Alexandra Taliani

Death’s Lullaby: An Exploration of Fauré’s Requiem

[La Madeleine in Paris, where Fauré’s Requiem was premiered]

Introduction

Gabriel Fauré's Requiem in D Minor, Op.48 is a part of a ubiquitous sacred music

tradition. Understanding the broader field of requiem Masses will help us understand how Fauré

both follows and breaks tradition. The requiem Mass, a musical setting for the Catholic Mass of

the Dead, has inspired many compositions by accomplished composers throughout classical

music history, innovating the Mass over time. W.A. Mozart’s Requiem was unfinished at the

time of his death in 1791, and was finished by a student.1 Johannes Brahms’ Ein deutsches

Requiem (1868) was regarded as his greatest choral work but was considered unusual for its use

of the German language rather than the typical Latin as well as its use of passages from the Old

1
J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music,
(New York: W.W. Norton & Company, 2010), 564.
Testament, Apocrypha, and New Testament, as opposed to Latin requiem liturgy. 2 Giuseppe

Verdi’s Requiem (1874) honored poet, playwright, and novelist Alessandro Manzoni. 3 Like other

Requiems, it has been adopted as a beloved concert piece. Notably it was performed at the

Metropolitan Opera on September 11th, 2021 for the commemoration of the twentieth

anniversary of the terrorist attacks on September 11th, 2001.4 The music has also been pervasive

in popular culture. In the 1984 movie Amadeus, Mozart’s Lacrimosa (a movement from his

Requiem) is playing while the film depicts Mozart’s funeral. 5 The melody of the Dies Irae (Day

of Judgment), a plainchant that is used in many requiem settings, has been quoted in many

movies, from Star Wars to The Lion King.6 There is even a quiz on McSweeney’s, a daily humor

website: “What Your Favorite Requiem Mass Says About You”. 7

Gabriel Fauré’s Requiem follows in the footsteps of these traditions in many ways, but

his style as a composer, as well as the nature of his religious views, creates a requiem that

2
Ibid, 734.
3
Betsy Schwarm, Britannica, s.v. “Requiem: mass by Verdi”, (2013).
4
“Verdi’s Requiem: The Met Remembers 9/11”, The Metropolitan Opera, accessed March 10,
2022, https://www.metopera.org/season/2021-22-gala/verdis-requiem/
5
Katy Judd, “10 Times Classical Music Starred in Movies,” last modified March 25, 2020,
https://houstonsymphony.org/10-times-classical-music-starred-in-movies/
6
Brian LaGuardia, “Dies Irae in the Movies,” April 5, 2013, video,
https://www.youtube.com/watch?v=0hL1m4hGBVY&t=108s
7
James Bennett II, “What Your Favorite Requiem Mass Says About You” McSweeney’s (website),
May 21, 2020, https://www.mcsweeneys.net/articles/what-your-favorite-requiem-mass-says-about-you
achieves a gentler tone, musically and lyrically. Fauré (1845-1924) was a French composer who

embodied “the qualities of the French tradition” through the “lyrical melodies”8 and qualities of

“limpidity, sensitivity, [and] grace” inherent in his vocal, piano and chamber music.9 Though he

is considered to be an “inobtrusive figure in modern music” by scholars such as Percy Young, his

Requiem Mass is beloved.10

Requiem in D Minor, Op.48, written around 1888, has been described as more gentle and

peaceful than a typical requiem. Fauré himself called it a "lullaby of death."11 It is a setting of the

Catholic Mass of the dead, so it is liturgical in nature. It is an abbreviated musical setting of the

requiem with a duration of thirty-five minutes, compared to Mozart’s and Verdi’s settings, at

sixty minutes and ninety minutes respectively. However, one of the more interesting aspects of

this work is how he modifies the liturgical text. He omits the Dies Irae, the medieval and

terrifying Day of Judgment, and adds In Paradisum, which is typically sung in the burial mass.12

Scholars have noted that this work is likely connected to Fauré's personal beliefs and religious

faith,13 and suggest that a choral conductor preparing to perform this piece should ask themselves

“how those beliefs are manifest in his Requiem.”14 Some have argued that he was not devout,

and that he was a skeptic and an agnostic.15 His lack of faith or belief in God makes his

“conscious decision to eschew images of terror and judgment for sins” through the elimination of

the Dies Irae coherent. Scholars have also debated whether he wrote this piece as a reaction to

