Recording of my solo from Bangor Cathedral Choir’s performance of Gabriel Faure’s Requiem. (“Hostias et preces tibi Domine” – from 2. Gabriel Fauré. (œ). Edited by Philip Legge. 2 Bassons. I, II. 4 Cors en Fa. III, IV. 2 Trompettes chrom. en Fa. Timbales. Sopranos. Altos. Ténors. Basses. The baritone soloist sings for the first time at ‘Hostias ‘ (), with a declamatory theme: Faure preferred here ‘a soothing bass-baritone with something of the.

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Thank you, I haven’t been able to hear all the words on my recording, this helps no end in following it. This page was last edited on 30 Julyat Editor Jean Roger-Ducasse —co-orchestrator. The final movement In Paradisum is based on a text that is not part of the liturgy of the funeral mass but of the burial.

Tartarus refers to the deepest area of hell reserved only for the worst sinners according to Roman mythology, so I would guess that Faure used it as a bit of poetic license to express the same thing as infernus. Disques EratoGagnaux Hostuas. Creative Commons Attribution 3.

From Requiem: Hostias | Richard Rittelmann | Baritone | Free classical music online

He slightly altered the texts of the Introitthe KyriePie JesuAgnus Deiand In Paradisumbut substantially changed the text of the Offertory described below. Kiki 12 June at They’re just to help singers know what they’re singing. If the word-order seems a bit odd at times, it’s because I’m keeping close to the original; but I won’t often put words in an order ungrammatical.

Roger-Ducasse was not listed as co-orchestrator in the score and parts issued by Hamelle. It has been said that my Requiem does not express the fear of death and someone has called it a lullaby of death.


Any tips on how to understand what I’ll be doing in my mind to make this sound correct or sound clean without really “learning” any latin? No, the reprise of the Introit is in there twice. LIBERA ME Libera me, Domine, de morte aeterna Free me, lord, from death eternal in die illa tremenda on that day of dread quando coeli movendi sunt et terra when the heavens will be shaken and the earth dum veneris judicare saeculum per ignem while you come to judge the world with fire.

Is it not necessary to accept the artist’s nature? Exaudi orationem meam, ad te omnis caro veniet.

Requiem, Op.48 (Fauré, Gabriel)

Javascript is required for this feature. The sopranos sing a rising expressive melody, enriched by chords of the other voices, hosias in six parts, on the final “Jerusalem”. Given the liturgical nature of the work, boy trebles are often used instead of sopranos. On a bass in an ostinato rhythm of two quarter notes, a rest and the upbeat to the next two quarters, he sings the text ” Libera me I’m not Catholic, so I’m a bit hazy about standard forms of hosyias in Latin.

Fraser Symon 3 October at Conrad Braam 19 October at And will phrase the song better. Fac eas, Domine, de morte transire ad vitam Make them, lord, from death cross over to life Quam olim Abrahae promisisti et semini eus.

Unknown 27 October at It was not performed in the United States untilat a student concert at the Curtis Institute of Music in Philadelphia. Newer Post Older Post Home. Sarah 30 April at Paul Taffanel conducted forces of performers.

Quote’s cited date is Hamelle, with additions by Philip Legge. After one measure of just D in the instruments, the choir enters pianissimo in six parts on the D minor chord and stays on it in homophony for the entire text ” Requiem aeternam ” eternal rest.


Views Read Edit View history. In seven movementsthe work is scored for soprano and baritone soloists, mixed choir, orchestra and organ.

The call “Christe” is strong and urgent the first time, repeated more softly a few more times. Sanctus Holyin contrast with other compositions of mass and Requiem where it is often illustrated with great vocal and instrumental forces particularly Verdi’s Requiemis here expressed in extremely simple hstias.

Performer Pages Papalin Recorder, Chorus.

Once at the end of the Agnus Dei, and once at the end of the Libera Me. Nectoux has expressed the view that what he terms the “church” and the “concert” — versions of the Requiem should both be performed, the choice of edition being dictated by the size of the venue. The sopranos continue similarly that praise is due in Jerusalem, then all voices exclaim ” Exaudi ” hear. It was first performed in England in A performance takes about 35 minutes.

The sequence is repeated beginning one step higher for the next line, and again one step higher for the following more urgent call to Jesus, enforced by the basses. Please do be brutal with replies to my stupid questions. Creative Commons Attribution-NonCommercial 4. David 2 October at Dolly —97 Raure music.