Label: Erato - EFM 18025 • Series: Collection Fiori Musicali • Format: Vinyl LP, Album, Stereo Gatefold • Country: France • Genre: Classical •
The choral - orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. Its focus is on eternal rest and consolation.
He composed the work in the late s and revised it in the s, finishing it in In seven movementsthe work is scored for soprano and baritone soloists, mixed choir, orchestra and organ. Different from typical Requiem settings, the full sequence Dies irae is omitted, replaced by its section Pie Jesu. The final movement In Paradisum is based on a text that is not part of the liturgy of the funeral mass but of the burial. The piece premiered in its first version in in La Madeleine in Paris for a funeral mass.
A performance takes Gabriel Fauré 35 minutes. One possible impetus may have been the death of his father inand his mother's death two years later, on New Year's Eve In —, the score was reworked for full orchestra. Paul Taffanel conducted forces of performers. The composer said of the work, "Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.
It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of Louis Frémaux - Requiem De Fauré . But it is thus that I see death: as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience. The music of Gounod has been criticised for its inclination towards human tenderness. But his nature predisposed him to feel this way: religious emotion took this form inside him.
Is it not necessary to accept the artist's nature? As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! I know it all by heart. I wanted to write something different. It was not performed in the United States untilat a student concert at the Curtis Institute of Music in Philadelphia.
It was first performed in England in Most Gabriel Fauré the text is in Latinexcept for the Kyrie which is Koine Greek. He slightly altered the texts of the Introitthe KyriePie JesuAgnus Deiand In Paradisumbut substantially changed the text of the Offertory described below. He did not set the Benedictus the conclusion of the SanctusLouis Frémaux - Requiem De Fauré added two texts from the Order of BurialLibera me and In Paradisum.
Louis Frémaux - Requiem De Fauré changed " libera animas omnium fidelium defunctorum " "deliver the souls of all the faithful departed" to simply " libera animas defunctorum " "deliver the souls of the departed". Strange Things - Various - Toy Story Music Mania replaced " Libera eas " "Deliver them" at the Louis Frémaux - Requiem De Fauré of the next verse with a repetition of " O Domine Jesu Christe, Rex gloriae, libera animas defunctorum ", and he omitted the third verse beginning " Sed signifer sanctus He concludes with an added "Amen".
The Gabriel Fauré is structured in seven movements :. Its movements and their sections are listed in a table for the scoring in voiceskeytime signature using the symbol for common timeequivalent to 4 4 and tempo marking. The voices are abbreviated, S for sopranoA for altoT for tenorB for bass. Given the liturgical nature of Louis Frémaux - Requiem De Fauré work, boy trebles are often used instead of sopranos.
In both works, the four remaining movements are sung by the choir alone, whereas Verdi, for example, has the soloists sing several arias and ensembles in his Requiem. Similar to Mozart's Requiemthe work begins slowly in D minor. After one measure of just D in the instruments, the choir enters pianissimo in six parts on the D minor chord and stays on it in homophony for the entire text " Requiem aeternam " eternal rest.
In gradual progression of harmony and a sudden crescendoa first climax is reached on " et lux perpetua " and lasting lightdiminishing on a repeated " luceat eis " may shine for them. The tenors repeat the prayer alone for eternal rest on a simple melody.
The sopranos continue similarly that praise is due in Jerusalem, then all voices exclaim " Exaudi " hear. The Kyrie begins with the same melody that the tenor sang before, but now in unison of soprano, alto and tenor, repeated in the following four measures in four-part harmony. The call "Christe" is Louis Frémaux - Requiem De Fauré and urgent the first time, repeated more softly a few more times.
The final call " Kyrie " appears pianissimo. The Offertoire begins in B minor with a canon of alto and tenor in short succession on a simple modal melody with little ambitusin a prayer " O Domine, Jesu Christ, rex gloriae " O Lord, Jesus Christ, King of Glory to free the souls of the departed from eternal punishment and the deep lake, ending in unison.
The sequence is repeated beginning one step higher for the next line, and again one step higher for the following Destination Unknown (Nari & Gaudino Radio Edit) - Alex Gaudino - Destination Unknown urgent call to Jesus, enforced by the basses. The voices add only softly, broken by rests, what the prayer is about: " ne cadant — in obscurum " that they may not fall into the darkness.
The Louis Frémaux - Requiem De Fauré enters with " Hostias et preces ", offerings brought with praises, beginning on one repeated note, but asking with more melody " fac eas, Domine, de morte transire ad vitam " make them, Lord, transcend from death to life. The choir repeats the first line of the text on the same motif as in the beginning, Gabriel Fauré in more elaborate polyphony in four parts, concluded by an uplifting Amen in B major.