8
J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music,
(New York: W.W. Norton & Company, 2010), 752-753.
9
Percy M. Young, The Choral Tradition, (New York: W.W. Norton & Company, 1981): 263.
10
Ibid.
11
Betsy Schwarm, Britannica, s.v. “Requiem in D Minor, Op. 48: musical composition by Fauré,”
(2017).
12
Percy M. Young, The Choral Tradition, (New York: W.W. Norton & Company, 1981): 264.
13
Ibid.
14
Jeffrey Faux and David Rayl, “La Madeleine’s Requiem Faith in a Forgiving God,” Choral
Journal 58, no.11 (2018): 22.
15
Ibid.
the death of his parents, as an expressive form of processing his grief.16 His view of death “as a

happy deliverance, an aspiration to happiness above rather than as a painful experience,”d is

interesting, and perhaps different from the mainstream view of death17 Though scholars have

discussed the meaning behind the altered liturgical texts, and have debated the connections of

Fauré’s faith to his Requiem, there is little research about this work that specifically investigates

how the music creates meaning. I will be exploring the beginning and ending movements of

Fauré’s requiem (the Introit and In Paradisum) as examples of how the music illuminates the

liturgy of the funeral mass, and his views on death.

Introit

The work begins with the Introit, “a piece of music sung or played at the beginning of a

worship service” or liturgical celebration.18 The text is "Requiem aeternam dona eis, Domine, et

lux perpetua luceat eis" (Grant them eternal rest, O Lord, and let perpetual light shine upon

them.) This section is in D minor, which reflects the somberness of the text. In Western music,

minor keys are often associated with feelings of sadness and moodiness, which is appropriate for

a requiem. It is a slow movement, and the orchestra plays chords accompanying the choir,

descending in a chromatic fashion (chromatic refers to half step motion and the “frequent use of

accidentals”) with each new phrase.19 This makes me think of the slow descent of the dead into

the earth. The dynamics start very soft at a pianissimo on the phrase "Requiem aeternam dona

eis, Domine” (Grant them eternal rest, O Lord.) Then there is a crescendo and a dramatic swell in

the orchestra and chorus on the phrase "et lux perpetua luceat eis" (and let perpetual life shine

16
Percy M. Young, The Choral Tradition, (New York: W.W. Norton & Company, 1981): 263.
17
Betsy Schwarm, Britannica, s.v. “Requiem in D Minor, Op. 48: musical composition by Fauré,”
(2017).
18
Merriam Webster, s.v. “Introit (noun),” accessed April 28, 2022.
https://www.merriam-webster.com/dictionary/introit
19
Merriam Webster, s.v. “Chromatic (adjective),” accessed April 28, 2022.
upon them). This could be considered text-painting; as the perpetual light dawns and shines on

the dead, the music grows. Subsequent repetitions of the phrase return to the softer dynamic of

the opening, and there is a half cadence (“a musical cadence that ends on the dominant

harmony,” or the V chord) at the end of the phrase, which occurs at 1:32. 20 This harmony sounds

incomplete, indicating that there is more to come.

Score Example 1

Score Example 2
20
Merriam Webster, s.v. “Half cadence (noun),” accessed April 28, 2022.
 In Paradisum

The work ends with In paradisum (into paradise), which is the movement that Fauré

added that is not typically part of the requiem. Some have described this movement as “the

moment when a soul floats to heaven.”21 There are a few reasons that this is an appropriate

description. This movement comes after the plea for deliverance from everlasting death in Libera

Me. Most requiem Masses end with the Libera Me, beginning with the text “Libera me, Domine,

de morte æterna, in die illa tremenda. Quando cœli movendi sunt et terra. Dum veneris iudicare

sæculum per ignem” (Deliver me, O Lord, from death eternal on that fearful day, When the

heavens and the earth shall be moved, When thou shalt come to judge the world by fire), and

ending with the text from the beginning: "Requiem aeternam dona eis, Domine, et lux perpetua

luceat eis" (Grant them eternal rest, O Lord, and may perpetual light shine on them). The music

in Libera Me is typically passionate and stormy, ending on a somber note as the dead are buried.

