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2404:, suggested that the composer should rescore the Requiem for performance in concert halls. 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 autograph of the resulting 1900 version does not survive, and critics have speculated whether Fauré, who was not greatly interested in orchestration, delegated some or all of the revision to one of his pupils. Many details of the augmented score differ from Fauré's own earlier amendments to the original 1888 manuscript. The new score was published in 1901 at the same time as a
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260:. This second version was premiered on 21 January 1893, again at the Madeleine with Fauré conducting. The church authorities allowed no female singers and insisted on boy treble and alto choristers and soloists; Fauré composed the work with those voices in mind, and had to employ them for his performances at the Madeleine, but in the concert hall, unconstrained by ecclesiastical rules, he preferred female singers for the upper choral parts and the solo in the
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2012:" (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 more urgent call to Jesus, enforced by the basses. The voices add only softly, broken by rests, what the prayer is about: "
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Fauré's own manuscript survives but, as the critic Andrew
Thomson puts it, "the waters were muddied by his overwritings on the original MSS, adding two bassoons and two more horns and trumpets, together with modifications of the cello and bass parts." Reviewing the Nectoux and Delage edition, Thomson
2317:
Fauré revised and enlarged the
Requiem in the years between its first performance in 1888 and the publication of the final version in 1901. The latter is scored for full orchestra; since the 1970s attempts have been made by several Fauré scholars to reconstruct the composer's earlier versions, scored
1855:
soloist, the baritone singing with the choir in movements 2 and 6, the soprano in a central movement, movement 4 in Fauré, movement 5 in Brahms where she appears with the choir. In both works, the four remaining movements are sung by the choir alone, whereas Verdi, for example, has the soloists sing
295:
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
2412:, and some critics have speculated that he reorchestrated the full score at Fauré's instigation. Others have questioned whether so skilled an orchestrator as Roger-Ducasse would have "perpetrated such pointlessly inconspicuous doublings", or left uncorrected the many misprints in the 1901 edition.
2517:
Since 1984, when John Rutter's edition of the 1893 score was recorded for the
Conifer label, there have been numerous sets of both the 1893 and 1900 versions issued on CD. Those singled out for particular mention by critics are listed below. The Requiem is often combined in recordings and concert
2169:
with a fluent expansive melody in the orchestra. After six measures, the tenors sing a melody to it that gently 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
67:
is the best-known of his large works. Its focus is on eternal rest and consolation. Fauré's reasons for composing the work are unclear, but do not appear to have had anything to do with the death of his parents in the mid-1880s. He composed the work in the late 1880s and revised it in the 1890s,
2444:
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 of edition being dictated by the size of the venue. It is not clear whether the composer favoured either version over the other. Blyth
2344:
predates the rest of the
Requiem, having been composed eleven years earlier as a baritone solo. The forces required for the original 1888 version were a choir about forty in number consisting of boys and men (the Madeleine did not admit female choristers), solo boy treble, harp, timpani, organ,
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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" (rest), then intensified for "sempiternam requiem" (everlasting rest). The first call is a modal melody in
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The
Requiem was first recorded in 1931, by Fanny Malnory-Marseillac, soprano; Louis Morturier, baritone; the Choeur de la Société Bach and Orchestre Alexandre Cellier, conducted by Gustav Bret. It was first issued on the "Gramophone" label, and reissued in 1934 on
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comments "All of his comments about the
Requiem ring truer as descriptions of the 1888 and 1894 versions than of the published text of 1901". Fauré, however, complained in 1921 that the orchestra at a performance of the work had been too small, and commented to
1979:
2366:, was published in 1994. They had the advantage of access to important source material unavailable to Rutter: a set of orchestral parts discovered in 1968 in the Madeleine and a score made in the 1890s by a bass in the Madeleine choir and annotated by Fauré.
2213:
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Fauré continued to work intermittently on the
Requiem, and by 1893 he judged the score ready to be published (although the proposed publication fell through). Several attempts have been made to reconstruct the score as it was in 1893. The Fauré specialist
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For the 1893 version a baritone solo, two bassoons, four horns and two trumpets are added to the original scoring. When possible Fauré employed a mixed choir and a female soprano soloist, partly because the soprano lines, particularly the solo in the
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1981:
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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." He told an interviewer,
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2119:
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in the orchestra. 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:
2102:, and 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, helped by the organ, with the altos finally joining: "
119:
Fauré wrote 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."
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wrote of "several pleasant surprises the restoration of the urgent timpani rolls underlining 'Christe eleison', and the ethereal harp chords which so enhance the spiritual atmosphere of 'Lux aeterna'".
