Fauré Requiem

Listener's guide from BBC Music Magazine recording in 1998.

Contents

Requiem aeternam and Kyrie

A bleak unison D in the orchestra introduces the hushed D minor entry of the choir, beginning a monolithic ascent towards 'et lux perpetua' (0:50). After this powerful opening, the main theme enters (2:09): a simple, modally inflected melody over a regularly pacing accompaniment and a prominent contrapuntal line on the violas - the work's dominant orchestral instrument. Harmonies are clear, pure, modally inspired; textures are transparent, almost monochrome; drama is present, yet always understated.

Offertorium

An extraordinary progression form darkness to light begins with an introduction on low strings, after which the altos and tenors enter a cappella, evoking the austerity of plainchant (0:39). The accompanied passages modulate slightly upwards, gradually increasing the intensity of expression until the full choir's entry (2:17). The baritone soloist sings for the first time at 'Hostias...' (3:33), with a declamatory theme: Faure preferred here 'a soothing bass-baritone with something of the precentor in him'. The choir returns (6:08) with a development of 'O domine..', its gloom apparently having been soothed away. A brief suggestion of fear (7:11) is soon dispelled by a calmly radiant 'Amen' (7:26).

Sanctus

'You'll see how angelic the violins sound after all those violas!' Faure wrote. Shimmering strings and harp accompany the sopranos and tenors as they echo each other in tandem with ecstatically soaring violins. The brass ushers in a joyous 'Hosanna' (1:58) before the movement melts into a blissfully meditative coda (2:35).

Pie Jesu

The famous Pie Jesu is a soprano solo of great purity and beauty, with orchestral interjections adding an unusual pentatonic flavour (0:43). Faure preferred it to be performed by an adult female singer, rather than the Madeleine's obligatory boy soprano: the long phrases require tremendous breath control.

Agnus Dei

The string's intricate opening melody becomes a delicate counterpoint to the chorale-like theme from the tenors (0:19). This is the starting point for the Requiem's greatest adventures yet. An oppressively harmonised passage on full choir (0:54) subsides into a return of the opening melody (1:29) which further calms until the sopranos alone hold a solitary, extended C on 'Lux' (2:15) ('light'), pivoting a magical key change to A flat. The ensuing music modulates slowly and rapidly downwards before rising to a supplicatory climax at 'quia pius est' (3:23). A dramatic silence signals the return of the Requiem's very beginning (3:54). But its bleakness gives way to the redemptive sound of the strings in the movement's own opening music (5:30).

Libera me

The pensive melody sung by the baritone is accompanied by a solemnly pulsating ostinato on low pizzicato strings. The choir's entry at 'Tremens, Tremens' (1:18), leads to Faure's only gesture towards Judgment Day: a brief Dies Irae in which duple time gives way to compound, with brass blazing in the background (1:53). With the return of the tenebrous Libera Me (3:05), the choir sings in unison against the subtlest hint of thunder from the timpani.

In paradisum

Distant piping on the organ's upper reaches accompanies an angelic soprano line, and the ostinato beneath is almost evocative of a rocking cradle. At 'Jerusalem; (1:01), the whole choir and strings enter with a flowering of gentle harmonies. The halo of strings, harp and organ grows and brightens, before settling to lower sound regions; the lullaby of death dissolves into perfect, eternal rest.

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