That is usually the end of the story. Fauré decided instead to end the requiem by exploring what

that eternal rest would be like in paradise. The lyrics of this movement are: “In Paradisum

deducant Angeli in tuo adventu suscipiant te Martyres et perducant te in civitatem sanctam

Jerusalem. Chorus Angelorum te suscipit et cum. Lazaro quondam paupere aeternam habeas

requiem” (May the angels receive them in Paradise, at thy coming may the martyrs receive thee

and bring thee into the holy city Jerusalem. The chorus of angels receive thee, and with Lazarus,

once a beggar, may thou have eternal rest). It is a slow movement in D major. The first

movement was also in the key of D, but in minor, and subsequent movements have cycled

through B minor, E-flat major, B-flat major, F major, and D minor, returning in the final

movement to the key of D, but in major, which gives a sense of returning home (though in a

21
“Q&A with Betsy Cook Weber: Fauré’s Requiem,” Houston Symphony online, April 19, 2016,
https://houstonsymphony.org/qa-betsy-cook-weber-faures-requiem/
changed way), and a sense of finality. It is a movement that spotlights the sopranos (the other

voices are silent), as their high register evokes the angels that are receiving the souls in heaven.

The sopranos sing sustained notes in unison over a repeating arpeggiated sixteenth note

accompaniment in the orchestra, which creates a floating effect.. The dynamic is at a piano, and

the sopranos are singing with a pure and legato tone. Their voices sound particularly pure in this

movement, as they are not using vibrato (they are singing with a straight tone), and they are

singing in their higher register in unison. The melodies that the sopranos sing are arched; to me

that represents the ascension into heaven and the descent into eternal rest.

Score Example 3

Score Example 4

The full choir comes in and out as a chordal accompaniment, emphasizing important words and

phrases, such as “Jerusalem”, “requiem”, and “may thou have eternal rest.” The chords follow
predictable patterns of Western harmonies, reinforcing stability and eternal rest. The dynamics

stay at a piano for the majority of the movement. The loudest dynamic (forte) occurs on the word

Jerusalem, the holy city and final resting place for the soul. Reserving the forte dynamic for this

moment suggests a climax or peak in the music, and also emphasizes the text.

Score Example 5

In other movements, the audience heard heavy chromaticism, dissonant harmonies, thick textures

in the choir, minor modes, and the alternation of piano and forte dynamics. These stormy and

intense elements are not present in this movement; the music itself is at peace. The movement

ends on a D major chord on the word “requiem,” and there is a fermata. The final chord can be

held as long as desired, symbolizing eternal rest.

Score Example 6
 Conclusion

Gabriel Fauré's Requiem in D Minor, Op.48 stands apart from other requiems for the

innovations Fauré made to the liturgical text, and his views of death being “a happy deliverance,”

which manifests itself in his music. The French composer Nadia Boulanger wrote of Fauré’s

requiem, “His voice seems to interpose itself between heaven and men; usually peaceful, quiet

and fervent, sometimes grave and sad, but never menacing or dramatic.”22 Rather than the fire

and brimstone of typical requiems (fueled by the Dies Irae, or Day of Judgment) Fauré

recognized that “grief can be assuaged by calm,” and crafted a requiem that prioritized quiet

moments and text painting through slow tempos, soft dynamics, the alternation of major and

minor modes, and lovely melodies.23 The music of Gabriel Fauré’s Requiem intertwines the

traditional requiem Mass with his religious and personal views, and his conception of the

paradise that awaits in life after death.

22
Percy M. Young, The Choral Tradition, (New York: W.W. Norton & Company, 1981): 263.
23
Ibid.
 Bibliography

Bennett II, James. “What Your Favorite Requiem Mass Says About You.” McSweeney’s.
website. May 21, 2020,
https://www.mcsweeneys.net/articles/what-your-favorite-requiem-mass-says-about-you

Burkholder, J. Peter, Grout, Donald J. and Palisca, Claude V. A History of Western Music. New
York: W.W. Norton & Company, 2010.

Faux, Jeffrey and Rayl, David. “La Madeleine’s Requiem Faith in a Forgiving God.” Choral
Journal 58, 11. 2018.

Judd, Katy. “10 Times Classical Music Starred in Movies.” last modified March 25, 2020.
https://houstonsymphony.org/10-times-classical-music-starred-in-movies/

LaGuardia, Brian. “Dies Irae in the Movies,” April 5, 2013. Video.

“Q&A with Betsy Cook Weber: Fauré’s Requiem.” Houston Symphony online. April 19, 2016.
https://houstonsymphony.org/qa-betsy-cook-weber-faures-requiem/

Schwarm, Betsy. Britannica, s.v. “Requiem in D Minor, Op. 48: musical composition by Fauré.”
2017.

Schwarm, Betsy. Britannica, s.v. “Requiem: mass by Verdi”, 2013.

“Verdi’s Requiem: The Met Remembers 9/11.” The Metropolitan Opera. accessed March 10,
2022. https://www.metopera.org/season/2021-22-gala/verdis-requiem/

Young, Percy M. The Choral Tradition. New York: W.W. Norton & Company, 1981.