Gabriel Fauré’s Requiem is the key work among the sacred compositions by the French master. Already during the composer’s lifetime, it proved very successful with the audiences, and this success remains undiminished all over the world to this day. In contrast to more “theatrically” conceived settings, it was Fauré’s intention to evoke a peaceful and conciliatory mood with his work. Even though the choral parts are very suitable for most choir singers due to their melodic accessibility, many passages are harmonically extremely sophisticated and require careful preparation in rehearsal.
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Performers: Flemish Radio Choir, Brussels Philharmonic Soloists – Hervé Niquet
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Digital text (without sheet music) incl. printing licence, html file, singing text, english translationhtml file, singing text, english translation (Sample)1. Introït et Kyrie (Coro SATB) Grant them eternal rest, Lord,
and may perpetual light shine on them.To you, God, hymns of praise are sung in Sion,
and unto you shall vows be performed in Jerusalem:
hear my prayer,
to you shall come all flesh.Lord have mercy.
Christ have mercy.2. Offertoire (Solo Bar, Coro) O Lord Jesus Christ,
king of glory,
free the departed souls
from the pains of hell
and from the deep pit.
O Lord Jesus Christ,
king of glory,
free the departed souls
from the jaws of the lion,
let them not be swallowed up.
...
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Digital text (without sheet music) incl. printing licence, html file, singing text, german translationhtml file, singing text, german translation (Sample)
1. Introït et Kyrie (Coro SATB) Herr, gib ihnen die ewige Ruhe,
und das ewige Licht leuchte ihnen.Dir gebührt Lob, Herr, auf dem Zion,
Dir erfüllt man Gelübde in Jerusalem.
Erhöre mein Gebet;
zu Dir kommt alles Fleisch.Herr, erbarme Dich.
Christus, erbarme Dich.2. Offertoire (Solo Bar, Coro) Herr Jesus Christus, König der Herrlichkeit,
bewahre die Seelen der Verstorbenen
vor den Qualen der Hölle,
vor den Tiefen der Unterwelt.
Herr Jesus Christus, König der Herrlichkeit,
bewahre die Seelen der Verstorbenen
vor dem Rachen des Löwen,
dass die Hölle sie nicht verschlinge.
Herr Jesus Christus, König der Herrlichkeit,
dass sie nicht hinabstürzen in die Finsternis....
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Digital text (without sheet music) incl. printing licence, html file, singing text, originalhtml file, singing text, original (Sample)
1. Introït et Kyrie (Coro SATB) Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem:
exaudi orationem meam,
ad te omnis caro veniet.Kyrie eleison.
Christe eleison.2. Offertoire (Solo Bar, Coro) O Domine Jesu Christe,
Rex gloriae,
libera animas defunctorum
de poenis inferni,
et de profundo lacu.
O Domine Jesu Christe,
Rex gloriae,
libera animas defunctorum
de ore leonis,
ne absorbeat tartarus.
...
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, englishhtml file, Introductory text, english (Sample)Abridged foreword of the Edition Carus 27.312
Marc Rigaudière
Translation: Charles JohnstonIt is a complicated task to trace the genesis of Fauré’s Requiem. Although a decisive portion of the composition can be dated to the years 1887–1888, its working-out extends over a much longer period.
This complex genesis corresponds to a situation that is just as intricate where the available sources are concerned. In fact, a complete autograph manuscript – the only source that could constitute an indisputable basis for a critical edition – is lacking for the final version. This gap in our documentation is all the more damaging in that the first published edition (Hamelle, 1901), which thereby becomes the principal source, is marred by numerous errors or oversights. It is thus necessary to refer to complementary sources and try to “make them speak” through systematic cross-checking.
The work’s history, complicated though it is, may be summed up as follows:
1. Initial phase (1887–1888)
We are dealing here with the “core” of the Requiem, characterized by a reduced number of movements and smaller forces. At
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Digital text (without sheet music) incl. printing licence, html file, Introductory text, germanhtml file, Introductory text, german (Sample)Gekürztes Vorwort der Ausgabe 27.312
Marc Rigaudière
Übersetzung: Hans RyschawyDen Entstehungsprozess von Faurés Requiem nachzuvollziehen, stellt eine Herausforderung dar. Obwohl ein bedeutender Teil der Komposition in den Jahren 1887–1888 entstand, erstreckt sich doch die Genese des ganzen Werkes auf einen sehr viel längeren Zeitraum.
Der komplexen Entstehungsgeschichte entspricht eine ebenso schwierige Quellensituation. So fehlt ein vollständiges Autograph für die endgültige Fassung als unerlässliche Primärquelle für die Editionsarbeit. Dieses Fehlen ist umso bedauerlicher, da der Erstdruck (Paris 1901, Hamelle), der deshalb notwendigerweise als Hauptquelle dienen muss, voller Fehler oder Nachlässigkeiten ist. Deshalb ist es notwendig, ergänzende Quellen heranzuziehen und zu versuchen, diese durch einen systematischen Vergleich gleichsam „zum Sprechen“ zu bringen.
Die komplexe Entstehungsgeschichte kann in folgender Weise zusammengefasst werden:
1. Anfangsstadium (1887–1888)
Das Herzstück des Requiems wird von lediglich fünf Sätzen in kleiner Orchesterbesetzung gebildet:...
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Composer
Gabriel Fauré
| 1845-1924French composer, 1845-1924.
He was a pupil of Camille Saint-Saëns and studied at the Paris School of Sacred Music. Fauré worked as an organist and choirmaster and gave piano lessons and recitals in Parisian salons. He was able to improvise brilliantly on the piano, which is also reflected in his compositions. He was director of the Paris Conservatoire from 1905 to 1920.
Fauré mainly wrote vocal, piano and chamber music. He is best known for his piano songs for solo voice and his Requiem, which was also performed at his own funeral service.
Personal details
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Editor
Marc Rigaudière
Marc Rigaudière is a professor of musicology at the University of Reims Champagne-Ardenne (URCA) and at the Center for Research and Higher Education in Cultural History (CERHiC) there. As early as 1993, Marc Rigaudière was the first prize-winner in the subject of musical analysis at the Paris Conservatoire (CNSMDP). This was followed by a doctorate from the University of Paris Sorbonne in 2002 and a habilitation in 2019. Marc Rigaudière has held teaching positions at various universities, including the conservatory in Metz and the Sorbonne in Paris. His main fields of research are music theory and musical analysis, among other things, he is concerned with Franco-German cultural transfer in the field of music theory. Since 2002, he has devoted himself to the scholarly editing of musical works in collaboration with Carus-Verlag. His complete list of publications can be found here: https://cv.hal.science/marc-rigaudiere Personal details
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Ensemble
Flemish Radio Choir
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Ensemble
Brussels Philharmonic Soloists
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Conductor
Hervé Niquet
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Frequent questions about this work
Is the “Carus Choir Coach” or the “carus music” app for the Fauré “Requiem” also suitable for the arranged version with a small orchestra?
No. Due to various differences in the choral setting regarding note values, syllables, dynamics, and articulation marks, the “Carus Choir Coach” or the “carus music” app for Fauré’s “Requiem” is not suitable for the version with a small orchestra.
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