Last evening, (Palm-Passion Sunday), the Sanctuary Sounds Ensemble, a 20 member ecumenical choir (of which I am a member, Singing bass), sang Fauré’s Requiem at Messiah Lutheran Church. Dr. Joy Berg conducted us, Jane Kristenson was organist, Nansee Hughes-Soprano, and Colden Palo-Baritone were our soloists. 

Fauré composed the Requiem in Latin between 1887-1890. One possible factor that may have motivated Fauré to compose this work—although several are sceptical—were the deaths of his parents. The first performance of the Requiem took place liturgically at the Madeleine in Paris in 1888. At that time, there were five movements; the Offertoire and Libera me (the two movements with a Baritone soloist) were added later. The later seven movement Requiem consists of: Introit et Kyrie, Offertoire, Sanctus, Pie Jesu, Agnus Dei, Libera me, and In paradisum.

Fauré chose to use texts that focus on consolation, with the two beautiful soprano and baritone solo sections, rather than the entire traditional Requiem text.

Since the concert was on Palm-Passion Sunday evening, the beginning of Holy Week, we also sang “O Sacred Head Now Wounded,” and the organist also played a D. Buxtehude rendition of this familiar Holy Week hymn.

Singing Fauré’s Requiem, with various dynamics/nuances, and focussing on proper pronunciation of the Latin text was rather challenging. However, this composition is indeed edifyingly beautiful.