1964:
of soprano, alto and tenor, repeated in the following four measures in four-part harmony. The call "Christe" is strong and urgent the first time, repeated more softly a few more times. The final call "
2234:" (Free me, Lord, from eternal death on that terrible day when the heavens will move and the earth, when you come to judge the world with fire.), embarking on a melody of wide range, with some sharp
2326:
Five of the seven sections of the Requiem were completed by January 1888 and performed that month at the Madeleine for the funeral of the architect Joseph Lesoufaché. This version lacked the
1951:" (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 "
2074:), is 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
2092:" (the highest). The orchestra changes tone, the dreamy accompaniment is replaced by firm and powerful major chords with a horn fanfare marked forte, and the male voices declare "
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300:
In 1924 the Requiem, in its full orchestral version, was performed at Fauré's own funeral. It was not performed in the United States until 1931, at a student concert at the
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Fauré's reasons for composing his Requiem are uncertain. One possible impetus may have been the death of his father in 1885, and his mother's death two years later, on
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1982:
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2145:". 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.
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of death. 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
2524:, an award-winning composition originally for choir and organ which the composer wrote aged 19 in his last year of ten years at the school of church music
2510:
set recorded in 1938, with Suzanne Dupont, soprano; Maurice Didier, baritone; Les Chanteurs de Lyon and Le Trigentuor instrumental lyonnais, conducted by
2078:
on the harp and a dreamy rising melody in the violins (sometimes just a solo violin). The pattern appears several times, with the melodies increasing in
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strings (solo violin, divided violas, divided cellos and basses). For a performance at the Madeleine in May 1888 Fauré added horn and trumpet parts.
2070:(Holy), in contrast with other compositions of Mass and Requiem where it is often illustrated with great vocal and instrumental forces (particularly
1847:, although Fauré set Latin liturgical texts to music, whereas Brahms chose German Bible quotations. Both works have seven movements, both employ a
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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.
2416:
speculates that the work may have been done by someone in Hamelle's firm. The misprints have been corrected in later editions, notably those by
3065:"Review of Requiem, Op. 48, pour soli, choeur et orchestre symphonique. Version de concert, 1900 by Gabriel Fauré, ed Jean-Michel Nectoux"
2744:
After the service the priest summoned Fauré and told him, "We don't need all these novelties: the Madeleine's repertoire is quite rich enough."
2262:". Then the choir repeats the opening statement of the baritone fully in unison. Soloist, then choir, end the movement softly, repeating "
2250:" (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 "
139:
1887. However, by the time of his mother's death he had already begun the work, about which he later declared, "My Requiem wasn't written
2170:
chords of daring harmonic progression. Then the tenors, without instrumental introduction, repeat the first line, leading to a peaceful "
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Fauré scored the work for two soloists, chorus and orchestra. Its movements and their sections are listed in a table for the scoring in
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The orchestration of the final version comprises mixed choir, solo soprano, solo baritone, two flutes, two clarinets (only in the
2506:. That recording used the full 1900 orchestrations, as did all others except one over the next half century. The exception was a
4064:
3575:(together with works of Nielsen and Sibelius). Spanish Radio-Television Symphony Orchestra and Chorus. Petri Sakari, conductor.
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judged the Rutter edition, "makeshift and lacking in the standards of scholarship one expects from a university press".
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226:. This version was first performed on 16 January 1888 for the funeral of Joseph Lesoufaché, an architect, at
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anything – for pleasure, if I may call it that!" The earliest composed music included in the Requiem is the
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2033:" (make them, Lord, transcend from death to life). The choir repeats the first line of the text on the same
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began working on it in the 1970s, but the first edition to be published was by the English conductor
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2392:, are difficult to sing and demand excellent breath control, easier for adult women than for boys.
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2492:(1893 Version), ed. Jean-Michel Nectoux and Roger Delage (full score and miniature score, Hamelle)
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of the Introit, the opening of the Mass ("Requiem aeternam"), before the orchestra picks up the "
2139:" begin with more expansion, but reach alternating between only two notes on two repetitions of "
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In 1899–1900, the score was reworked for full orchestra. This final version was premiered at the
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rhythm of two quarter notes, a rest and the upbeat to the next two quarters, he sings the text "
2027:", offerings brought with praises, beginning on one repeated note, but asking with more melody "
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It has been said that my Requiem does not express the fear of death and someone has called it a
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soloists, mixed choir, orchestra and organ. Different from typical Requiem settings, the full
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2298:" (May angels lead you to paradise) rests on a continuous shimmering motion in fast broken
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2165:"Agnus Dei", in many settings of Mass and Requiem set with dark expression, begins in
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March, Ivan; Edward Greenfield; Robert Layton; Paul Czajkowski; Alan Livesey (2011).
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2991:"Review – Fauré's Requiem (1893 Version) ed Jean-Michel Nectoux; Roger Delage"
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of six measures, the second call is similar but reaching up higher. The words "
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The Kyrie begins with the same melody that the tenor sang before, but now in
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435:" ("Deliver them") at the beginning of the next verse with a repetition of "
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In 1887–88, Fauré composed the first version of the work, which he called "
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2960:"Review – Requiem (1893 Version) by Gabriel Fauré, ed. John Rutter"
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2413:
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3418:. Translated by Roger Nichols. Cambridge: Cambridge University Press.
