Whenever I was taught about the great masterworks of our human civilization, the Requiem by Gabriel Fauré is a perfect example. A work of French genius which contains layer after layer of different flavors, some poetic, some darker and richer, infinite nuance and intrigue; and yet, at the same time, everything is perfectly balanced, harmonious, not one element overpowering the others. This brilliance of balance – depth of content with refinement and grace – is the unique gift of French art. Gabriel Fauré was a definitive exponent of this art.
This amazing Requiem depicts the timelessness of human existence, the procession of generations, human longings, profound sorrow, fear of the unknown, as well as light, hope, the ultimate joys of heaven, and, above all, peace. The premiere of this work was January 1888 at La Madeleine in Paris for a funeral Mass. The impetus for this work is unknown, though it is speculated that Faure wrote it for the death of his father in 1885 and his mothers death in 1887.
The work begins with sudden, powerful fortissimos in the orchestra, drawing us immediately into a deep cosmic world. As the sound fades away, a chorus from far away appears: “Requiem Aeterna – Eternal rest.” For me this has always depicted the timeless procession of generations of humanity – those who have died centuries ago, others within our lifetime, others who have just passed away, those of us who are alive now, and future generations. We are all part of this unexplainable procession. When the chorus sings the words “et lux perpetua luceat eis – perpetual light will shine upon them,” it is as if we have a vision of an awesome, immense power.
The main section of this first movement, the Introit and Kyrie, begins with an extraordinarily beautiful melody sung by the tenor section with rich string accompaniment. Fauré, a genius of melody, has here given us music that is simultaneously sad and hopeful. The tenors sing with compassion and heartfelt feelings. This is balanced by the purity of soprano tone which follows – notably in a major key (the piece began in D Minor.) The full chorus comes in with solemn expression. This is followed by a type of “recapitulation” to the opening tenor theme, this time sung by the whole chorus, providing a brief moment of great beauty. But the solemnity returns and carries through to the end of the movement.
The Offertory is the most developed movement of the piece. It begins with a magnificently expressive string introduction. The altos and tenors then enter unaccompanied in the mode of an austere Renaissance piece. The atmosphere created evokes timelessness. It also causes the listener to go to deep internal, personal feelings. Eventually the basses join in, and the chorus is no longer unaccompanied. This highly expressive section concludes at the entrance of the baritone soloist. Here, the key changes to the major, as the soloist offers his own personal prayer. When the chorus returns with the original melodic material, it is now in the major key and the sopranos add their lightness to the ensemble. At the final word, “Amen,” the orchestra drops and the chorus floats up in one of the most sublime moments of the work.
The Sanctus offers a greater simplicity above a gently undulating string and harp accompaniment. The sopranos sing a sweet and serene melody, then are answered by the tenors and basses in unison, accompanied by a sublime melody played by the violins. This builds up, little by little, to a thrilling climax of affirmation and ultimate triumph. The work concludes peacefully.
The Pie Jesu, for soprano solo, is the personal utterance of hope for the eternal peace of a loved one. Even though we feel the sense of loss, the confidence of eternal happiness is always present here. This famous movement is an amazing example of profound feelings depicted with the utmost simplicity.
The Agnus Dei begins with the violins and violas playing another exceptionally beautiful melody. It is set in the warm, gentle key of F Major. The tenors pray to the Lamb of God with a pleading tone, but also confident of the ultimate mercy of God. Deep anxiety is expressed at the entrance of the full choir. In the first movement, Fauré depicted light with awesome power. Here it’s more complicated. After the orchestra drops out and the sopranos are holding this note all alone for two measures, the music continues in a major key, with soaring phrases of beauty. Fauré returns us to the music of the very beginning of this Requiem – the cosmic timelessness and power. Is this his way of expressing that, even though we are optimistic about the presence of a heaven, the cosmos is so immense and beyond our comprehension, that we really don’t know what is in store after death? Perhaps.
Unlike almost all other requiems, Fauré chose to eliminate almost all parts of the Requiem liturgy that depict hell and damnation. The lengthy liturgical sequence, Dies irae (Day of wrath) – which provided Verdi with about 40 minutes of juicy moments of horror, fear, and darkness – this liturgical movement was completely cut by Fauré. Instead he inserted the shorter liturgical text, Libera me. This movement brings back the baritone soloist in a serious plea (“Deliver me from eternal death”.) The chorus comes in evocatively with the word “tremens –trembling.” This is a bona fide moment of intense fear. This intensity is remarkably strong, but inward, as the chorus sings in unison the baritone’s original theme. The soloist returns at the end, this time with a note of resignation. Our fate is ultimately in the hands of the Deity.
As we turn the page to the final movement, In Paradisum (In Paradise), any fear or doubt is immediately gone. We have already left human existence and are in the midst of a beautiful and blissful heaven. After two measures the sopranos enter. The rest of the chorus eventually comes in, and the sonorities increase. But the peak here is a gentle one. The sopranos return, even more peacefully, as they sing “May a chorus of angels receive you.” Little by little, the music departs into peaceful eternity.
~ Notes by Garrett Bond, Interim Director of Music Ministries