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Faure Requiem

Faure's intimate and understated Requiem, full of exquisite melodies and lush harmonies

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Recordings

Neville Marriner

Uses the 1900 full-orchestral version of the requiem; I listen to this particularly for the baritone solos by the great Thomas Allen

John Rutter

My favourite, so light and delicate. This uses Rutter's own arrangement of Faure's 1893 chamber orchestra version of the Requiem, though any choral differences to the traditional 1900 version are not really noticeable when listening.

Scores

These are some of the more common scores; other editions are available. Different editions may vary significantly e.g. in the music, words or page numbering. Check which edition your choir is using before purchasing. Also watch out for different formats (e.g. large print, spiral-bound reprints) as these may not be what you want. 

Novello

The classic score edited by Desmond Ratcliffe (NOV 072304). SATB with piano accompaniment, based on Faure's 1900 version. Latin words.

Rutter 1893 version

Faure's earlier 1893 version for chamber orchestra, edited by John Rutter. SATB with piano accompaniment. Latin and English words (Latin top). Not really compatible with Novello edition (broadly similar but some differences in notes and the division between parts, and page numbers and layout are completely different.)

(See the Practice aids page for more information)

Practice aids

Faure Requiem practice aids

Note: YouTube and the internet has lots of rehearsal aids for this work. Use your favourite search engine to find one that you like. For example, search for: faure requiem practice aids alto

Musical Notes

Faure's requiem is one of those works that singers always look forward to, however many times they may have sung it before. More modest in scale than other famous requiems, and not overly difficult, but still full of interest with lovely melodies and distinctly French-sounding harmonies.


The Agnus Dei is probably the best-known movement for the chorus - I particularly love its unique opening melody which recurs through the piece, and the swirling, descending chords of the Lux aeterna section that make the hairs on the back of your neck stand up. I've been lucky enough to sing the baritone solos a few times, from the quiet mystery of the Hostias to the operatic Libera me which the whole choir ultimately sings in unison. The most well known piece of all is the Pie Jesu, in which the choir gets to sit back and listen to the soaring, laser beam notes of the soprano soloist.

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