3133:
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2959:
3247:, BBC podcast, 14 July 2016 (downloadable in UK only), at 39 minutes.
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Mon Requiem a été composé pour rien – pour le plaisir, si j'ose dire!
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1934:
1920:
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The baritone soloist sings the first section alone. On a bass in an
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1907:. After one measure of just D in the instruments, the choir enters
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1835:
The structure of Fauré's work bears striking similarity to that of
492:
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127:
in Paris for a funeral Mass. A performance takes about 35 minutes.
97:
80:
2238:. The text is continued by the choir in four parts in homophony: "
2191:", then the choir, divided in six parts, lets that light shimmer.
2429:), two bassoons, four horns, two trumpets (only in the Kyrie and
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1991:
1931:" (eternal rest). In gradual progression of harmony and a sudden
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of one part or several. Given the liturgical nature of the work,
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3073:, Second Series, vol. 57, no. 4 (June 2001), pp. 1018–1020
423:" ("deliver the souls of all the faithful departed") to simply "
3218:
2098:" (praise in the highest). This is answered by the sopranos in
1961:
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52:
2338:, which Fauré added at some time in the following decade. The
1893:
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O Domine Jesu Christe, Rex gloriae, libera animas defunctorum
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575:. The composer divides the choir into as many as six parts,
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in Philadelphia. It was first performed in England in 1936.
162:, where the first version of the Requiem was first performed
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3462:
Emotion, Identity and Death: Mortality Across Disciplines
3378:
The Penguin Guide to the 1000 Finest Classical Recordings
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The Penguin Guide to the 1000 Finest Classical Recordings
1821:
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Audio playback is not supported in your browser. You can
2468:, Op. 48, ed. Jean-Michel Nectoux and Reiner Zimmerman,
2378:
considered the Nectoux and Delage edition "invaluable".
3528:
Woodstra, Chris; Gerald Brennan; Allen Schrott (2005).
2999:, vol. 136, no. 1834 (December 1995), pp. 670–671
2807:
in Nectoux (1991), p. 116 (English translation by
3513:. Oxford: Oxford University Press. pp. 131–137].
3279:. Cambridge and New York: Cambridge University Press.
3231:
Greenfield, Philip. "Overview – Choral Masterpieces",
2756:
had been entrusted with reorchestrating Fauré's opera
429:" ("deliver the souls of the departed"). He replaced "
4012:
2664:
Orchestre de la Société des Concerts du Conservatoire
250:
portion of the Offertory and in 1890 he expanded the
3459:
Park, Chang-Won; Davies, Douglas J. (28 June 2013).
3337:
2803:
Letter from Fauré to the composer Maurice Emmanuel,
147:, which Fauré wrote in 1877 as an independent work.
123:
The piece premiered in its first version in 1888 in
2968:, vol. 71, no. 1 (February 1990), pp. 143–144
2794:
Steinberg, pp. 132–133. Quote's cited date is 1921.
3484:
3437:
1998:of alto and tenor in short succession on a simple
1945:" (and lasting light), diminishing on a repeated "
2179:The sopranos alone begins the following section "
2041:in four parts, concluded by an uplifting Amen in
324:. As had become customary, Fauré did not set the
4036:
3207:Fauré: Requiem, Op. 48 · Duruflé: Requiem, Op. 9
2362:in 1989. Nectoux's edition, jointly edited with
2288:The text of the last movement is taken from the
417:; at the beginning, he adds an "O". He changed "
3323:. Sydney: Australian Broadcasting Corporation.
2811:). in the original French, Fauré's words were "
3491:. Chapel Hill, North Carolina: Hinshaw Music.
3198:
2531:
2185:" (Light eternal shine for them) with a long "
2018:" (that they may not fall into the darkness).
521:The piece has a duration of about 35 minutes.
441:", and he omitted the third verse (beginning "
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1932:
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380:, but substantially changed the text of the
173:
167:
3487:Preface to Requiem Op. 48, by Gabriel Fauré
3399:. Paris: Bibliothèque nationale de France.
2611:; Laurence Equilbey (2008). Recommended by
2478:, Op. 48, ed. Roger Fiske and Paul Inwood,
2450:
2436:
2430:
2424:
2420:and Paul Inwood (1978) and Nectoux (2001).
2408:edited by one of Fauré's favourite pupils,
2400:At the end of the 1890s Fauré's publisher,
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2037:as in the beginning, but in more elaborate
2030:fac eas, Domine, de morte transire ad vitam
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336:sections of the Mass. He followed a French
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108:is based on a text that is not part of the
103:
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3509:(2005). "Gabriel Fauré: Requiem, Op. 48".
