Requiem Gabriel Fauré (1845-1924)
Requiem aeternam dona eis, Domine, Eternal rest grant to them, O Lord, et lux perpetua luceat eis. and let perpetual light shine on them. Te decet hymnus, Deus in Sion To Thee we owe a hymn of praise, God in Zion et tibi reddetur votum in Jerusalem. To Thee must vows be fulfilled in Jerusalem. Exaudi orationem meam, ad te omnis caro Hear my prayer for unto You all flesh shall come. veniet. Kyrie eleison, Christe eleison, Kyrie eleison. Lord, have mercy. Christ, have mercy. Lord, have mercy.
The first movement begins with a note of D from the orchestra, and the choir enter pianissimo with a D minor chord “Requiem aeternam”. The tenors then repeat the prayer with a chant-like tune, and the sopranos follow with their own chant “Te decet hymnus”. A loud “Exaudi” from all voices calls for God to hear our prayer, and then there is a short Kyrie, to the “Requiem aeternam” chant tune introduced by the tenors.
Movement II Offertoire
O Domine, Jesu Christe, Rex Gloriae O Lord, Jesus Christ, King of glory libera animas defunctorum Deliver the souls of the dead de poenis inferni et de profundo lacu. from infernal punishment and from the deep abyss. O Domine, Jesu Christe, Rex Gloriae O Lord Jesus Christ, King of Glory, libera animas defunctorum de ore leonis Deliver the souls of the dead from the mouth of the lion, ne absorbeat eus Tartarus ne cadant in Do not let Hell swallow them up and do not let obscurum. them fall into darkness. Hostias et preces tibi Domine, laudis offerimus Sacrifices and prayers of praise we offer to you, O Lord, tu suscipe pro animabus illis receive them for the souls of those quarum hodie memoriam facimus whom we commemorate today. Fac eas, Domine, de morte transire ad vitam Lord, make them pass from death to life Quam olim Abrahae promisisti et semini eus. as once You promised to Abraham and to his seed.
Alto, tenor and, a little later, the bass parts enter one after another in cannon “O Domine, Jesu Christe, rex gloriae" . The baritone sings his solo “Hostias…”, and the movement concludes with the opening music, this time with a fuller harmony, and with the cannon begun by the basses and this time working up the choir. The movement concludes with a lovely “Amen”
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Movement III Sanctus
Sanctus, Sanctus, Sanctus Dominus Deus Holy, Holy, Holy, Lord God of Hosts. Sabaoth. Pleni sunt coeli et terra. Gloria tua. Heaven and earth are full of your glory. Hosanna in excelsis. Hosanna in the highest.
With minimal accompaniment from harp and strings the sopranos and men sing a duet, the men repeating the soprano call, in an angelic chorus which builds to a crescendo with horn fanfare for a triumphant “Hosanna in excelsis", fading to a long hushed repetition of “Sanctus”. The violins simple melody, accompanied by harp arpeggios, concludes the movement.
Movement IV Pie Jesu
Pie Jesu, Domine, dona eis requiem. Merciful Lord Jesus, grant them rest. Dona eis requiem sempiternam requiem Grant them eternal rest.
This is the best known movement, and the only one in which the soprano sings. It consists of repetition of a simple modal melody with large intervals, reaching heavenwards.
Movement V Agnus Dei and Lux Aeterna
Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world, dona eis requiem. grant them rest. Lux aeterna luceat eis, Domine May eternal light shine on them, O Lord. Cum sanctis tuis in aeternum, With Your saints for eternity, quia pius es. for You are merciful. Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord, et lux perpetua luceat eis and let perpetual light shine on them.
Instead of the common setting of “Agnus Dei” to foreboding music, and in minor keys, the orchestra opens this movement with a bright legato melody form the orchestra in F major. The tenors sing a chant like melody but in smooth rising and falling phrases. The choir join in with strong dynamics adding some drama, but the tenors take over again with a gentle solo, and this is followed by a warm choral treatment of “Lux aeterna”. The choir repeats the “Requiem aeternam” from the first movement, before the orchestra concludes with the lovely tune with which it opened the “Agnus Dei”.
Movement VI Libera me
Libera me, Domine, de morte aeterna, Free me, lord, from eternal death, in die illa tremenda on that day of wrath
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quando coeli movendi sunt et terra. when the heavens and the earth shall move. Dum veneris judicare saeculum per ignem While you come to judge the world by fire. Tremens factus sum ego et timeo I am made to tremble, and to fear, dum discussio venerit atque ventura ira awaiting the destruction and your coming wrath. Dies illa, dies irae, calamitatis et miseriae O that day, that day of wrath, of calamity and misery, dies illa, dies magna et amara valde. the great and exceedingly bitter day, Requiem aeternam dona eis, Domine, Grant eternal rest to them, Lord, et lux perpetua luceat eis. and let perpetual light shine on them.
