Requiem, Op (Fauré, Gabriel) . Pie Jesu • 5. . Notes, Reconstruction of Fauré’s and versions, edited from the original () full score. Pie Jesu This song is by Gabriel Fauré and appears in the mass Requiem, op. 48 (). Pie Jesu Domine, dona eis requiem, dona eis requiem. Pie Jesu. In his seven-section Requiem, the French composer Gabriel Fauré distilled Of all seven sections, the Pie Jesu, Agnus Dei and In Paradisum emerge as the.
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Performer Pages Papalin Recorder, Chorus. The composer said of the work, “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.
Arranger Pue Gouin – Contactorgan reduction.
The text of the last movement is taken from the Order of Burial. A performance takes about 35 minutes.
The Kyrie begins with the same melody that the tenor sang before, but pei in unison of soprano, alto and tenor, repeated fahre the following four measures in four-part harmony. They had the advantage of access to important source material unavailable to Rutter: A second thought is again sung by the sopranos, filled on the last words by the others: The piece premiered in its first version fajre in La Madeleine in Paris for a funeral mass.
The words ” Dona eis, Domine, dona eis requiem ” begin with more expansion, but reach alternating between only two jewu on two repetitions of ” sempiternam requiem “. These file s are part of the Werner Icking Music Collection.
Gabriel Fauré : Pie Jesu
He did not set the Benedictus the conclusion of the Sanctusand added two texts from the Order of BurialLibera me and In Paradisum. He changed ” fwure animas omnium fidelium defunctorum ” “deliver the souls of all the faithful departed” to simply ” libera animas defunctorum ” “deliver the souls of the departed”. In —, the score was reworked for full orchestra. Views Read Edit View history. I wanted to write something different. The text is continued by the choir in four parts in homophony: In gradual jedu of harmony and a sudden crescendoa first climax is reached on ” et lux perpetua ” and pei lightdiminishing on a repeated ” luceat eis ” may shine for them.
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 nesu homophony for the entire text ” Requiem aeternam ” eternal rest. The voices are abbreviated, S caure sopranoA for altoT for tenorB for bass. The choir closes with a reprise of the Introit, the opening of the mass “Requiem aeternam”before the orchestra picks up the ” Agnus Dei ” melody to close the movement.
Then, while the motion in the orchestra stays the same, the key changes to the minor mode, and the Lamb of God is asked for rest in chords of daring harmonic progression. This is answered by the sopranos in diminuendoand the music softens and reverts to the dreamy harp arpeggios that it began with as the violin melody floats upwards to the final note in E flat major and the full choir repeats,with the altos finally joining: Hamelle, with additions by Philip Legge.
Fauré – Pie Jesu sheet music for Voice –
Different from typical Requiem settings, the full sequence Dies irae is omitted, replaced by its section Pie Jesu. The orchestra changes tone, the dreamy accompaniment is replaced by firm and powerful major chords with a horn fanfare marked forte, and the male voices declare ” Hosanna in excelsis ” praise in the highest.
Similar to Mozart’s Requiemthe work begins slowly in D minor. Then the tenors, without instrumental introduction, repeat the first line, leading to a peaceful ” sempiternam “.
Fauré – Pie Jesu sheet music for Voice
As to my Requiem, perhaps I have also instinctively sought to escape from what is thought right and proper, after all the years of accompanying burial services on the organ! From Wikipedia, the free encyclopedia. The Offertoire begins in B minor with a canon of alto and tenor in short succession on a simple modal melody with little ambitusin a prayer ” O Domine, Jesu Christ, rex gloriae ” O Lord, Jesus Christ, King of Glory to free the souls of the departed from eternal punishment and the deep lake, ending in unison.
The choral – orchestral setting of the shortened Catholic Mass for the Dead in Latin is the best-known of his large works.
The baritone soloist sings the first section alone. He replaced ” Libera eas ” “Deliver them” at the beginning of the next verse with a fayre of ” O Domine Jesu Christe, Rex gloriae, libera animas defunctorum “, and he omitted the third verse beginning ” Sed signifer sanctus The first call is a modal melody in B-flat major of six measures, the second call is similar but reaching up higher.
He composed the work in the late s and revised it in the s, finishing it in Sincewhen John Rutter’s edition of the score was recorded for the Conifer label, there have been numerous sets of both the and versions issued on CD.