Gabriel Fauré (1845-1924) Requiem Op. 48 in D minor by Ernest Ansermet / Remastered
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00:00 Requiem, Op. 48, N 97 - I. Introït et Kyrie: Molto largo
07:00 Requiem, Op. 48, N 97 - II. Offertoire: Allegro molto
16:10 Requiem, Op. 48, N 97 - III. Sanctus: Andante moderato
19:25 Requiem, Op. 48, N 97 - IV. Pie Jesu: Adagio
22:36 Requiem, Op. 48, N 97 - V. Agnus Dei: Andante
27:51 Requiem, Op. 48, N 97 - VI. Libera me: Moderato
33:12 Requiem, Op. 48, N 97 - VII. In Paradisum: Andante moderato

Soprano: Suzanne Danco
Baritone: Gérard Souzay
Union Chorale de la Tour de Peilz
Chef de choeur: Robert Mermoud
Orchestre de la Suisse Romande
Direction: Ernest ANSERMET
Recorded in 1955, at Geneva
New mastering in 2023 by AB for CMRR
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It is easy to discern a grandiose sense of architecture, as well as a progression from darkness to light, in Fauré's celebrated Requiem — especially with Ansermet's respectfully slow tempi — but in fact the piece was not initially conceived as a complete work. It came together somewhat fortuitously from a collection of separate settings dating from the time of Fauré's incumbency as choirmaster at the church of the Madeleine in Paris. In 1888 four movements were performed at the Madeleine for the requiem of 'some parishioner or other' (as Fauré put it). These were the Introit and Kyrie, Sanctus, Agnus Dei, and In paradisum. The Pie Jesu also dates from this time.

Contrary to the imaginative view offered by many commentators, the work had nothing to do either with the death of Fauré's father in 1885 nor that of his mother in 1888. 'My Requiem was written for nothing’, the composer confided to Maurice Emmanuel, 'it was written, if I may say so, for fun.' With Louis Aguettant, in 1902, he shared a few more thoughts on the matter: people said my Requiem did not express the terror of death, someone called it death's cradle-song. But that is how I view death: as a happy deliverance, a yearning for the happiness of the beyond, rather than as a distressing passing on'.

It was in 1900 that Fauré inflated the smaller liturgical orchestration of the work into the 'concert-hall' version now normally heard. Even so, the prominence of the organ part was retained, and the strings were restricted to violas, cellos and basses except in the Sanctus and In paradisum. Also retained is the important and prominent harp part, particularly in the Sanctus and In paradisum.

In fact the use of the harp, particularly in requiems, was something of a French tradition: Saint-Saëns and Franck had both written liturgical pieces with rippling harp parts (a style known as the style St-Sulpicien) and the latter composer had also written a rousing solo somewhat in the style of Fauré's Libera me in his Mass in A, also cobbled together from a set of several occasional settings of movements from the Mass and elsewhere.

Fauré: Complete Piano Works by Germaine Thyssens-Valentin
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