The baritone opens this movement, and the large leaps in his line add drama to his words “in die illa tremenda” (“on that day of wrath”). The choir continue with dramatic fortissimo chords and repeated notes on the brass for "Dies irae" (“day of wrath”). The choir then sing the initial “Libera me” (“Free me”) tune in unison, with a final soft pleas of “libera me”.
Movement VII In Paradisum
In Paradisum deducant Angeli May angels lead you into Paradise, in tuo adventu suscipiant te Martyres, at Your coming, may martyrs receive you, et perducant te in civitatem sanctam Jerusalem and lead you into the Holy City Jerusalem. Chorus Angelorum te suscipiat, May the chorus of angels receive you, et cum Lazaro quondam pauper, and with Lazarus, once a beggar, aeternam habeas requiem May you have eternal rest.
This movement is not usually part of the Requiem mass, but an antiphon sung at the burial "In paradisum deducant angeli" (“May angels lead you to paradise”). Over an accompaniment of gentle broken chords, the sopranos sing the angelic chorus, with the rest of the choir adding harmonies to emphasize the climax of their phrases. The last word is the same as the first word of the piece: “Requiem”. The final harmonies however are not a strong cadence indicating resolution, but the last section stays in D major in an indefinite cadence which is appropriate to the continuation through death to the happy the eternal rest - it sounds somewhat unfinished….
Sources of information: http://www.jamescsliu.com/classical/Faure_Requiem.html http://en.wikipedia.org/wiki/Requiem_(Faur%C3%A9)
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Ein Deutsches Requiem (A German Requiem) Johannes Brahms (1833-1897)
Note: The texts are taken from King James Version: a comparable Reformation-era English text to the German Luther Bible text used by Brahms.
Movement I
--Selig sind, die da Leid tragen, --Blessed are they that mourn: denn sie sollen getröstet werden. for they shall be comforted. --Matthäus 5:4 --Matthew 5:4 --Die mit Tränen säen, --They that sow in tears werden mit Freuden ernten. shall reap in joy. --Sie gehen hin und weinen --He that goeth forth and weepeth, und tragen edlen Samen, bearing precious seed, und kommen mit Freuden shall doubtless come again with rejoicing, und bringen ihre Garben. bringing his sheaves with him. --Psalm 126:5, 6 --Psalm 126:5, 6
The first movement “Selig sind, die da Leid tragen” (“Blessed are they that mourn”) is scored without violins. It opens with low strings and organ, joined by horns, establishing the home note F, which is repeated as a bass pedal note (a term originating from use of a pedal on the organ to repeat a bass note over an extended period while other harmonies move above it). The choir sing the first line as the instruments drop out. The three note “Selig sind” is an important motif through the Requiem, appearing in different places in reverse, or inverted, as well as reappearing at the conclusion of the work to unite the whole. Brahms uses some dissonance to emphasize the word “Leid” (“tears”).The second text “Die mit Tränen säen” (“They that sow in tears”), is set to new music beginning abruptly in D-flat major, sung by tenors and basses and doubled by the cellos. This returns to the pedal point F in the bass line by the end of the section, and the first music (“Selig sind”) is heard again with some new harmonies. The climax of this movement is the coda which concludes it, with all the voices singing “getrostet warden” (“be comforted”) in close imitation, beginning with the sopranos and joined by the parts on successive beats. The three note motif from the opening “Selig” is heard on individual instruments, as the choir parts repeat the important words “be comforted”, rising to a climax and falling to a beautiful cadence.
Movement II
--Denn alles Fleisch es ist wie Gras --For all flesh is as grass, und alle Herrlichkeit des Menschen and all the glory of man wie des Grases Blumen. as the flower of grass. Das Gras ist verdorret The grass withereth, und die Blume abgefallen. and the flower falleth away. --1. Petrus 1:24 --1 Peter 1:24 --So seid nun geduldig, lieben Brüder, --Be patient, therefore, brethren, bis auf die Zukunft des Herrn. unto the coming of the Lord.