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3020:Nectoux (1991), p. 370; and Duchen, p. 197
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2983:
2981:
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2977:
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2949:
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2945:
2823:" as "for fun": see Steinberg, p. 135
271:in Paris on 12 July 1900, during the
3568:Choral Public Domain Library (ChoralWiki)
3558:International Music Score Library Project
3505:
3340:The Gramophone Classical Music Guide 2012
2634:, Building a Library, BBC Radio 3 (2016).
2435:), three trombones, timpani (only in the
420:libera animas omnium fidelium defunctorum
25:Page from the manuscript of the Requiem:
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2762:for performance in the opera house, and
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1977:
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20:
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455:The composition is structured in seven
447:"). He concludes with an added "Amen".
356:. He slightly altered the texts of the
230:. The composer conducted his work; the
4037:
3511:Choral Masterworks: A Listener's Guide
3479:
3359:Gabriel Fauré – A Life in Letters
3338:Jolly, James; David Threasher (2011).
3293:
3255:
3253:
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2852:
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413:Fauré made changes to the text of the
384:(described below). He did not set the
3582:
3356:
3271:
3211:Atlanta Symphony Chorus and Orchestra
3204:
3102:
3100:
3041:
2831:
2829:
2714:; Philharmonia Chorus and Orchestra;
2587:Atlanta Symphony Chorus and Orchestra
2567:; John Rutter (1984). Recommended by
2543:Oxford Camerata Instrumental Ensemble
2256:", but suddenly softening on a last "
2244:" (I am trembling). In more motion, "
627:
340:tradition by not setting the Requiem
3315:
3184:
2785:
2458:
2449:on the "angelic" violins during the
587:are often used instead of sopranos.
559:. The voices are abbreviated, S for
279:conducted forces of 250 performers.
94:is omitted, replaced by its section
3416:Gabriel Fauré – A Musical Life
3250:
2847:
2817:" Some English versions translate "
1863:
1856:several arias and ensembles in his
16:1880s Requiem Mass by Gabriel Fauré
13:
3530:All Music Guide to Classical Music
3097:
2826:
2720:All Music Guide to Classical Music
2690:Choir of King's College, Cambridge
2676:All Music Guide to Classical Music
2136:Dona eis, Domine, dona eis requiem
2009:O Domine, Jesu Christ, rex gloriae
59:setting of the shortened Catholic
14:
4081:
3866:Messe des pêcheurs de Villerville
3608:
3547:
3532:. San Francisco: Backbeat Books.
2553:
1651:
51:. 48, between 1887 and 1890. The
26:
4022:
3997:
3996:
3235:63. 6 (November 2000), pp. 65–85
3195:Jolly and Threasher, pp. 465–466
2518:performances with Fauré's early
2455:in the full orchestral version.
2395:
2321:
2204:" melody to close the movement.
1939:, a first climax is reached on "
1555:
1414:
1333:
1105:
978:
878:
659:
396:), and added two texts from the
3238:
3225:
3175:
3166:
3152:
3143:
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3057:
3032:
3029:Thomson and Duchen, p. 125
3023:
3014:
3005:
2933:
2924:
2915:
2906:
2897:
2747:
2738:
2638:
2618:Grace Davidson, William Gaunt,
2348:
2318:for smaller orchestral forces.
2271:
1884:Copy of the manuscript showing
842:
3321:Undue Noise: Words About Music
2888:
2879:
2870:
2861:
2838:
2797:
2537:Lisa Beckley; Nicholas Gedge;
1380:
1141:
1:
4065:Music for orchestra and organ
4055:Compositions by Gabriel Fauré
3705: (1878–1879; unfinished)
3414:Nectoux, Jean-Michel (1991).
3397:Phonographie de Gabriel Fauré
3395:Nectoux, Jean-Michel (1979).
3110:(May 1980). "Fauré Revised".
2912:Park and Davies, pp. 192–195.
1973:
1080:
444:Sed signifer sanctus ...
31:Bibliothèque Nationale, Paris
2609:Orchestre National de France
2295:In paradisum deducant angeli
2207:
2148:
1915:in six parts on the D minor
1903:, the work begins slowly in
1818:
1781:
1740:
1699:
1617:unison, as the soloist first
1576:
1522:
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1024:
945:
898:
803:
762:
721:
675:
7:
3444:. London: Eulenburg Books.
3163:, February 1939, p. 18
3149:Nectoux (1979), p. 187
3094:Nectoux (1991), p. 119
2876:Nectoux (1991), p. 514
2858:Nectoux (1991), p. 116
2532:1888 version reconstruction
2312:
2111:
220:), but did not include his
110:liturgy of the funeral Mass
10:
4086:
3361:. London: B. T. Batsford.
