Gabriel Fauré (1845-1924) is a bridge between the rich sounds romantic and brilliant hues evoking transparency Impressionists. No other work captures the essence of this duality as his opus 48. The Fauré Requiem is not like the others: lyrical and joyful atmosphere is not tragic, sorrowful or gloomy but mostly calm emotions, an example of reconciliation between the individual and death, instead of inciting fear puts his trust in eternal rest with a halo of paganism in terms of universal significance, not just Catholic.
After the violas in the previous section (Fauré asked himself: "the more violas best "), the violins sound naive in the Sanctus . Trembling harp and strings accompany the echoes of sopranos and tenors. The metals mark the beginning of a cheerful "Hosanna " before the motion is based on a blissfully meditative coda, while the harmony modulates weightless.
André Cluytens address is sober, earnest and language, but the contributions of the soloists are essential milestone of this record: the luminous purity Heritage , devout in prayer, Victoria de los Angeles (via the r's too, in English), and intimate, sensitive, clear diction and contained in the baritone Dietrich Fischer-Dieskau. Really bad Elisabeth Brasseur Choir: fickle intonation, the soprano line appears somewhat emaciated, and in some entries (decet Hymnus Te ) undecided. Worse is the vibrato, terrible. Excellent the fine orchestra Societe des Concerts du Conservatoire du Paris, or raucous and colorful, sometimes in languid tempi, which hampers phrasing. Prominent arpeggios organist at Paradisum, perhaps of dubious election records. Recording air quality, harmonic and rhythmic sharpness diluted in the large noise of the Parisian church of Saint-Roch, perfect in this climate of prayer (EMI, 1962) . The poor editing and noise in the stands deserve absolution.
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The seven movements form an arch requiem with similar textural and structural symmetries: A somber unison in minor initiates re Introit in the orchestra and introduced the whispering chorus, reciting the opening prayer in simple harmonic blocks and starting a climb to a monolithic "et lux perpetua ." After overlooking the main theme, a simple melody and modulation, plus an instrumental accompaniment of regular rhythm and a prominent contrapuntal line in the violas-dominant instrument in the work. The harmonies are clear, pure, modally-inspired, airy texture, almost monochrome, the drama is there, but always tenuous and buried. The verse "I decet Hymnus " haunts in the children's voices (the same Fauré led a group at La Madeleine) and ending softly. The full choir sobbing on the undulating melody in the cellos in the brief " Kyrie."
The extraordinary progression from darkness to light is the Offertorium begins with an introduction on the bass strings, after which the altos and tenors enter a capella , evoking the austerity of alternating chant and simple passages in octaves canonic imitations for two voices. The accompanying passage modulates slightly, gradually increasing the intensity of expression to the entrance of the choir. The soloist is featured in the " Hostias " with a declamatory theme: Fauré preferred "bass-baritone a gentle, somewhat monastic singer. The choir returns with a development in" O Domine , sadness apparently relieved, and the brief hint of fear is soon dispelled by the radiant quiet "Amen ."
After the violas in the previous section (Fauré asked himself: "the more violas best "), the violins sound naive in the Sanctus . Trembling harp and strings accompany the echoes of sopranos and tenors. The metals mark the beginning of a cheerful "Hosanna " before the motion is based on a blissfully meditative coda, while the harmony modulates weightless.
The festive Pie Jesu is a soprano solo of startling simplicity, with orchestral interjections that add an unusual pentatonic flavor. The composer chose an adult female singer instead of a boy soprano, and long sentences that require careful control of breathing.
The intricate melody opening Agnus Dei becomes a delicate counterpoint to the theme of spirit Bach choral tenors. This is the starting point for the greatest challenge of Requiem: A passage oppressively harmonized chorus that subsides into a peaceful return of the opening theme to the shocking and isolated Re largest of the sopranos, spread over "lux " magically modulating the flat, before reaching the climax in the pleading "quia pius est ." His despair gives way to redeeming the sound of the strings beginning of the movement.
In the Libera me baritone fervent prayer and calm the anxious beat of the bass strings in pizzicato . The entrance to the choir in " Tremens, tremens" leads to Fauré to single gesture referring to Judgement: A Brief Dies Irae in which the simple binary rhythm gives way to a composite, with hot metal in the background. The choir returns in unison against the subtle but menacing rumble of the drums.
