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Fauré - Requiem Op. 48 in D minor / Pie Jesu, In Paradisium, Libera Me .. (rf.rc.: Ernest Ansermet)
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- Опубліковано 14 сер 2024
- Gabriel Fauré (1845-1924) Requiem Op. 48 in D minor by Ernest Ansermet / Remastered
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00:00 Requiem, Op. 48, N 97 - I. Introït et Kyrie: Molto largo
07:00 Requiem, Op. 48, N 97 - II. Offertoire: Allegro molto
16:10 Requiem, Op. 48, N 97 - III. Sanctus: Andante moderato
19:25 Requiem, Op. 48, N 97 - IV. Pie Jesu: Adagio
22:36 Requiem, Op. 48, N 97 - V. Agnus Dei: Andante
27:51 Requiem, Op. 48, N 97 - VI. Libera me: Moderato
33:12 Requiem, Op. 48, N 97 - VII. In Paradisum: Andante moderato
Soprano: Suzanne Danco
Baritone: Gérard Souzay
Union Chorale de la Tour de Peilz
Chef de choeur: Robert Mermoud
Orchestre de la Suisse Romande
Direction: Ernest ANSERMET
Recorded in 1955, at Geneva
New mastering in 2023 by AB for CMRR
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🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
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Thank you :) / cmrr // en.tipeee.com/...
It is easy to discern a grandiose sense of architecture, as well as a progression from darkness to light, in Fauré's celebrated Requiem - especially with Ansermet's respectfully slow tempi - but in fact the piece was not initially conceived as a complete work. It came together somewhat fortuitously from a collection of separate settings dating from the time of Fauré's incumbency as choirmaster at the church of the Madeleine in Paris. In 1888 four movements were performed at the Madeleine for the requiem of 'some parishioner or other' (as Fauré put it). These were the Introit and Kyrie, Sanctus, Agnus Dei, and In paradisum. The Pie Jesu also dates from this time.
Contrary to the imaginative view offered by many commentators, the work had nothing to do either with the death of Fauré's father in 1885 nor that of his mother in 1888. 'My Requiem was written for nothing’, the composer confided to Maurice Emmanuel, 'it was written, if I may say so, for fun.' With Louis Aguettant, in 1902, he shared a few more thoughts on the matter: people said my Requiem did not express the terror of death, someone called it death's cradle-song. But that is how I view death: as a happy deliverance, a yearning for the happiness of the beyond, rather than as a distressing passing on'.
It was in 1900 that Fauré inflated the smaller liturgical orchestration of the work into the 'concert-hall' version now normally heard. Even so, the prominence of the organ part was retained, and the strings were restricted to violas, cellos and basses except in the Sanctus and In paradisum. Also retained is the important and prominent harp part, particularly in the Sanctus and In paradisum.
In fact the use of the harp, particularly in requiems, was something of a French tradition: Saint-Saëns and Franck had both written liturgical pieces with rippling harp parts (a style known as the style St-Sulpicien) and the latter composer had also written a rousing solo somewhat in the style of Fauré's Libera me in his Mass in A, also cobbled together from a set of several occasional settings of movements from the Mass and elsewhere.
Fauré: Complete Piano Works by Germaine Thyssens-Valentin
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🎧 Amazon Music amzn.to/3YGHlvb Deezer bit.ly/3I9Ko8l
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Gabriel Fauré (1845-1924) Requiem Op. 48 in D minor by Ernest Ansermet / Remastered
🎧 Qobuz bit.ly/3Ke4crZ Apple Music apple.co/3KCZbL2
🎧 Amazon Music amzn.to/3zBywYJ Tidal bit.ly/3zCk9n5
🎧 Deezer bit.ly/3maJP74 Spotify spoti.fi/3nL3tHj
🎧 UA-cam Music bit.ly/3Udk1DQ SoundCloud --
🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …
00:00 Requiem, Op. 48, N 97 - I. Introït et Kyrie: Molto largo
07:00 Requiem, Op. 48, N 97 - II. Offertoire: Allegro molto
16:10 Requiem, Op. 48, N 97 - III. Sanctus: Andante moderato
19:25 Requiem, Op. 48, N 97 - IV. Pie Jesu: Adagio
22:36 Requiem, Op. 48, N 97 - V. Agnus Dei: Andante
27:51 Requiem, Op. 48, N 97 - VI. Libera me: Moderato
33:12 Requiem, Op. 48, N 97 - VII. In Paradisum: Andante moderato
Soprano: Suzanne Danco
Baritone: Gérard Souzay
Union Chorale de la Tour de Peilz
Chef de choeur: Robert Mermoud
Orchestre de la Suisse Romande
Direction: Ernest ANSERMET
Recorded in 1955, at Geneva
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
It is easy to discern a grandiose sense of architecture, as well as a progression from darkness to light, in Fauré's celebrated Requiem - especially with Ansermet's respectfully slow tempi - but in fact the piece was not initially conceived as a complete work. It came together somewhat fortuitously from a collection of separate settings dating from the time of Fauré's incumbency as choirmaster at the church of the Madeleine in Paris. In 1888 four movements were performed at the Madeleine for the requiem of 'some parishioner or other' (as Fauré put it). These were the Introit and Kyrie, Sanctus, Agnus Dei, and In paradisum. The Pie Jesu also dates from this time.
