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Recording of my solo from Bangor Cathedral Choir’s performance of Gabriel Faure’s Requiem. (“Hostias et preces tibi Domine” – from 2. Gabriel Fauré. (œ). Edited by Philip Legge. 2 Bassons. I, II. 4 Cors en Fa. III, IV. 2 Trompettes chrom. en Fa. Timbales. Sopranos. Altos. Ténors. Basses. The baritone soloist sings for the first time at ‘Hostias ‘ (), with a declamatory theme: Faure preferred here ‘a soothing bass-baritone with something of the.

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The orchestration of the final version comprises mixed choir, solo soprano, solo baritone, two flutes, two clarinets only in the Pie Jesutwo bassoons, four horns, two trumpets only in the Kyrie and Sanctusthree trombones, timpani only in the Libera meharp, organ, strings with only a single section of violins, but divided violas and cellos, hpstias before.

But it is thus that I see death: And lots of what we would have pronounced as an A they seem to be pronouncing as an E, but it could be they are stressing the last half of the diphthong, as E is so much easier to sing. At least that is what I was taught. faurs

After one measure of just D in the instruments, the choir enters pianissimo in six parts on the D minor chord and stays on it in homophony for the entire text ” Requiem aeternam ” eternal rest. Given the liturgical nature of the work, boy trebles are often used instead of sopranos.

The choir repeats the first line of the text on the same motif as in the beginning, but in more elaborate polyphony in four parts, concluded by an uplifting Amen in B major. I’m not Catholic, so I’m a bit hazy about standard forms of prayer in Latin.

Now I will know what I am singing. If you listen carefully you can hear each syllable.

Words and Music: Requiem (Gabriel Fauré)

The Kyrie begins with the same melody that the tenor sang before, but now in unison of soprano, alto and tenor, repeated in the following four measures in four-part harmony. Juan Espinoza 10 July at Arranger Jean Roger-Ducasse —piano reduction. Retrieved from ” https: In —, the score was reworked for full orchestra. Helps me a lot to study it I’m working on the Barytone solo. Thank you, I haven’t been able to hear all the words on my recording, this helps no end in following it.


The composition is structured in seven movements:. Editor Jean Roger-Ducassepiano reduction. The sopranos alone begins the following section ” Lux aeterna luceat eis ” Light eternal shine for them with a long ” Lux “, then the choir, divided in six parts, lets that light shimmer. Javascript is required for this feature. Fraser Symon 3 October at As a long lapsed Catholic, there is one line — let perpetual light shine upon them — which you have changed.

The entire piece is 35 minutes long, that includes the music put to the other standard liturgy texts? The choir closes with a reprise of the Introit, the opening of the mass “Requiem aeternam”before the orchestra picks up the ” Agnus Dei ” melody to close the movement.

They pronounce them differently in this music than we did.

Classical Music | Baritone

The choral – orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works. 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. The first call is a modal melody in Faur major of six measures, the second call is similar but reaching up higher.

You did an excellent ‘job’. Different from typical Requiem settings, the full sequence Dies irae is omitted, replaced by its section Pie Jesu. A reminder, if one were hoxtias, of the dangers of making assumptions. If the word-order seems a bit odd at times, it’s because I’m keeping close to the original; but I won’t often put words in an order ungrammatical. A beautiful, beautiful piece of music!

Views Read Edit View history. There are two different and accepted ways of pronouncing Latin. The final call ” Kyrie ” appears pianissimo.


The pattern appears several times, with the melodies increasing in ambitusand the volume reaching forte on hostais excelsis ” the highest. Is that a good way to explain the whole?

After six measures, the tenors sing a melody to it that gently rises and falls, and repeats it almost the same way. Great work, thank you. He slightly altered the texts of the Introitthe KyriePie JesuAgnus Deiand In Paradisumbut substantially changed the text of the Offertory described below. Hostias et preces tibi Domine, laudis offerimus Sacrifices and prayers to you, lord, with praise we offer tu suscipe pro animabus illis receive them for those souls quarum hodie memoriam facimus whom today we remember.

The words ” Dona eis, Domine, dona eis requiem ” begin with more expansion, but reach alternating between only two notes on two repetitions of ” sempiternam requiem “.

Faure Requiem – Listeners Guide

Chorus Angelorum te suscipiat May the chorus of angels receive you, et cum Lazaro quondam paupere and with Lazarus, once a beggar, aeternam habeas requiem may you have eternal rest. Contents 1 Performances 1. Creative Commons Attribution-ShareAlike 3. This page was last edited on 30 Julyat The ending “ae” they hostkas as “a”. Tartarus refers to the deepest area of hell reserved only for the worst sinners according to Roman mythology, so I would guess that Faure used it as a bit of poetic license to express ohstias same thing as hosfias.

The voices are abbreviated, S for sopranoA for altoT for tenorB for bass. Robert Mermoud chor master: They’re just to help singers know what they’re singing.

The baritone soloist sings the first section alone. These files are part of the Orchestra Parts Project. 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 chords of daring harmonic progression.


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