I recently performed the Faure 'Requiem' in Worcester Cathedral. The piece, which consists of 7 movements, is written for two soloist (soprano and baritone), choir and orchestra.
The orchestration of the piece and the setting of the vocal lines have a strong focus on the middle register; there is only a solo violin in two movements, but then spilt violas and celli. There are numerous exposed passages for the altos and tenors as well.
Its also a very restrained piece; there are lots of piano and pianissimo passage but rarely forte passages and never a fortissimo. There are subtle distinctions in dynamic contrast throughout though, such as crescendi from mp to mf, diminuendos from mp to p. There is still a lot of intensity the music though through this restraint.
Introit - Kyrie
The piece opens with a forte orchestra chord with a rapid diminuendo before the choir enters with a pianissimo, homophonic passage. The choir lines are interjected with forte orchestra chords; the choir lines themselves gradually build in dynamic to a forte for the line "et lux perpetua". The music then gradually dies back again to pianissimo. This is followed by a short passage with the organ playing the melody accompanied by the strings, before the tenors enter with the main "Requiem" tune. This is followed by a passage for sopranos before the entire choir enter with a passage consisting of contrasting phrases; the first phrase of each line is loud followed by a second phrase which is suddenly quiet. The opening tenor line returns for unison choir before a return of the contrasting phrases heard previously, gradually diminuendo-ing
to a pianissimo conclusion. The movement sets the mood of the piece very well with dynamic contrasts and subtle harmonic changes.
Offertorie
The offertorie opens with intertwining melodic lines for the celli and viola parts. The altos enter a cappella, mimicked a few beats later by the Tenors. The two vocal lines continue a cappella before being joined by the strings. The music is repeated in a different key before the basses join the texture. This is followed by a baritone solo accompanied only by organ, giving it a very religious feel appropriate to the text being sung (Hostias et preces tibi Domine). Given the nature of the text the piece calls for an intense, retrained quality to the baritone soloist. The choir return, with sopranos this time, to conclude the movement. The setting of the text by Faure wouldn't be out of place in a church service or evensong.
Sanctus
The Sanctus opens with rising arpeggios on the harp and contrary motion arpeggios in the two viola parts. This ostinato continues for most of the movement, only breaking for the forte "hosanna" passages. Whilst the movement is written in 3/4 time, the opening gives it a 4/4 feel. The sopranos open with a long flowing vocal line which is repeated by the tenors and 1st basses. This conversive writing is continued throughout the movement. The tenors and basses are always accompanied by a solo violin descant played high in its register. The violin is only used twice in the piece; both times it is used to portray an angelic quality to the music. The music gradually builds to the entrance of the forte horn fanfare which sets up the tenor and bass "hosanna". This is mimicked by the sopranos, before the opening music returns and dies away again, ending with the opening arpeggios accompanying the solo violin. Like the violin Faure uses the horns quite sparingly as the mood of the piece doesn't really suit a big brass sound, but there are three prominent moments for them; the hosanna section of the Sanctus and passages in the Agnus Dei and Libera Mei.
Pie Jesu
The Pie Jesu is written for solo soprano and is in two verses. The first verse is piano and just written for the soprano and organ, giving it a very ethereal quality. The vocal line is interjected with legato string and harp broken chords. At the end of the first verse, the repetition of the "sempiternam requiem" line is used to build up to the start of the second verse, which is mf and has a much fuller orchestral accompaniment. The music gradually dies away to the end of the movement; the flowing quavers in the bass line create the atmosphere of a lullaby which fits the meaning of the words perfectly ("grant them eternal rest").
Agnus Dei
The opening of the Agnus Dei features polyphonic string writing to create a pastoral sound to the music; no doubt to reflect the "lamb of god" in the text. The tenors enter with a long flowing vocal line; again Faure puts emphasis on the middle register. The tenor line is followed by forte orchestra chords which introduces a full choir homophonic passage which, like in the Offertoire, consists of large dynamic contrasts. The opening music then returns with the tenor line, but the ending is altered; the "sempiternam requiem" line mimics the end of the Pie Jesu to introduce a piano a cappella choir passage. The organ is introduced as the music builds through dynamics and subtle harmonic changes to a forte climax. A short orchestral interlude, with prominent horn chords is used to change to mood of the music and re-introduce the opening music of the first movement. Instead of leading into the Kyrie, the opening pastoral string theme returns to conclude the movement.
Libera Me
The Libera Me begins with long sustained orchestral chords above a crochet bass ostinato which is heard throughout the movement. The baritone enters with a long sustained vocal line, which wouldn't be out of place as an operatic aria; it is more restrained and not sung out fully though. The vocal line builds to a climax before a piano string bridge passage introduces the pianissimo homophonic choir. The music builds and dies away again before a sudden horn fanfare introduces the Dies Irae. Compared to other requiems Faure doesn't write a big, dramatic Dies Irae. The music is loud and full of emphasis, but general movement of the music is slow; the choir and orchestra move together in long chords with only the bass motif showing some independent movement. Instead, Faure uses a sudden contrast in dynamics and harmonies to create the intensity and power. The end of the Dies Irae sees a return of the opening bass ostinato rhythm throughout the orchestra, before the choir sings the opening baritone solo in unison. The baritone sings a reprise of the opening line before final piano chords end the movement.
In Paradisum
The final movement begins with staccato arpeggios on the organ above sustained chords in the strings. The sopranos open with a high, piano, long flowing vocal line which creates an angelic quality to the music (again appropriate to the meaning of the text). The remainder of the choir eventually enter to provide backing chords to increase the texture. The harp and solo violin are added at the start of the second verse to reinforce the angelic theme. The music builds to climax with the sopranos before the rest of the choir are added and the music gradually dies away; the chords become longer and the moving arpeggios disappear before the final "requiem".