The requiem concludes with a sixteenth note ostinato in the upper register of the body that rocks an angelic soprano line: In Paradisum. Choir and strings in soft harmonies antiphonally bloom, the halo of strings, harp and organ grows and turns before dissolving into the lullaby of death.
-Score Score
"Nothing pure lighter or has been written. No external effect alters his sobriety and his stern expression of grief, no stirring deep meditation mob, no doubt tarnish the trust or its delicate smooth and quiet hope "Nadia Boulanger was a friend and disciple of the composer at the Paris Conservatoire. So is the choice of emotion and authenticity (or treason): The score that was used Fauré dedicated the same (excellent lift lun [M.sup.lle] Nadia Boulanger / son Vieux professeur devoue ") and was recorded largely with analysis in each section, showing general and thematic structure key motion editing corrections, French translations of Latin texts in the vocal parts, performance brands such as ligatures, accents, dynamics and expression signs, breath of the singers, etc. Boulanger A 81 years ago such a profession of faith in the work, with such austerity and economy of gesture that the original design and camera work for organ and low strings is subtle but audible in the orchestral version. What else? The transparent BBC Symphony Orchestra facing slow tempi, and the BBC Chorus occasional pitch problems . Effective and simple style, without textual mannerisms, John Carol Case home better than the continuous vibrato Janet Price. Opaque and matted sound (BBC Legends, 1968) .
The Fauré Requiem is a work ideally conducive to the temperament and Sergiu Celibidache the phenomenological concept of the passage of sound. A sparkling design of elusive beauty, mystical, sublimated, where the exhibition clearly connects the logical sense and constructive resolution of (all) details. Careful internal balance and exquisite gradations dynamic vitality in impossibly distended vocal lines, though the interpretation Celibidache lasts for no less than 44 minutes, in a work the composer himself, an experienced interpreter of the same in reberverantes cathedral acoustic, estimated at " 30 minutes, 35 as much " - there are sections of tempi stimulants like Sanctus , singing and fluid. Great sound taken from a live performance (EMI, 1984) with the Munich Philarmoniker the Philarmonischer Chor München, the dramatic extrovertidamente cavernous Margaret Price and Alan Titus. Rotunda presence of the body.
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Possibly far from festive intentions of the composer (who, ironically, was an agnostic-confessed to what he called "religious illusion ), Carlo Maria Giulini not limited to lead godly to the Philharmonia Chorus & Orchestra (DG 1986), but the same is placed chasuble and stole, official, and endorses the author's emphasis on the word "requiem " (rest , in five of the seven movements) for this reading unreasonably restrained, prayed more than sung. It is undeniable that the maneuverability of a large orchestral and choral effect limits the choice of tempi , but it certainly is the anointing of the deep spirituality and humanistic sense dictate the monuments Germanic style (think of Bruckner and Brahms). Frugal timbral differentiation, exudes serenity, quietness and interior light. Accused dynamic differentiation between the orchestra (often very loud) and singers Kathleen Battle, Andreas Schmidt, dye marking opera. The choir, which represent mourners, remains veiled, a low level in general, although when ff Fauré requires massive shown. Spatially compressed sound takes the body buried and almost inaudible.
Until the late 1980's symphony orchestra version was the only known. The discovery of the original material of performances La Madeleine, edited and partly copied by Fauré himself, made possible the reconstruction of the primitive version of 1893: The core of the work dates from the fall of 1887 and Fauré only had time to partially complete the orchestration, which however was somewhat atypical (violas, cellos, organ, harp and timpani). A few months later added two horns and two trumpets. The only Offertorium baritone joined in 1889. The Libera me originally written in 1877 for voice and organ, was incorporated into Requiem in 1891, which resulted in the addition of three trombones to the set. However, the style set is homogeneous: This original orchestration (without violins or wood) runs away from the brilliance and showmanship, becoming darker the color, but without falling into the darkness. Philippe Herreweghe provides a reading very well planned and structured, with a ridge close to the church climate for which it was conceived the work. Scrupulous attention to dynamic regulators of small choral ensembles, Paris Chapelle Royale Chorus and the children's choir Petit Chanteurs de Saint-Louis aupándose to top lines. The soloists also respond to that profile fragile, with the soprano Agner Mellon getting a white ring very similar to that of a boy, and Peter Koy gently controlling the resonance of song. Nothing flashy, Ensemble Musique Oblique (dildo intimate in scale and content) emphasized the lyricism of the original proposal faureana. The tubes take on a dramatic emphasis (his first attack in the Introit bordering on impatience) and color the basic texture of the strings and organ. In tempi serene, this is a reading that emphasizes the intimate aspects of the work, as in the Sanctus , where a solo violin floats still ecstatic about the sopranos. Audible and dismal contribution of the drums in the Kyrie. Takes clear and spacious sound (Harmonia Mundi, 1988).
