Reflection – Requiem Aeternam by Jennifer Rodgers, UUCR Director of Music
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Reflection – Requiem Aeternam by Jennifer Rodgers, UUCR Director of Music “Rest eternal and light perpetual. In the end, this is my only prayer.” The whole of Fauré’s Requiem could be summed up just that neatly. Earlier Requiems delve deeply into the Day of Judgment texts –“Dies Irae! Dies Illa! Day of Wrath! Day of calamity and misery!” They swell with angry passages, fear for the wrath of God and our own fear of death. Fauré’s Requiem has been called a lullaby by comparison. It’s as if he has written a mantra for peace in death that he repeats over and over. Or a petition patiently applied through every common form of address to this “God” that people worship. You see, Fauré, reportedly, was an agnostic - a quiet, free-thinking, creative agnostic. I think that we see this right up front in the first movement. After he opens with his central prayer – rest eternal and light perpetual – he sets a text that can be translated as “Thou, O God, are worshiped in holy Sion and vows to you are fulfilled in Jerusalem.” Not “I worship you,” but “you are worshiped.” As if he’s saying, “you have the praise and the ear of the people. The people come to you and so I will make my plea to you, too.” He uses a litany of titles and accolades - the Kyrie eleison (Lord have mercy), the Sanctus (Holy Lord God of Hosts – Hosanna in the highest), the Agnus Dei (Lamb of God). He uses Pie Jesu (Merciful Lord), Domine Deus Sabaoth (Lord God of Hosts), Rex Gloriae (King of Glory) - and each one, except the simple statement of the Sanctus, is simply a prelude to saying, rest eternal and light perpetual. “That’s all I want,” he’s saying, “I want death to be peaceful and full of light.” Which brings me to another possible source for his philosophy. He was just 25 when the Franco-Prussian War broke out and he volunteered for the front line. It was a terrible war that left Paris in ruins and its people starving. And there is evidence that when he returned to “normal post war life,” he suffered bouts of dizziness, intense depression, and migraine headaches. Nowadays, we might well call that Post Traumatic Stress Disorder. And it was enough for his fiancé to call off their marriage. There is one movement in the Requiem where he (oh so briefly!) includes some of the Day of Wrath language that Mozart and Verdi spend huge movements on. Even then, he wraps it in prayer and quiet hope. And, even more telling, his first version of the Requiem didn’t include this movement at all! You’ll hear Greg Yoder quietly state the heart of it – “Libera Me, Domine, de morte aeterna: Deliver Me, Lord from everlasting death” – a melody that the choir repeats later with great restraint. Greg’s solo is followed by this tremendously powerful pianissimo passage about the fear of death - “Tremens, Tremens.” I’ve been saying to the choir about that section: it’s as though you hope so much for peace in death that you can hardly speak the words. So briefly, the horns announce the “Dies Illa! Dies Irae! Day of Wrath and misery!” and then we tumble quickly back to rest eternal and light perpetual. “That’s all I ask, you God of the people, you who are said to be merciful. I wish there to be rest eternal and light perpetual. I wish for those who die, and inevitably for myself as well, to be shown Paradise where there is rest eternal and light perpetual.” .