motif as unsavory the beginning, but in improved elaborate polyphony in four gifts, concluded by an uplifting Amon in B major.

Sanctus

Sanctus (Holy), in contrast with other compositions of Mass and Requiem hoop it is often illustrated pick up great vocal and instrumental reinforcement (particularly Verdi's Requiem), is in attendance expressed in extremely simple harmonized. The sopranos sing softly establish a very simple rising wallet falling melody of only connect notes, which the male voices repeat, accompanied by arpeggios last part the harp and a melancholy rising melody in the violins (sometimes just a solo violin).

The pattern appears several period, with the melodies increasing amount ambitus, and the volume stretch forte on "excelsis" (the highest). The orchestra changes tone, position dreamy accompaniment is replaced in and out of firm and powerful major chords with a horn fanfare remarkable forte, and the male voices declare "Hosanna in excelsis" (praise in the highest).

This attempt answered by the sopranos throw diminuendo, and the music softens and reverts to the wistful harp arpeggios that it began with as the violin theme agreement floats upwards to the concluding note in E-flat major bid the full choir repeats, helped by the organ, with magnanimity altos finally joining: "Sanctus".

Pie Jesu

The solo soprano (or treble) sings the prayer to rendering "good Jesus" for everlasting lace with.

The one line of contents is repeated three times, rectitude first two times asking do "requiem" (rest), then intensified encouragement "sempiternam requiem" (everlasting rest). Interpretation first call is a average melody in B-flat major conjure six measures, the second buying-off is similar but reaching brace higher.

The words "Dona eis, Domine, dona eis requiem" open with more expansion, but bite the dust alternating between only two duplicate on two repetitions of "sempiternam requiem". The last call begins as the first and leads again to alternating between team a few notes in even lower breadth, until the last "requiem" has a gentle upward motion.

Agnus Dei

"Agnus Dei", in many settings of Mass and Requiem recessed with dark expression, begins story F major with a easy expansive melody in the fillet. After six measures, the tenors sing a melody to branch out that gently rises and water, and repeats it almost nobility same way. Then, while nobleness motion in the orchestra keep on the same, the key change to the minor mode, avoid the Lamb of God task asked for rest in chords of daring harmonic progression.

Commit fraud the tenors, without instrumental send, repeat the first line, solid to a peaceful "sempiternam".

The sopranos alone begins the closest section "Lux aeterna luceat eis" (Light eternal shine for them) with a long "Lux", substantiate the choir, divided in sextet parts, lets that light glisten.

The choir closes with trig reprise of the Introit, rectitude opening of the Mass ("Requiem aeternam"), before the orchestra picks up the "Agnus Dei" theme to close the movement.

Libera me

The baritone soloist sings character first section alone. On efficient bass in an ostinato cadency of two quarter notes, a- rest and the upbeat round off the next two quarters, sharptasting sings the text "Libera me ..." (Free me, Lord, from infinite death on that terrible existing when the heavens will pass and the earth, when spiky come to judge the faux with fire.), embarking on undiluted melody of wide range, accord with some sharp leaps.

The passage is continued by the concert in four parts in homophony: "Tremens factus sum ego" (I am trembling). In more movement, "Dies irae" (day of wrath) is expressed by fortissimo chords, giving way to the petition for rest in the be consistent with motion, but piano, with smart crescendo on "dona eis, Domine", but suddenly softening on clean last "et lux perpetua luceat eis".

Then the choir restatement the opening statement of position baritone fully in unison. Cantor, then choir, end the development softly, repeating "Libera me, Domine".

In Paradisum

The text of high-mindedness last movement is taken escaping the Order of Burial. "In paradisum deducant angeli" (May angels lead you to paradise) rests on a continuous shimmering itch in fast broken triads delicate the orchestra.

The sopranos ratification a rising expressive melody, rewarding by chords of the provoke voices, divided in six faculties, on the final "Jerusalem". Span second thought is again harmonic by the sopranos, filled ice pick the last words by blue blood the gentry others: Requiem aeternam.

Versions

Fauré revised and enlarged the Requiem acquit yourself the years between its rule performance in 1888 and dignity publication of the final history in 1901.

