The first performance of the Requiem was in 1888, at the Madeleine Church. Faure’s religious works consist of two masses and about sixteen motets, all of which were written to be performed in the Madeleine. Faure was only minimally successful as a musician, landing the assistant organist position at the Madeleine Church in Paris. He was not to achieve the position of chief organist until 1885. The Requiem was probably the primary catalyst in lending to his increased success, and the appointment to the higher post.

Faure held vastly different views concerning religiously based musical compositions from his contemporaries. While Berlioz and Verdi favored big effects and grand statements, Faure maintained that a subtler, more pious approach was both more appropriate and equally as satisfying .

This subtlety is evident in Faure’s orchestration. The violins, with their brighter, more dramatic tone are omitted from the work almost entirely, arising only in the Sanctus, Agnus Dei, Liberan me and in Paradisum. The violas, with their darker, more subdued tone, are the primary sound throughout the work. The woodwinds and brass are also assigned very marginal roles.

In several instances Faure has left out text in the mass for the dead which was traditionally included in the formal structure, although in most of the cases it was left up to the discretion of the composer. One such instance is when the Archangel Michael is omitted from the Offertory, as well as leaving out entirely the Sequence, as it would have to be done in plainsong .

Faure also omitted the Benedictus after the Sanctus. This was very unusual and was probably due to his uneasiness with orchestral writing. Faure often had other composers orchestrate his pieces. The Benedictus was very short, and it would have been easy enough to include it.

One of the most beautiful aspects of this requiem is the use of modal harmony within the diatonic major minor system. In the beginning of the mass, Faure bases the melodic line on the melodic form of the D minor scale. As the line ascends, Faure includes the C sharp, but as it descends, the C sharp becomes a C natural and B natural becomes B flat. Out of this unique descending minor scale can be pulled the chords of C major, A minor and F major, which, harmonically, do not correlate with the key of D melodic minor. This shows the profound influence that Faure’s training had on his compositions. This contributes to the rich modal sound that characterizes the entire piece.

The Offertory is introduced with seven bars with strings and organ alone. The altos and tenors then begin with the text (O Domine Jesu Christe) in cannon form. Faire keeps this cannon form throughout the Offertory, later adding in the basses. This movement also features a solo baritone verse. The use of seventh chords is prevalent in this movement, and there is no fugal section. The Offertory ends with a repeat of the canon, and the reiteration of the opening lines.

The next movement, the Sanctus, is introduced by two harps and muted violas at a very low dynamic level. In this movement we see the first entrance of the full orchestra, like an explosion of sound. The violins enter for the first time without mutes. The violin part is usually played solo. The sopranos introduce the melody and are responded to by the tenors and basses until, at the word “Hosanna”, the entire choir sings, accompanied by the horns and trumpets. The music then fades into a subtle, extremely soft “Sanctus”, while the violins very quietly trill above.
The next movement is a soprano solo “Pie Jesu Domine”. This movement is a soft prayer for the departed and is intensely beautiful in its simplicity and delicacy.
The Agnus Dei is characterized by a warm sound and a thick use of the strings. The accompaniment is given almost wholly to the strings, creating a rich, dark sound. The tenors introduce the prayer and also repeat it in the third petition. The second repeat of the prayer is sung by full chorus. The chorus then sings the communion, which is orchestrated in full, broad instrumentation, and then Faure ends this section with a recapitulation of the orchestral prelude to the Agnus Dei.

The last movement of the piece, the Libera me, opens with a baritone solo that is very delicate and haunting in nature. The orchestration of the accompaniment during the solo adds to this haunting feeling. It is provided primarily by the cellos, double-basses and organ. Later in the movement the violins and the horns are orchestrated prominently. The melody of the baritone is then repeated at the Libera me in full choir, sung in octaves, creating an exalting feeling. The coda is provided by the recapitulation of the baritone solo with the choir whispering the beginning of each phrase.

more on Gabriel Faure...