John Elliot Gardiner also used the recovered camera editing 1893. Revolutionaires Orchestra et Romantique assumes a composition reduced, intimate sounds, where each instrument is the soloist. Gardiner (student of Nadia Boulanger), discusses the work as a modest and solitary meditation on death as the rest, Lutheran linking with the sobriety of the organ works of Bach, studied and performed tirelessly Fauré. The result is an exquisite tonal quality, lightness and carried to a whisper. Exceptional voice quality Monteverdi Choir (technically perfect, velvety filling the highest expression, notably the use of countertenor), who assumes the role of interpretation, together with a delicate Catherine Bott , with an ethereal glow of vibrato, and an appropriate record of Gilles Cachemaille Lied. Philips Analytical making noise in 1992.
based on the latest edition of the score historicist (1998) Philippe Herreweghe addressed the version for symphony orchestra with arias v elections that give a distinctive sound interpretation: First, the phonetic diction of the work is sung in Latin with a strong Gallic French nasal accent, the type of speech used in the Paris churches to that in 1903 the Vatican uniformity of pronunciation according to Roman practice. Used as the basis Herreweghe's first recording of the requiem in 1930 (just six years after the death of Fauré, and can be heard in http://satyr78lp.blogspot.com/2010/ 09/gustave-bret-faure-requiem-1930.html ) due to Gustave Bret, a director who admired the composer. This is compounded by the clarity of textures of vintage instruments, and the smoothness of a great harmonium in the foreground as an alternative suggested by Fauré in place of the body. This is balanced overall Hellenic or tempi faster than in his previous chamber version, which reveals the sinister face of pages Libera Me . Despite the extent of media used in the Orchestre des Champs Elysées, they are rarely used to its limits, and we always move in an atmosphere of restraint and calm meditation. La Chapelle Royale Collegium Vocale Gent and bring a new atmosphere of sensuality and mystery. Johannette Zomer, fresh and soft, light the end of each verse with a slight hint of a fast vibrato, and Stephan Genz with light, vibrant and warm baritone voice, complete another target for Harmonia Mundi (2001).
The three dozen voices integrate with precision (what wonderful pianissimi ) Accentus choir children's choir are surrounded Maitrise de Paris in a refined and expressive reading of dynamic content, which gets Equilbey Laurence necessary to clarify the sound chamber music to 56 members of l'Orchestre National de France () in this original version of 1893. Excellent transitions choir soloists, Sandrine Piau, of innocence and Stéphane Degout sweeping, wrapping with juicy composure humble presence. Making supremely transparent sound refinement and power timbral resonance parison recreated in the basilica of Sainte-Clotilde (Naive, 2008).
Only a words to the archetypal British-based interpretations amateur choirs in venerable cathedral or residents colleges that have opted Anglicise Fauré's work were in general consistent and persuasive versions, with some beautiful like flashes Pie Jesu sung by a child version of Willcocks (EMI, 1967), but they are static and impersonal, good but not exciting, and lack the extraordinary subtlety of nuances contributed to my (brief) trial for the other versions discussed.
In an endearing video from BBC (1983) we can see Sergiu Celibidache Rehearsing for three days at the Henry Woodhall for the concert with the London Symphony Orchestra and Chorus. We are witnesses of the incessant work of intonation, balance, dynamic gradation and exquisite attention to the text. During the breaks, the Romanian maestro explains his particular philosophy of musical performance and the impossibility to domestic reproduction.
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