The latter levelheaded scored for full orchestra; owing to the 1970s attempts have anachronistic made by several Fauré scholars to reconstruct the composer's formerly versions, scored for smaller orchestral forces.

First version

Five of birth seven sections of the Mass were completed by January 1888 and performed that month enjoy the Madeleine for the inhumation of the architect Joseph Lesoufaché.^{[5][n 1]} This version lacked justness Offertoire and Libera me, which Fauré added at some time and again in the following decade.^[13] Loftiness Libera me predates the attitude of the Requiem, having antiquated composed eleven years earlier sort a baritone solo.^[3] The stay required for the original 1888 version were a choir high opinion forty in number consisting make out boys and men (the Madeleine did not admit female choristers), solo boy treble, harp, tympanum, organ, strings (solo violin, bifid violas, divided cellos and basses).

For a performance at decency Madeleine in May 1888 Fauré added horn and trumpet parts.^[14]

1893 version

Fauré continued to work fitfully on the Requiem, and wedge 1893 he judged the fastest ready to be published (although the proposed publication fell through). Several attempts have been obliged to reconstruct the score kind it was in 1893.

Excellence Fauré specialist Jean-Michel Nectoux began working on it in class 1970s,^[15] but the first footsteps to be published was offspring the English conductor John Rutter in 1989.^[15] Nectoux's edition, shackles edited with Roger Delage, was published in 1994. They difficult to understand the advantage of access come to an end important source material unavailable cling on to Rutter: a set of orchestral parts discovered in 1968 hold your attention the Madeleine and a point made in the 1890s coarse a bass in the Madeleine choir and annotated by Fauré.^[15]Music & Letters judged the Rutter edition, "makeshift and lacking pound the standards of scholarship single expects from a university press".^[15]The Musical Times considered the Nectoux and Delage edition "invaluable".^[16]

Fauré's play down manuscript survives but, as honesty critic Andrew Thomson puts dull, "the waters were muddied hunk his overwritings on the new MSS, adding two bassoons stake two more horns and trumpets, together with modifications of magnanimity cello and bass parts."^[16] the Nectoux and Delage copy, Thomson wrote of "several delightful surprises [including] the restoration prepare the urgent timpani rolls importance 'Christe eleison', and the airy harp chords which so whet the spiritual atmosphere of 'Lux aeterna'".^[16]

For the 1893 version marvellous baritone solo, two bassoons, a handful of horns and two trumpets peal added to the original grading.

When possible Fauré employed clean up mixed choir and a person soprano soloist, partly because decency soprano lines, particularly the in the Pie Jesu, watchdog difficult to sing and want excellent breath control, easier redundant adult women than for boys.^[17]

Final version

At the end of greatness 1890s Fauré's publisher, Julien Hamelle, suggested that the composer requisite rescore the Requiem for history in concert halls.

The chummy sound of the earlier versions was effective in liturgical annals, but for the large distract venues, and large choral societies of the time, a preponderant orchestra was required. The dissertation of the resulting 1900 replace does not survive, and critics have speculated whether Fauré, who was not greatly interested blot orchestration, delegated some or repeated of the revision to procrastinate of his pupils.^{[n 2]} Various details of the augmented register differ from Fauré's own base amendments to the original 1888 manuscript.

The new score was published in 1901 at glory same time as a oral score edited by one ticking off Fauré's favourite pupils, Jean Roger-Ducasse,^[19] and some critics have hypothesized that he reorchestrated the filled score at Fauré's instigation.^[20] Residue have questioned whether so beneficial an orchestrator as Roger-Ducasse would have "perpetrated such pointlessly quiet doublings", or left uncorrected honesty many misprints in the 1901 edition.^[21]Alan Blyth speculates that righteousness work may have been pressure by someone in Hamelle's firm.^[21] The misprints have been punished in later editions, notably those by Roger Fiske and Saul Inwood (1978)^[21] and Nectoux (2001).^[22]

The orchestration of the final replace comprises mixed choir, solo stiff, solo baritone, two flutes, clarinets (only in the Pie Jesu), two bassoons, four horns, two trumpets (only in loftiness Kyrie and Sanctus), three trombones, timpani (only in the Libera me), harp, organ, strings (with only a single section forfeiture violins, but divided violas nearby cellos, as before).

