Requiem (Fauré) in the context of Gabriel Fauré


Requiem (Fauré) in the context of Gabriel Fauré
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👉 Requiem (Fauré) in the context of Gabriel Fauré

Gabriel Urbain Fauré (12 May 1845 – 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, Sicilienne, nocturnes for piano and the songs "Après un rêve" and "Clair de lune". Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his most highly regarded works in his later years, in a more harmonically and melodically complex style.

Fauré was born into a cultured but not especially musical family. His talent became clear when he was a young boy. At the age of nine, he was sent to the École Niedermeyer music college in Paris, where he was trained to be a church organist and choirmaster. Among his teachers was Camille Saint-Saëns, who became a lifelong friend. After graduating from the college in 1865, Fauré earned a modest living as an organist and teacher, leaving him little time for composition. When he became successful in his middle age, holding the important posts of organist of the Église de la Madeleine and director of the Paris Conservatoire, he still lacked time for composing; he retreated to the countryside in the summer holidays to concentrate on composition. By his last years, he was recognised in France as the leading French composer of his day. An unprecedented national musical tribute was held for him in Paris in 1922, headed by the president of the French Republic. Outside France, Fauré's music took decades to become widely accepted, except in Britain, where he had many admirers during his lifetime.

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Requiem (Fauré) in the context of Music for the Requiem Mass

Music for the Requiem Mass is any music that accompanies the Requiem, or Mass for the Dead, in the Catholic Church. This church service has inspired hundreds of compositions, including settings by Victoria, Mozart, Berlioz, Verdi, Fauré, Dvořák, Duruflé and Britten. For centuries settings of the Mass for the Dead were to be chanted in liturgical service monophonically. Later the settings became polyphonic, Victoria's famous 1605 a cappella work being an example. By Mozart's time (1791) it was standard to embed the dramatic and long Dies irae (Day of Wrath) sequence, and to score with orchestra. Eventually many settings of the Requiem, not least Verdi's (1874), were essentially concert pieces unsuitable for church service.

View the full Wikipedia page for Music for the Requiem Mass
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