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Album available // Fauré: Requiem Op. 48 in D minor by Ernest Ansermet 🎧 Qobuz https://cutt.ly/deCdGYGe Tidal https://cutt.ly/teCdGZTo 🎧 Apple Music https://cutt.ly/IeCdHuLS Deezer https://cutt.ly/MeCdHPtO 🎧 Amazon Music https://cutt.ly/aeCdJxVK Spotify https://cutt.ly/DeCdJOHC 🎧 Youtube Music https://cutt.ly/XeCdJCJ6 Gabriel Fauré (1845-1924) Requiem Op. 48 in D minor 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) : https://spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg ❤️ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) / cmrr // https://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 http://bit.ly/3KouUzU Apple Music https://apple.co/3Uelytw 🎧 Amazon Music https://amzn.to/3YGHlvb Deezer https://bit.ly/3I9Ko8l 🎧 Spotify https://spoti.fi/3KsGxWq Tidal https://bit.ly/3YGfU4I 🎧 Youtube Music http://bit.ly/3lOLLSn SoundCloud --