In researching all the fascinating research conductors, musicians and musical historians have completed on this incredible piece, we came across the following program notes. They were written by the Founding Artistic Director of Voices of Ascension, Dennis Keene. This choir has been in existence in New York City for 35 years, performing great works of music for chorus and orchestra. These notes bring into perfect focus many of the reasons this music is so special and why it continues to move and soothe audiences and the musicians who bring it to life. Our own AD Ian Juby has stressed many of these elements during our learning process, but it’s wonderful to see each movement described with such precision and in such an inspirational way. It our hope that reading these descriptive paragraphs will enhance your experience during the performance on May 25. Tickets

“The Requiem by Gabriel Fauré is a perfect example of French art at its best. My friends think I’m joking when I compare this piece to a bottle of Chateau Lafite Rothschild. But I’m perfectly serious. That great wine has layer after layer of different flavors, some poetic and feminine, some darker and richer, infinite nuance and intrigue; and yet, at the same time, everything is perfectly balanced, harmonious, not one element overpowering the others. It is amazing that a wine with so much floral perfume never becomes cloying. This brilliance of balance – depth of content with refinement and grace – is the unique gift of French art. And Gabriel Fauré was a definitive exponent of this art.

This amazing Requiem depicts the timelessness of human existence, the procession of generations, human longings, profound sorrow, fear of the unknown, as well as light, hope, the ultimate joys of heaven, and, above all, peace. All of these separate emotions are distinctly expressed, but they also form a perfect harmonious unity which lasts only 30 minutes. There is not a note out of place in this work. And, because its structure and style are so “simple,” the handling of all these emotions takes great concentration and care on the part of the performers.

1st Movement: The work begins with sudden, powerful fortissimos in the [organ], drawing us immediately into a deep cosmic world. As the sound fades away, a chorus from far away appears: “Requiem aeterna – Eternal rest.” For me this has always depicted the timeless procession of generations of humanity – those who have died centuries ago, others within our lifetime, others who have just passed away, those of us who are alive now, and future generations. We are all part of this unexplainable procession. When the chorus sings the words “et lux perpetua luceat eis – perpetual light will shine upon them,” it is as if we have a vision of an awesome, immense power. The introduction ends in a long sustained pianissimo.

The main section of this first movement, the Introitus and Kyrie, begins with an extraordinarily beautiful melody sung by the tenor section with rich [melodic] accompaniment. Fauré, a genius of melody, has here given us music that is simultaneously sad and hopeful. The tenors sing with compassion and heartfelt feelings. This is balanced by the purity of soprano tone which follows – notably in a major key (the piece began in D Minor.) The full chorus comes in with solemn expression. This is followed by a type of “recapitulation” to the opening tenor theme, this time sung by the whole chorus, providing a brief moment of great beauty. But the solemnity returns and carries through to the end of the movement.

The Offertory is the most developed movement of the piece. It begins with a magnificently expressive introduction. The altos and tenors then enter unaccompanied in the mode of an austere Renaissance piece. The atmosphere created evokes timelessness. It also causes the listener to go to deep internal, personal feelings. Eventually the basses join in, and the chorus is no longer unaccompanied. This highly expressive section concludes at the entrance of the baritone soloist. Here, the key changes to the major, as the soloist offers his own personal prayer. When the chorus returns with the original melodic material, it is now in the major key and the sopranos add their lightness to the ensemble. At the final word, “Amen,” the [organ] drops and the chorus floats up in one of the most sublime moments of the work.

The profundity and length of the Offertory is followed by the simplicity and optimism of the Sanctus. Above a gently undulating accompaniment, the sopranos sing a sweet and serene melody. They are answered by the men in unison, accompanied by a sublime melody played by the [organ]. This builds up, little by little, to a thrilling climax of affirmation and ultimate triumph. The works concludes peacefully.

The Pie Jesu, for soprano solo, is the personal utterance of hope for the eternal peace of a loved one. Even though we feel the sense of loss, the confidence of eternal happiness is always present here. This famous movement is an amazing example of profound feelings depicted with the utmost simplicity.

The Agnus Dei begins with another exceptionally beautiful melody. It is set in the warm, gentle key of F Major. The tenors pray to the Lamb of God with a pleading tone, but also confident of the ultimate mercy of God. Deep anxiety is expressed at the entrance of the full choir. This subsides, and the tenors return. This time their pleading changes a bit – unsure of the outcome. They fade away, and the [organ] drops to its lowest regions. All time stops at the soprano entrance on the word “lux – light.” In the first movement, Fauré depicted light with awesome power. Here it’s more complicated. After the orchestra drops out and the sopranos are holding this note all alone for two measures, the music continues in a major key, with soaring phrases of beauty. It seems optimistic, but, really, it doesn’t feel resolved. And it isn’t; because it leads to an immense accumulation of intensity and power. And then Fauré returns us to the music of the very beginning of this Requiem – the cosmic timelessness and power. Is this his way of expressing that, even though we are optimistic about the presence of a heaven, the cosmos is so immense and beyond our comprehension, that we really don’t know what is in store after death? Perhaps. But this movement’s postlude seems to dispel any doubts of heaven with a reiteration of the beautiful violin and viola melody of the movement’s introduction, this time in an even more glowing key of D Major.

Unlike almost all other requiems, Fauré chose to eliminate almost all parts of the Requiem liturgy that depict hell and damnation. The lengthy liturgical sequence, Dies irae (Day of wrath) – which provided Verdi with about 40 minutes of juicy moments of horror, fear, and darkness – this liturgical movement was completely cut by Fauré. Instead he inserted the shorter liturgical text, Libera me. This movement brings back the baritone soloist in a serious plea (“Deliver me from eternal death”.) The chorus comes in evocatively with the word “tremens –trembling.” Suddenly, the [organ] call forth loudly the Day of Judgment. This is a bona fide moment of intense fear. This intensity is remarkably strong, but inward, as the chorus sings in unison the baritone’s original theme. The soloist returns at the end, this time with a note of resignation. Our fate is ultimately in the hands of the Deity.

As we turn the page to the final movement, In paradisum (In Paradise,) any fear or doubt is immediately gone. We have already left human existence and are in the midst of a beautiful and blissful heaven. The strings provide a glowing and serene cloud of tone to which Fauré has added gentle, staccato flute arpeggios on the organ. These running 16th notes give a sense of eternity. After two measures the extraordinary pure sound of the sopranos enters. The rest of the chorus eventually comes in, and the sonorities increase. But the peak here is a gentle one. The sopranos return, even more peacefully, as they sing “May a chorus of angels receive you.” Little by little, the music departs into peaceful eternity.  

Dennis Keene, Founding Artistic Director, Voices of Ascension

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