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a. Latin liturgical texts, edited freely, phrases
omitted
b. some movements with less familiar texts
3. organ, brass, harp used throughout
4. personal, compassionate work; offers hope
a. original conception: small in scale
b. avoids bombastic, overly dramatic style
5. Libera me (Deliver me, O Lord)
a. composed years earlier, baritone and organ
D. LG 40: Fauré: Libera me, from Requiem, Op. 48
(1887–89; revised 1893, 1900)
1. baritone solo, SATB chorus, chamber orchestra
2. homophonic, pulsating ostinato in opening
3. sensitive dynamics, serene mood
4. begins with lyrical baritone solo
a. “die illa tremenda” (“that fearful day”), reas–
suring tone
5. Dies irae (“Day of Wrath”): forceful French
horns, ff choir
6. Requiem aeternam (“Grant them eternal rest”):
softens, mysterious mood
7. Libera me: unison, full choir
8. closes serenely, soloist and choir
OVERVIEW
Fauré is introduced here within the musical traditions of
France during the nineteenth century. The Requiem illus–
trates Fauré’s interest in sacred traditions and the freedom
with which late Romantic composers approached sacred
music.
OUTLINE
I. Fauré and Late French Romanticism
A. French Romantic music, several streams
1. grand orchestral music: Berlioz
2. pianists in salons: Chopin
3. pianists in concert halls: Liszt, Gottschalk
4. theatrical productions: French Opéra
5. mélodie: French art song
a. self– consciously separate from German
Lied
b. musically inspired by Schubert
c. accommodated French language
d. Symbolist poetry: Baudelaire, Mallarmé,
Verlaine
6. sacred music: Fauré
B. Gabriel Fauré (1845–1924)
1. composer, teacher, critic
2. varied career:
a. church musician, organist
b. composition teacher
c. director of Paris Conservatory
d. music critic for influential Paris newspaper
3. major proponent of French Impressionism
4. style: intimate, personal sentiment
a. deliberately distanced from German
Romanticism
b. interest in small, intimate forms
c. master of French art song
5. output: dramatic works, sacred vocal music, sec-
ular choruses, songs cycles, instrumental music,
chamber works, piano works
C. Fauré’s Requiem (Mass for the dead)
1. written over 20years
2. seven movements
CHAPTERfi48 Accepting Death: Fauré and the Requiem
Accepting Death: Fauré and the Requiem | 189
ré’s mélodies (e.g., En sourdine, Nell, or Après un rêve) to
further introduce this genre to students. If pos si ble, arrange
for a live per for mance by a voice student with piano
accompaniment.
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY
Caballero, Carlo. Fauré and French Musical Aesthetics. Cam–
bridge: Cambridge University Press, 2001. Chapter2 (“Quelle
YOUR TURN TO EXPLORE
Find an example of a musical work designed to reflect on a
tragic or sorrowful event and/or offer comfort or hope to
those who have witnessed it. If words are incorporated, where
MODEL RESPONSE
The text, a poem by Wendy Cope, acknowledges the tragedy
of the events on 9/11 while encouraging the reader to cele-
brate the continued opportunity to “live and love” with a
reminder that “love is all, is all there is.” Goodall’s setting
for SATB choir, piano, and strings emphasizes the medita-
tive quality of the text with fairly consonant harmonies
LEARNING OBJECTIVES
1. To understand the diverse musical genres explored by
French composers during the nineteenth century
2. To understand Fauré’s connections to both secular and
sacred musical composition
3. To recognize Fauré’s Requiem as an example of his free
LECTURE SUGGESTIONS
1. Share with your students the compositional output of
Fauré. Ask them to compare it with the output of Ber–
lioz, Chopin, and Wagner. Emphasize to students the
the excerpt. Play the final movement, In Paradisum (not
in the listening guide, but immediately follows Libera
me), and again engage students in a dialogue about the
composer’s remarks.
2. The textbook also notes (p.290) that Fauré served in the
French military during the Franco- Prussian War of the
TEACHING CHALLENGES
The mélodie is introduced in this chapter as an impor tant
genre of French music in the nineteenth century, yet without
a listening example for students to refer to. Play one of Fau-