3265:
2694:New Philharmonia Orchestra
2653:Chorale Élisabeth Brasseur
2526:École Niedermeyer de Paris
2259:et lux perpetua luceat eis
2082:, and the volume reaching
2048:
2021:The baritone enters with "
590:
130:
3992:
3975:
3917:Cinq mélodies "de Venise"
3884:
3849:
3825:
3721:
3695:
3652:
3625:
3616:
3380:. London: Penguin Books.
3357:Jones, J. Barrie (1989).
3342:. Teddington: Haymarket.
2624:London Symphony Orchestra
2595:The American Record Guide
2539:Schola Cantorum of Oxford
1990:The Offertoire begins in
1655:
1384:
1145:
846:
631:
426:libera animas defunctorum
302:Curtis Institute of Music
244:In 1889, Fauré added the
75:, the work is scored for
2674:, 1963). Recommended by
2649:Dietrich Fischer-Dieskau
2194:The choir closes with a
4060:Compositions in D minor
3858:Cantique de Jean Racine
3685:Masques et bergamasques
3259:Woodstra et al., p. 436
3139:(subscription required)
3075:(subscription required)
3001:(subscription required)
2970:(subscription required)
2769:Masques et bergamasques
2718:(1986). Recommended by
2700:(1967). Recommended by
2645:Victoria de los Ángeles
2630:(2011). Recommended by
2593:(1987). Recommended by
2565:City of London Sinfonia
2521:Cantique de Jean Racine
2015:ne cadant – in obscurum
1823:download the audio file
1786:download the audio file
1745:download the audio file
1704:download the audio file
1581:download the audio file
1527:download the audio file
1480:download the audio file
1439:download the audio file
1304:download the audio file
1237:download the audio file
1196:download the audio file
1130:download the audio file
1069:download the audio file
950:download the audio file
903:download the audio file
808:download the audio file
767:download the audio file
726:download the audio file
680:download the audio file
390:(the conclusion of the
312:Most of the text is in
307:
172:" with five movements (
3983:Emmanuel Fauré-Fremiet
3465:. Ashgate Publishing.
3277:Choral Music on Record
3172:Nectoux (1991), p. 255
2956:Langham Smith, Richard
2930:Nectoux (1991), p. 117
2894:Steinberg, p. 135
2867:Nectoux (1991), p. 122
2819:
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2241:Tremens factus sum ego
2240:
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2187:
2182:Lux aeterna luceat eis
2181:
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2162:
2141:
2135:
2125:
2104:
2094:
2088:
2066:
2062:
2029:
2023:
2014:
2008:
1987:
1970:" appears pianissimo.
1966:
1953:
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1933:
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1344:first like the Introit
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987:
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579:, but frequently uses
536:(using the symbol for
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273:Exposition Universelle
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156:Aristide Cavaillé-Coll
104:
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68:finishing it in 1900.
33:
3893:Trois mélodies, Op. 7
3233:American Record Guide
2607:; Maîtrise de Paris;
2563:; Cambridge Singers;
2283:
2219:
2160:
2123:
2060:
1985:
1923:for the entire text "
1883:
1875:
1839:Ein deutsches Requiem
451:Structure and scoring
285:
153:
102:. The final movement
24:
3965:L'horizon chimérique
3677:Pelléas et Mélisande
3619:List of compositions
3205:Jones, Nick (1987).
3181:March et al., p. 112
2903:Nectoux, pp. 117–120
2885:Orledge, p. 115
2727:Notes and references
2702:The Gramophone Guide
2613:The Gramophone Guide
2573:The Gramophone Guide
1899:Similar to Mozart's
350:), only its section
3933:le plus doux chemin
3804:Piano Quintet No. 2
3786:Violin Sonata No. 2
3780:Piano Quintet No. 1
3757:Piano Quartet No. 2
3735:Piano Quartet No. 1
3729:Violin Sonata No. 1
3301:. London: Phaidon.
2965:Music & Letters
2716:Carlo Maria Giulini
2698:Sir David Willcocks
2497:Selected recordings
2369:Music & Letters
2356:Jean-Michel Nectoux
2142:sempiternam requiem
2095:Hosanna in excelsis
2002:melody with little
1919:and stays on it in
835:first SAT in unison
254:and added the 1877
228:La Madeleine, Paris
160:La Madeleine, Paris
3826:Piano solo and duo
3798:Cello Sonata No. 2
3792:Cello Sonata No. 1
3507:Steinberg, Michael
3085:Jones, p. 193
3054:Blyth, p. 217
3011:Duchen, p. 83
2939:Shrock p. 431
2835:Duchen, p. 81
2626:Chamber Ensemble,
2410:Jean Roger-Ducasse
2286:
2231:Libera me ...