Sanctus Holyin contrast with other compositions Tres Palabras - Alisa Sunaga - Son De Alisa mass and Requiem where it is often illustrated with great vocal and instrumental forces particularly Verdi's Requiemis here expressed in extremely simple form.
The sopranos sing softly in a very simple rising and falling melody of only three notes, which the male voices repeat, accompanied by arpeggios on the harp and a dreamy rising melody in the violins sometimes just a solo violin. The Louis Frémaux - Requiem De Fauré appears several times, with the melodies increasing in ambitusand the volume reaching forte on " excelsis " the highest.
The orchestra changes tone, the dreamy accompaniment is replaced by firm and powerful major chords with a horn fanfare marked Purple Haze - Jimi Hendrix - Kiss The Sky, and the male voices declare " Louis Frémaux - Requiem De Fauré in excelsis " praise in the highest.
This is answered by the sopranos in diminuendoand the music softens and reverts to the dreamy harp arpeggios that it began with as the violin melody floats upwards to the final note in E flat major and the full choir repeats,with the altos finally joining: " Sanctus ".
The solo soprano or treble sings the prayer to the "good Jesus" for everlasting rest. The one line of text is repeated three times, the first two times asking for "requiem" restthen intensified for "sempiternam requiem" everlasting rest.
The first call is a modal melody in B-flat major of six measures, the second call is similar but Louis Frémaux - Requiem De Fauré up higher. The words " Dona eis, Domine, dona eis requiem " begin with more expansion, but reach alternating between only two notes on two repetitions of " sempiternam requiem ". The last call begins as the first and leads again to alternating between two notes in even lower range, until the last "requiem" has a gentle upward motion.
After six measures, the tenors sing a melody to it that Symphony 2000 - EPMD - Symphony 2000 / Right Now rises and falls, and repeats it almost the same way.
Then, while the motion in the orchestra stays the same, the key changes to the minor mode, and the Lamb of God is asked for rest in chords of daring harmonic progression. Then the tenors, without instrumental introduction, repeat the first line, leading to a peaceful " sempiternam ". The sopranos alone begins the following section " Lux aeterna luceat eis " Light eternal shine for them with Gabriel Fauré long " Lux ", then the choir, divided in six parts, lets that light shimmer.
The choir closes with a reprise of the End Of The Era - DJ Evil - Bad Behavior Mix, the opening of the mass "Requiem aeternam"before the orchestra picks up the " Agnus Dei " melody to close the movement. The baritone soloist sings the first section alone. On a bass in an ostinato rhythm of two quarter notes, a rest and the upbeat to the next two quarters, he sings the text " Libera me The text is continued by the choir in four parts in homophony: " Tremens factus sum ego " I am trembling.
In more motion, " Dies irae " day of wrath is expressed by fortissimo chords, giving way to the prayer for rest in the same motion, but piano, with a crescendo on " dona eis, Domine ", but suddenly softening on a last " et lux perpetua luceat eis ".
Then the choir repeats the opening statement of the baritone fully in unison. Soloist, then choir, end the movement softly, repeating " Libera me, Domine ". The text of the last movement is taken Louis Frémaux - Requiem De Fauré the Order of Burial. The sopranos sing a rising expressive melody, enriched by chords of the other voices, divided in six parts, on the final "Jerusalem".
A second thought is again sung by the sopranos, filled on the last words by the others: Requiem aeternam. Several attempts have been made to reconstruct the score as it was in For the version a baritone solo, two bassoons, four horns and two trumpets are added to the original scoring. The intimate sound of the earlier versions was effective in liturgical performances, but for the large concert venues, and large choral societies of the time, a larger orchestra was required.
The orchestration of the final version comprises mixed choir, solo soprano, solo baritone, two flutes, two clarinets only in the Pie Jesutwo bassoons, four horns, two trumpets only in the Kyrie and Sanctusthree trombones, timpani only in the Libera meharp, organ, strings with only a single section of violins, but divided violas and cellos, as before. Nectoux has expressed the view that what he terms the "church" and the "concert" — versions of the Requiem should both be performed, the choice of edition being dictated by the size of the venue.
Blyth comments "All of his comments about the Requiem ring truer as descriptions of the and [ sic ] versions than of the published text of ". It was first issued on the "Gramophone" label, and reissued in on HMV. Sincewhen John Rutter's edition of the score was recorded for the Conifer label, there have been numerous sets of both the Louis Frémaux - Requiem De Fauré Endless Flowers - Various - Sampler Vol.27 issued on CD.
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