Musical Moments #46
“An ecstasy is a thing that will not go into words; it feels like music…..”
Mark Twain
Requiem “Sanctus,” “Pie Jesu,” and “Agnus Dei”
Gabriel Fauré (1845-1924)
Most great composers who write a Requiem choose an overpowering and fearful depiction of judgement day, but Fauré, who was a bit of a religious skeptic, chose a gentle and comforting picture. The author Melvin Berger described the nature of the piece in saying, “Fauré fashioned an exquisite, intimate, candlelit side chapel where warmth and deeply felt emotion are allowed to bring peace and solace.”
As I wrote in “Musical Moments” #25, “Fauré was also unique in that he was well respected by Romantic Era composers such as Wagner, Liszt and Tchaikovsky, at the same time being admired and be-friended by early 20th century composers Elgar, Albéniz, Richard Strauss, and even Copland. Elgar fondly remembered him as, ‘such a real gentleman—the highest kind of Frenchman and I admired him greatly.’”
While his career was productive, his legacy intact, and his influence impactful, it is still remarkable that Fauré remained true to his musical instincts. With the multitude of styles and strong personalities swirling around him, he was a peace maker among those who believed their personal genre of music to be superior. He embraced and celebrated the new music of his day without being intimidated or overly influenced. The encouragement and assistance he received as a young composer was never forgotten as he spent his last years ‘paying it forward’ to aspiring composers, even after he fell ill and became nearly deaf.
Fauré’s personal life was not always the happiest. He suffered from bouts of depression, and by today’s mores his relationships were unconventional. However, by all accounts Fauré drank in life without stirring up the bottom of the cup, celebrating life without succumbing to its sorrows.
Fauré’s Requiem has seven movements, and today’s offering provides the middle section: movements 3, 4 and 5. The “Sanctus” (Holy, Holy, Holy Lord God of Hosts), “Pie Jesu” (Merciful Lord Jesus, grant them rest), and “Agnus Dei” (Lamb of God who takes away the sins of the world). The most assertive part of the whole work happens toward the end of the Sanctus.
The soloists in the “Pie Jesu” movement is Sherezade Panthaki, and this live performance recording of the Bach Choir and Orchestra comes from 2018.
“Those aware of musical refinements cannot help admire the transparent texture, the clarity of thought, the well-shaped proportions. Together they constitute a kind of Fauré magic that is difficult to analyze but lovely to hear.”
Aaron Copland