2222:
2163:
2126:
2063:
1988:
1897:
1878:
164:
34:
4045:1890 compositions
4010:
4009:
3520:978-0-8052-0047-8
3498:978-0-8052-0047-8
3472:978-1-4094-8179-9
3387:978-0-241-95525-3
3349:978-0-86024-924-5
3113:The Musical Times
2996:The Musical Times
2989:Thomson, Andrew.
2844:Rutter, p. 3
2766:had orchestrated
2672:Saint-Roch, Paris
2559:Caroline Ashton;
2459:Selected editions
2375:The Musical Times
2281:
2265:Libera me, Domine
2217:
2158:
2121:
2058:
2024:Hostias et preces
1983:
1876:Introït and Kyrie
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1200:
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1058:T and B in unison
954:
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730:
684:
316:, except for the
61:Mass for the Dead
4077:
4027:
4026:
4025:
4018:
4000:
3999:
3976:Related articles
3949:La chanson d'Ève
3925:la bonne chanson
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3596:
3589:
3580:
3579:
3556:: Scores at the
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3077:
3076:
3063:Gilbert, David.
3061:
3055:
3052:
3039:
3038:Ford pp. 299–302
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2795:
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2773:
2772:for the theatre.
2764:Charles Koechlin
2751:
2745:
2742:
2661:
2632:Richard Morrison
2512:Ernest Bourmauck
2466:Messe de requiem
2454:
2440:
2434:
2428:
2391:
2343:
2337:
2331:
2308:
2306:Requiem aeternam
2297:
2282:
2267:
2261:
2255:
2253:dona eis, Domine
2249:
2243:
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2203:
2190:
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2011:
1984:
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1956:
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1927:Requiem aeternam
1914:
1874:
1864:Introït et Kyrie
1842:
1762:
1760:Chorus angelorum
1721:
1691:
1689:Andante moderato
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1319:Requiem aeternam
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1053:Andante moderato
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711:Andante moderato
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695:Requiem aeternam
664:
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643:Requiem aeternam
633:Introit et Kyrie
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554:
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540:, equivalent to
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171:
169:un petit Requiem
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4074:
4035:
4034:
4033:
4029:Classical music
4023:
4021:
4013:
4011:
4006:
3988:
3971:
3952: (1906–10)
3928: (1892–94)
3896: (1870–78)
3880:
3877: (1887–90)
3861: (1864–65)
3845:
3837: (1895–97)
3821:
3818: (1923–24)
3759: (1885–86)
3737: (1876–79)
3717:
3703:Violin Concerto
3691:
3648:
3621:
3612:
3607:
3573:Fauré's Requiem
3562:Free scores of
3554:Requiem (Fauré)
3550:
3540:
3521:
3499:
3473:
3452:
3434:Orledge, Robert
3426:
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3295:Duchen, Jessica
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3108:Orledge, Robert
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2820:pour le plaisir
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2739:
2729:
2712:Andreas Schmidt
2708:Kathleen Battle
2686:John Carol Case
2682:Robert Chilcott
2655:
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2605:Stéphane Degout
2556:
2547:Jeremy Summerly
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2315:
2290:Order of Burial
2276:
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2153:
2151:
2116:
2114:
2072:Verdi's Requiem
2053:
2051:
2006:, in a prayer "
1978:
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1942:et lux perpetua
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741:Te decet hymnus
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398:Order of Burial
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4070:Requiem Masses
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3816:String Quartet
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3548:External links
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534:time signature
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137:New Year's Eve
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3:
2:
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4050:1893 in music
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3909:Clair de lune
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3610:Gabriel Fauré
3604:
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3539:0-87930-865-6
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3451:0-903873-40-0
3447:
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3440:Gabriel Fauré
3435:
3431:
3427:
3425:0-521-23524-3
3421:
3417:
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3408:
3406:2-7177-1467-7
3402:
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3368:0-7134-5468-7
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3330:0-7333-1057-5
3326:
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3308:0-7148-3932-9
3304:
3300:
3299:Gabriel Fauré
3296:
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3286:0-521-36309-8
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3120:(1647): 327.
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2921:Duchen, p. 80
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2396:Final version
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2322:First version
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557:tempo marking
549:
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531:
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277:Paul Taffanel
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154:The organ by
152:
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78:
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69:
66:
62:
58:
54:
50:
46:
42:
39:composed his
38:
37:Gabriel Fauré
32:
28:
23:
19:
3968: (1921)
3963:
3960: (1919)
3955:
3947:
3944: (1914)
3939:
3936: (1904)
3931:
3923:
3920: (1891)
3915:
3912: (1887)
3907:
3904: (1883)
3899:
3891:
3873:
3872:
3869: (1881)
3864:
3856:
3832:
3812: (1923)
3806: (1921)
3800: (1921)
3794: (1917)
3788: (1916)
3782: (1906)
3776: (1898)
3771:
3767: (1898)
3762:
3753: (1883)
3748:
3745: (1879)
3740:
3731: (1875)
3714: (1918)
3709:
3683:
3680: (1898)
3675:
3672: (1890)
3667:
3664: (1887)
3659:
3645: (1913)
3640:
3637: (1900)
3632:
3529:
3510:
3486:
3481:Rutter, John
3461:
3439:
3415:
3396:
3377:
3358:
3339:
3320:
3317:Ford, Andrew
3298:
3276:
3240:
3232:
3227:
3209:(CD Liner).