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Siehe, ein Ackermann wartet Behold, the husbandman waiteth auf die köstliche Frucht der Erde for the precious fruit of the earth, und ist geduldig darüber, bis er empfahe and hath long patience for it, until he receive den Morgenregen und Abendregen. the early and latter rain. --Jakobus 5:7 --James 5:7 --Aber des Herrn Wort bleibet in Ewigkeit. --But the word of the Lord endureth for ever. --1. Petrus 1:25 --1 Peter 1:25 --Die Erlöseten des Herrn werden wieder kommen --And the ransomed of the Lord shall return, und gen Zion kommen mit Jauchzen; and come to Zion with songs ewige Freude wird über ihrem Haupte sein; and everlasting joy upon their heads: Freude und Wonne werden sie ergreifen they shall obtain joy and gladness, und Schmerz und Seufzen wird weg müssen. and sorrow and sighing shall flee away. --Jesaja 35:10 --Isaiah 35:10
This movement opens with low strings and bassoons, and develops into a slow and ominous march- like rhythm: it is marked “Langsam, marschmäßig” (“slow, like a march”) even though it is three beats to the bar. The rhythm is emphasized by the steady triplet rhythm on the timpani. The choir enters quietly, without the sopranos, in a solemn unison “Denn alles Fleisch” (“For all flesh is grass”). There is a dramatic orchestral section which builds, adding a rising horn and a thunder of timpani to introduce the repetition of “Denn alles Fleisch”, now in unison with all the parts and at full volume. The second section is in a bright key, and lively contrast to the opening funeral march. It ends with a repetition of the opening words “so seid geduldig” (“be patient”). The music returns to the opening “Denn alles Fleisch”. This is followed by a triumphant entry “Aber des Herrn Wort” (“but the Word of the Lord”). This triumphant nine bar statement leads into the final text from Isaiah, which is introduced by the basses with a much faster tempo “Die Erlöseten des Herrn” (“and the ransomed of the Lord”). The choir come together for the most important “ewige Freude” (“everlasting joy”), and variations of this music continue to a dramatic climax with brass and timpani, followed by a diminuendo and concluding timpani roll.
Movement III
--Herr, lehre doch mich, --Lord, make me to know mine end, daß ein Ende mit mir haben muß, and the measure of my days, und mein Leben ein Ziel hat, what it is: und ich davon muß. that I may know how frail I am. --Siehe, meine Tage --Behold, thou hast made my days sind einer Hand breit vor dir, as a handbreadth; und mein Leben and my age ist wie nichts vor dir. is as nothing before thee: Ach wie gar nichts sind alle Menschen, verily every man at his best state die doch so sicher leben. is altogether vanity. --Sie gehen daher wie ein Schemen, --Surely every man walketh in a vain shew: und machen ihnen viel vergebliche Unruhe; surely they are disquieted in vain: sie sammeln und wissen nicht he heapeth up riches, wer es kriegen wird. and knoweth not who shall gather them.
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--Nun Herr, wess soll ich mich trösten? --And now, Lord, what wait I for? Ich hoffe auf dich. My hope is in thee. --Psalm 39:5-8 --Psalm 39:4-7 --Der Gerechten Seelen sind in Gottes Hand But the souls of the righteous are in the hand und keine Qual rühret sie an. of God, --Weisheit Salomos 3:1 and there shall no torment touch them. --Wisdom of Solomon 3:1
In this movement the baritone opens with an anguished request “Herr, lehre doch mich” (“ Lord, make me to know mine end”). The music is in three large sections. The last part, which sets the words of comfort from Solomon, is an energetic fugue with a bass pedal point note of D throughout, played on organ pedal, brass and timpani. The tenors begin this section “Der Gerechten Seelen sind in Gottes Hand” (“But the souls of the righteous are in the hand of God”).
Movement IV
--Wie lieblich sind deine Wohnungen, --How amiable are they tabernacles, Herr Zebaoth! O Lord of hosts! --Meine Seele verlanget und sehnet sich --My soul longeth, yea, even fainteth nach den Vorhöfen des Herrn; for the courts of the Lord: mein Leib und Seele freuen sich my heart and my flesh crieth out in dem lebendigen Gott. for the living God. --Wohl denen, die in deinem Hause wohnen, --Blessed are they that dwell in thy house: die loben dich immerdar. they will be still praising thee. --Psalm 84:2, 3, 5 --Psalm 84:1, 2, 4
This central movement is in the form of a Rondo with structure ABACA. The first section (A) is a beautiful flowing melody “Wie lieblich sind deine Wohnungen” (“ How lovely are thy tabernacles”). This main theme is interrupted by the B music setting the second verse “Meine Seele verlanget” (“My soul longeth”), emphasizing the words “Leib” and “Seele” (“body” and “soul”). “Wie lieblich sind” returns, to be interrupted again by another new tune C, a lively fugal setting of “die loben dich immerdar” (“They will be praising thee”). A final statement of the opening melody concludes the movement.
Movement V
--Ihr habt nun Traurigkeit; And ye now therefore have sorrow: aber ich will euch wieder sehen but I will see you again, und euer Herz soll sich freuen and your heart shall rejoice, und eure Freude soll niemand von euch nehmen. and your joy no man taketh from you. --Evangelium Johannes 16:22 --John 16:22 --Sehet mich an: --Ye see how Ich habe eine kleine Zeit for a little while Mühe und Arbeit gehabt I labour and toil,
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und habe großen Trost funden. yet have I found much rest. --Jesus Sirach 51:35[27] --Ecclesiasticus 51:27 Ich will euch trösten, As one whom his mother comforteth, wie Einen seine Mutter tröstet. so will I comfort you… --Jesaja 66:13 --Isaiah 66:13
This movement is for soprano soloist and choir. The strings introduce the soloist’s words of comfort “Ihr habt nun Traurigkeit; aber ich will euch wieder sehen” (“And ye now therefore have sorrow:but I will see you again”). The choir accompaniment is always quiet and gentle, emphasizing “wie Einen seine Mutter tröstet.” (“so will I comfort you”) as the movement concludes.