Contrary to the imaginative view offered by many commentators, the work had nothing to do either with the death of Fauré's father in 1885 nor that of his mother in 1888. 'My Requiem was written for nothing’, the composer confided to Maurice Emmanuel, 'it was written, if I may say so, for fun.' With Louis Aguettant, in 1902, he shared a few more thoughts on the matter: people said my Requiem did not express the terror of death, someone called it death's cradle-song. But that is how I view death: as a happy deliverance, a yearning for the happiness of the beyond, rather than as a distressing passing on'.
It was in 1900 that Fauré inflated the smaller liturgical orchestration of the work into the 'concert-hall' version now normally heard. Even so, the prominence of the organ part was retained, and the strings were restricted to violas, cellos and basses except in the Sanctus and In paradisum. Also retained is the important and prominent harp part, particularly in the Sanctus and In paradisum.
In fact the use of the harp, particularly in requiems, was something of a French tradition: Saint-Saëns and Franck had both written liturgical pieces with rippling harp parts (a style known as the style St-Sulpicien) and the latter composer had also written a rousing solo somewhat in the style of Fauré's Libera me in his Mass in A, also cobbled together from a set of several occasional settings of movements from the Mass and elsewhere.
Fauré: Complete Piano Works by Germaine Thyssens-Valentin
🎧 Qobuz bit.ly/3KouUzU Apple Music apple.co/3Uelytw
🎧 Amazon Music amzn.to/3YGHlvb Deezer bit.ly/3I9Ko8l
🎧 Spotify spoti.fi/3KsGxWq Tidal bit.ly/3YGfU4I
🎧 UA-cam Music bit.ly/3lOLLSn SoundCloud --
We publish again this legendary performance because we deleted the old post. There were some problems on the transfer that we corrected. Everything is also in order on the different listening platforms (Qobuz, Apple, Amazon, Spotify....). Enjoy :)
Thank you
It is easy to discern a grandiose sense of architecture, as well as a progression from darkness to light, in Fauré's celebrated Requiem - especially with Ansermet's respectfully slow tempi - but in fact the piece was not initially conceived as a complete work. It came together somewhat fortuitously from a collection of separate settings dating from the time of Fauré's incumbency as choirmaster at the church of the Madeleine in Paris. In 1888 four movements were performed at the Madeleine for the requiem of 'some parishioner or other' (as Fauré put it). These were the Introit and Kyrie, Sanctus, Agnus Dei, and In paradisum. The Pie Jesu also dates from this time.
Contrary to the imaginative view offered by many commentators, the work had nothing to do either with the death of Fauré's father in 1885 nor that of his mother in 1888. 'My Requiem was written for nothing’, the composer confided to Maurice Emmanuel, 'it was written, if I may say so, for fun.' With Louis Aguettant, in 1902, he shared a few more thoughts on the matter: people said my Requiem did not express the terror of death, someone called it death's cradle-song. But that is how I view death: as a happy deliverance, a yearning for the happiness of the beyond, rather than as a distressing passing on'.
It was in 1900 that Fauré inflated the smaller liturgical orchestration of the work into the 'concert-hall' version now normally heard. Even so, the prominence of the organ part was retained, and the strings were restricted to violas, cellos and basses except in the Sanctus and In paradisum. Also retained is the important and prominent harp part, particularly in the Sanctus and In paradisum.
In fact the use of the harp, particularly in requiems, was something of a French tradition: Saint-Saëns and Franck had both written liturgical pieces with rippling harp parts (a style known as the style St-Sulpicien) and the latter composer had also written a rousing solo somewhat in the style of Fauré's Libera me in his Mass in A, also cobbled together from a set of several occasional settings of movements from the Mass and elsewhere.
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
Hace sentirse en un estado de vienestar espiritual, es sublime!!
Zweifellos die beste Interpretation dieses kompakten doch perfekt komponierten Requiems im 20. Jahrhundert! Die durchsichtige Stimme der genialen Sopranistin klingt fast himmlisch. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von achtundsechzig Jahren vor. Danke fürs wertvolle Onlinestellen!
❤ Absolutely beautiful ❤
Marvelous beautiful performance of this heavenly work. Thank you !
Ansermet pairs here with Cluytens's own interpretation in its slow tempi and soothing unfolding...🙏🙏🙏
Right, it's hard to do it faster without altering the dimension of feelings of peace and serenity
You should try Celibidache’s interpretation. This is a bit faster compared to his, Celibidache’s feels the most solemn to my ear
Muchas por Faure, por el registro y por su labor de compartir de lo mejor de la historia humana.
Gracias Alfredo
I listened to 2 hours of Mendelssohn, last night so l am trying Requiem, how long !!! It is Beautiful though 🙏⭐@ Classical Music/Reference 🎶🎶⭐⭐
En fait, l'orchestration de la version "1900" ne serait pas de Fauré, mais de Jean-Roger Ducasse.
♥️
Listening right now on Apple Classical in high-res. Is it true that this recording dates from 1955?! It sounds like it was recorded 10 years into the future with vastly superior technology. This is astonishing! I'd love to know more about the remaster. This is like the Criterion remastering of the audio world.
The best ever
Would you mind telling what the painting on an album cover is?
Portrait of a Young Woman - Ernst Deger, 1835... I think
Mickey mouse