The Classical Music Book

211

See also: Canticum Canticorum 46–51 ■ Ein feste Burg ist unser Gott 78–79 ■

St. Matthew Passion 98–105 ■ Elijah 170 –173 ■ The Dream of Gerontius 218–219

NATIONALISM 1830 –1920

extra movement, In Paradisum, that

comes not from the Mass but from

the burial service.

The unusual selection of texts is

matched with a distinctive choice

of instruments to accompany the

mixed choir and soloists—no violin

section, but only violas, cellos, and

double basses, a harp, trumpets,

horns, trombones, organ, and

timpani. In addition, a solo violin

soars above the harp and lower

strings in the Sanctus. Fauré clearly

intended the work to be played by

this unusual ensemble, but upon

receiving the score in 1890, his

publishers requested a version

for full orchestra. An arrangement

with added violins and woodwind

instruments was published in 1900;

many musicians, however, favor

the earlier version.

Serenity and calm

The music of Fauré’s Requiem is

skilfully restrained, matching the

themes of consolation and eternal

rest in the text. It has relatively

few loud passages, in contrast to

requiems by composers such as

Berlioz or Verdi. Fauré was seeking

a style that differed both from the

more dramatic, Romantic approach

of composers such as Wagner in

Germany, and the lyrical bel canto

style of choral writing, then popular

in France, with its emphasis on a

singer’s virtuosity. His is more

carefully balanced, with subtle

changes in harmony and dynamics.

Although the work was not

immediately well received, Fauré

opened new avenues for French

music, paving the way for later

French composers, such as Ravel

and Debussy. Fauré’s is now one

of the most popular settings of the

Requiem in the choral repertoire. ■

Gabriel Fauré

Born in 1845 in Pamiers in

southwest France, Gabriel

Fauré showed an early musical

talent and was sent to the

École Niedermeyer de Paris.

The school’s focus was on

church music, and when

he left, Fauré worked in a

succession of jobs as church

organist in Brittany and then

in Paris, in both places giving

private music lessons to

supplement his income.

In later life, Fauré became

Professor of Composition at

the Paris Conservatoire and

finally its Director. Although

his busy professional life left

him little time for composing,

Fauré produced many short

piano pieces, notable chamber

music, including two piano

quartets and two piano

quintets, two orchestral

suites, many fine songs, and

a string quartet completed in

1924, the year he died. By this

time highly acclaimed, Fauré

was given a state funeral.

Other key works

1879–1883 Piano Quartet

No. 1 in C minor, Op. 15

1894 “La bonne chanson”, Op. 61

1919 Masques et

bergamasques, Op. 112

The opening prayer, the Introit

et Kyrie, is restful with

sudden changes of dynamics.

The offering of the Eucharist,

the Offertory, is reverent,

calm, and peaceful.

Fauré’s setting for the

Requiem Mass

Angelic strings and harp

are broken by rich brasses

in the Sanctus.

A quiet melody sung by

tenors switches to the

intense Agnus Dei.

A prayer to Jesus, the Pie

Jesu, is sung by a pure solo

soprano voice.

Libera Me is a pensive

then fierce section dealing

with judgment.

In the In paradisum,

soprano voices bring a

tranquil conclusion.

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