3206:
3200:
3177:
3168:
3158:
3154:
3145:
3117:
3111:
3090:
3081:
3068:
3059:
3034:
3025:
3016:
3007:
2994:
2963:
2935:
2926:
2917:
2908:
2899:
2890:
2881:
2872:
2863:
2840:
2804:
2799:
2779:
2778:
2767:
2757:
2749:
2740:
2731:
2730:
2719:
2701:
2675:
2639:1900 version
2612:
2594:
2583:James Morris
2572:
2568:
2554:1893 version
2519:
2516:
2500:
2489:
2475:
2465:
2447:Eugène Ysaÿe
2443:
2422:
2399:
2384:
2380:
2373:
2367:
2364:Roger Delage
2352:
2349:1893 version
2325:
2316:
2287:
2284:In paradisum
2272:In Paradisum
2223:
2193:
2178:
2164:
2131:B-flat major
2127:
2064:
2020:
1989:
1959:
1898:
1834:
1671:In Paradisum
1659:In Paradisum
1656:
1385:
1146:
1100:B-flat major
1085:
1044:E-flat major
1029:
988:Adagio molto
888:Adagio molto
847:
632:
547:
523:
520:
514:In Paradisum
512:
505:
498:
491:
475:
464:
454:
414:
412:
408:In Paradisum
407:
381:
377:In Paradisum
365:
361:
357:
331:
325:
317:
311:
299:
286:
281:
266:
261:
251:
243:
239:Louis Aubert
216:In Paradisum
165:
144:
140:
134:
125:La Madeleine
122:
118:
105:In Paradisum
70:
40:
35:
27:In paradisum
18:
3985: (son)
3841:Piano music
3696:Concertante
3273:Blyth, Alan
3215:Robert Shaw
2656: [
2628:Nigel Short
2591:Robert Shaw
2571:(2011) and
2418:Roger Fiske
2406:vocal score
2360:John Rutter
2173:sempiternam
1888:4–7 of the
1278:Lux aeterna
585:boy trebles
538:common time
322:Koine Greek
320:, which is
112:but of the
4039:Categories
3810:Piano Trio
3764:Sicilienne
3653:Orchestral
3160:Gramophone
2780:References
2414:Alan Blyth
2329:Offertoire
2100:diminuendo
1986:Offertoire
1974:Offertoire
1957:" (hear).
1948:luceat eis
1911:pianissimo
1542:Luceat eis
850:Offertoire
432:Libera eas
387:Benedictus
57:orchestral
29:, m. 413,
3772:Fantaisie
3712:, Op. 111
3710:Fantaisie
3634:Prométhée
3564:this work
2759:Prométhée
2480:Eulenburg
2438:Libera me
2341:Libera me
2335:Libera me
2247:Dies irae
2220:Libera me
2208:Libera me
2201:Agnus Dei
2161:Agnus Dei
2149:Agnus Dei
2076:arpeggios
2039:polyphony
1935:crescendo
1921:homophony
1719:Jerusalem
1628:Libera me
1596:Libera me
1512:Più mosso
1495:Dies irae
1400:Libera me
1388:Libera me
1252:Agnus Dei
1211:Agnus Dei
1161:Agnus Dei
1149:Agnus Dei
507:Libera me
500:Agnus Dei
477:Offertory
457:movements
415:Offertory
403:Libera me
382:Offertory
371:Agnus Dei
347:Dies irae
269:Trocadéro
257:Libera me
252:Offertory
223:Libera me
208:Agnus Dei
145:Libera me
90:Dies irae
73:movements
71:In seven
4002:Category
3901:Madrigal
3774:, Op. 79
3742:Berceuse
3642:Pénélope
3483:(1984).
3436:(1979).
3319:(2002).
3297:(2000).
3275:(1991).
2620:Tenebrae
2508:Columbia
2426:Pie Jesu
2389:Pie Jesu
2313:Versions
2226:ostinato
2124:Pie Jesu
2112:Pie Jesu
2089:excelsis
1849:baritone
1612:Moderato
1565:Moderato
1424:Moderato
1088:Pie Jesu
965:O Domine
862:O Domine
571:, B for
567:, T for
563:, A for
493:Pie Jesu
366:Pie Jesu
353:Pie Jesu
342:sequence
262:Pie Jesu
200:Pie Jesu
98:Pie Jesu
85:sequence
81:baritone
3957:Mirages
3874:Requiem
3722:Chamber
3669:Shylock
3566:in the
3266:Sources
2722:(2005).