Movement VI
--Denn wir haben hie keine bleibende Statt, --For here have we no continuing city, sondern die zukünftige suchen wir. but we seek one to come. --Hebräer 13:14 --Hebrews 13:14 --Siehe, ich sage euch ein Geheimnis: --Behold, I shew you a mystery; Wir werden nicht alle entschlafen, We shall not all sleep, wir werden aber alle verwandelt werden; but we shall all be changed, --und dasselbige plötzlich, in einen Augenblick, --in a moment, in the twinkling of an eye, zu der Zeit der letzten Posaune. at the last trump: Denn es wird die Posaune schallen, for the trumpet shall sound, und die Toten werden auferstehen unverweslich, and the dead shall be raised incorruptible, und wir werden verwandelt werden. and we shall be changed. --Dann wird erfüllet werden --Then shall be brought to pass das Wort, das geschrieben steht: the saying that is written: Der Tod ist verschlungen in den Sieg. Death is swallowed up in victory. --Tod, wo ist dein Stachel? --O death, where is thy sting? Hölle, wo ist dein Sieg? O grave, where is thy victory? --1. Korinther 15:51, 52, 54, 55 --1 Corinthians 15:51, 52, 54, 55 --Herr, du bist würdig --Thou art worthy, O Lord, zu nehmen Preis und Ehre und Kraft, to receive glory and honour and power: denn du hast alle Dinge erschaffen, for thou hast created all things, und durch deinen Willen haben sie das Wesen and for thy peasure they are und sind geschaffen. and were created. --Offenbarung Johannes 4:11 --Revelations 4:11
The verse from Isaiah is introduced in hushed harmony to pizzicato on the lower strings “Denn wir haben hie keine bleibende Statt” (“For here have we no continuing city”).The baritone makes his return in the second section, introducing “Siehe, ich sage euch ein Geheimnis” (“Behold, I shew you a mystery”). The choir repeats his words in a quiet chant. There is a gradual crescendo to the “last trump” (“der letzten Posaune” ), when the music changes to three beats in a bar and a new triumphant theme for the choir “Denn es wird die Posaune schallen” (“ And the trumpet shall sound”). This is a very different treatment of the words to the more familiar Handel setting in the Messiah. It is also curious to note that in German Posaune is actually trombone and not trumpet!
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After the final lines from the baritone, the choir challenge death (“Tod”), with bold block chords “wo ist dein Stachel?” (“where is thy sting?”).The final section of the movement is a lively Allegro fugue, setting the verse from Revelation, and building to a dramatic repetition of the words “zu nehmen Preis und Ehre” (“to receive glory and honour”).
Movement VII
--Selig sind die Toten, --Blessed are the dead die in dem Herrn sterben, von nun an. which die in the Lord from henceforth: Ja der Geist spricht, Yea, saith the Spirit, daß sie ruhen von ihrer Arbeit; that they may rest from their labors; denn ihre Werke folgen ihnen nach. and their works do follow them. --Offenbarung Johannes 14:13 --Revelations14:13
The final movement, in 4/4 time, is marked Feierlich (solemnly). The sopranos introduce a beautiful falling and rising line “Selig sind die Toten” (“Blessed are the dead”), handing it over to the basses before the whole choir join in.In the second section of music the three lower parts sing a hymn-like unison “Ja der Geist spricht” (“Yea, saith the spirit”), with horns and trombones to accompany them. As this section develops the choir sing a cappella (unaccompanied) in places. The initial theme “Selig sind die Toten” returns led by the tenors, and this leads into a coda which combines the “Selig sind” (“Blessed are”) from this final movement, with the rising three note motif to the same words from the first movement, which on that occasion referred to the mourners left behind. Brahms cleverly blends the music from the first and last movements here – both the mourners and the dead are “blessed”, but then with even more exceptional skill rounds off the final movement with music identical to that at the end of the first movement. However he replaces the words which close that opening movement (“getrostet warden” (“be comforted”)) with “Selig”. The symmetry of the Requiem is now complete, with the first word also the last.
Sources of information: http://www.kellydeanhansen.com/opus45.html http://en.wikipedia.org/wiki/A_German_Requiem_(Brahms) http://www.choirs.org.uk/prognotes/brahms%20requiem.htm http://www.classical-music.com/requiem
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