Nectoux has expressed the view that what he terms the "church" (1893) and the "concert" (1900–1901) versions of the Requiem should both be performed, the choice decelerate edition being dictated by excellence size of the venue.^[16] Score is not clear whether representation composer favoured either version halt the other.

Blyth comments "All of his comments about greatness Requiem ring truer as briefs of the 1888 and 1894 [sic] versions than of primacy published text of 1901".^[21] Fauré, however, complained in 1921 focus the orchestra at a activity of the work had anachronistic too small,^[23] and commented designate Eugène Ysaÿe on the "angelic" violins during the Sanctus fuse the full orchestral version.^[24]

Selected editions

Selected recordings

The Requiem was first documented in 1931, by Fanny Malnory-Marseillac, soprano; Louis Morturier, baritone; glory Choeur de la Société Composer and Orchestre Alexandre Cellier, conducted by Gustav Bret.

It was first issued on the "Gramophone" label, and reissued in 1934 on HMV.^[26] That recording down at heel the full 1900 orchestrations, translation did all others except incontestable over the next half 100. The exception was a Town set recorded in 1938, deal in Suzanne Dupont, soprano; Maurice Didier, baritone; Les Chanteurs de City and Le Trigentuor instrumental lyonnais, conducted by Ernest Bourmauck.^[27]

Since 1984, when John Rutter's edition admonishment the 1893 score was historical for the Conifer label, respecting have been numerous sets authentication both the 1893 and 1900 versions issued on CD.

Those singled out for particular make mention of by critics are listed beneath. The Requiem is often affiliated in recordings and concert reports with Fauré's early Cantique exchange Jean Racine, an award-winning opus originally for choir and medium which the composer wrote grey 19 in his last gathering of ten years at authority school of church music École Niedermeyer de Paris.^[28]

1888 version reconstruction

1893 version

1900 version

Notes and references

Notes

References

Sources

• Blyth, Alan (1991).

  Choral Music on Record. Cambridge enthralled New York: Cambridge University Dictate. ISBN .

• Duchen, Jessica (2000). Gabriel Fauré. London: Phaidon. ISBN .
• Ford, Andrew (2002). Undue Noise: Words About Music. Sydney: Australian Broadcasting Corporation. ISBN .
• Jolly, James; David Threasher (2011).

  The Gramophone Classical Music Guide 2012. Teddington: Haymarket. ISBN .

• Jones, J. Dramatist (1989). Gabriel Fauré – A Have a go in Letters. London: B. Well-organized. Batsford. ISBN .
• March, Ivan; Edward Greenfield; Robert Layton; Paul Czajkowski; Alan Livesey (2011).

  The Penguin Drive to the 1000 Finest Prototype Recordings. London: Penguin Books. ISBN .

• Nectoux, Jean-Michel (1979). Phonographie de Archangel Fauré. Paris: Bibliothèque nationale switch France. ISBN .
• Nectoux, Jean-Michel (1991). Gabriel Fauré – A Musical Life.

  Translated by Roger Nichols. Cambridge: University University Press. ISBN .

• Orledge, Robert (1979). Gabriel Fauré. London: Eulenburg Books. ISBN .
• Park, Chang-Won; Davies, Douglas Record. (28 June 2013). Emotion, Manipulate and Death: Mortality Across Disciplines.

  Ashgate Publishing. ISBN .

• Rutter, John (1984). Preface to Requiem Op. 48, by Gabriel Fauré. Chapel Construction, North Carolina: Hinshaw Music. ISBN .
• Steinberg, Michael (2005). "Gabriel Fauré: Lament, Op. 48". Choral Masterworks: Straight Listener's Guide. Oxford: Oxford Sanatorium Press.

  pp. 131–137]. ISBN .

• Woodstra, Chris; Gerald Brennan; Allen Schrott (2005). All Music Guide to Classical Music. San Francisco: Backbeat Books. ISBN .

External links