2704:(2012).
2678:(2005).
2615:(2012).
2597:(2000).
2575:(2012).
2549:(1994).
2490:Requiem
2488:Fauré:
2476:Requiem
2474:Fauré:
2464:Fauré:
2452:Sanctus
2432:Sanctus
2196:reprise
2167:F major
2105:Sanctus
2080:ambitus
2067:Sanctus
2061:Sanctus
2049:Sanctus
2043:B major
2004:ambitus
1994:with a
1992:B minor
1905:D minor
1901:Requiem
1890:Introit
1858:Requiem
1853:soprano
1799:Requiem
1681:D major
1454:Tremens
1410:D minor
1369:Andante
1360:D major
1329:D minor
1181:Andante
1172:F major
1032:Sanctus
1010:B major
918:Hostias
873:B minor
654:D minor
591:Details
561:soprano
485:Sanctus
466:Introit
393:Sanctus
358:Introit
338:Baroque
327:Gradual
289:lullaby
247:Hostias
235:soloist
192:Sanctus
176:Introit
131:History
77:soprano
45:D minor
41:Requiem
4015:Portal
3850:Choral
3750:Élégie
3688:(1919)
3661:Pavane
3536:
3517:
3495:
3469:
3448:
3422:
3403:
3384:
3365:
3346:
3327:
3305:
3283:
3245:Review
3219:Telarc
3134:963753
3132:
2805:quoted
2484:Schott
2300:triads
1962:unison
1954:Exaudi
1851:and a
1845:Brahms
1804:SATTBB
1726:SATTBB
1570:unison
1341:Adagio
1326:SATTBB
1285:SATTBB
1115:Adagio
789:SATTBB
782:Exaudi
650:SATTBB
622:Theme
581:unison
577:SATTBB
555:) and
526:voices
374:, and
360:, the
293:Gounod
232:treble
114:burial
53:choral
3885:Songs
3834:Dolly
3626:Opera
3130:JSTOR
3070:Notes
2732:Notes
2660:]
2236:leaps
2084:forte
2035:motif
2000:modal
1996:canon
1967:Kyrie
1917:chord
1894:Kyrie
821:Kyrie
667:Largo
619:Notes
616:Tempo
607:Choir
601:Title
569:tenor
470:Kyrie
362:Kyrie
344:(the
333:Tract
318:Kyrie
314:Latin
184:Kyrie
65:Latin
3534:ISBN
3515:ISBN
3493:ISBN
3467:ISBN
3446:ISBN
3420:ISBN
3401:ISBN
3382:ISBN
3363:ISBN
3344:ISBN
3325:ISBN
3303:ISBN
3281:ISBN
2332:and
2086:on "
1892:and
1886:bars
1636:SATB
1603:SATB
1502:SATB
1461:SATB
1218:SATB
1040:S TB
1006:SATB
1001:Amen
972:SATB
826:SATB
613:Time
604:Solo
573:bass
565:alto
406:and
330:and
308:Text
237:was
212:and
180:and
79:and
3122:doi
3118:121
2504:HMV
2292:. "
2268:".
2188:Lux
2176:".
2108:".
1843:by
1684:3/4
1652:VII
1549:A B
1507:6/4
1364:3/4
1176:3/4
1048:3/4
1025:III
930:3/4
869:ATB
610:Key
598:No.
530:key
468:et
158:in
141:for
63:in
43:in
4041::
3252:^
3217:.
3213:;
3186:^
3128:.
3116:.
3099:^
3067:,
3043:^
2993:,
2976:^
2962:,
2958:,
2944:^
2849:^
2828:^
2787:^
2710:;
2696:;
2692:;
2688:;
2684:;
2666:;
2662:;
2658:fr
2651:;
2647:;
2622:,
2603:;
2589:;
2585:;
2581:;
2545:;
2541:;
2528:.
2514:.
2309:.
2045:.
1860:.
1381:VI
1081:IV
843:II
532:,
528:,
459::
410:.
400:,
368:,
364:,
275:.
264:.
241:.
204:,
196:,
188:,
116:.
49:Op
47:,
4017::
3602:e
3595:t
3588:v
3542:.
3523:.
3501:.
3475:.
3454:.
3428:.
3409:.
3390:.
3371:.
3352:.
3333:.
3311:.
3289:.
3221:.
3136:.
3124::
2670:(
2482:/
1825:.
1788:.
1767:S
1747:.
1706:.
1678:S
1633:B
1583:.
1529:.
1482:.
1441:.
1405:B
1306:.
1259:T
1239:.
1198:.
1168:T
1142:V
1132:.
1094:S
1071:.
952:.
923:B
905:.
810:.
769:.
748:S
728:.
702:T
682:.
628:I
548:4
55:-
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