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Gabriel Fauré – Requiem, Op. 48

The Worthington Presbyterian Church Chancel Choir, directed by David M. Rives.

Kyrie

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Kyrie eleison, Christe eleison, Kyrie eleison.

Lord, have mercy upon us, Christ, have mercy upon us, Lord, have mercy upon us.

Offertorium

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Soloist: Mark Baker, baritone

Domine Jesu Christe, Rex gloriae, libera animas [omnium fidelium] defunctorum de poenis inferni, et de prof undo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti, et semini ejus.

Lord Jesus Christ, King of glory Free the souls of [all] the [faithful] dead from punishment in the inferno, and from the deep lake. Deliver them from the lion's mouth, lest the abyss swallow them up, lest they fall into darkness. Sacrifices and prayers to you, Lord, we offer with praise. Receive them for the souls of those whom today we commemorate. Make them, Lord, to pass from death to life, as once you promised to Abraham and his seed.

Sanctus

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Sanctus, sanctus, sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis.

Holy, holy, holy Lord God of Sabaoth. filled are heavens and earth with your glory. Hosanna in the highest.

Pie Jesu

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Soloist: Meghan Rogers, soprano

Pie Jesu Domine, dona eis requiem, requiem sempiternam.

Merciful Lord Jesus. grant them rest, rest everlasting

Agnus Dei et Lux Aeterna

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Agnus Dei, qui tollis peccata mundi, miserere nobis, dona nobis pacem. Lux aeterna luceat eis, Domine, cum Sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

Lamb of God, who takest away the sins of the world, have mercy upon us, give us peace. May eternal light shine on them, Lord, with thy saints everlasting, because you are merciful. Rest eternal grant them, Lord, and may perpetual light shine on them.

Libera Me

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Soloist: Mark Baker, baritone

Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque venture ira. [quando coeli movendi sunt et terra.] Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis

Deliver me, Lord, from eternal death, on that dreadfull day, when heavens and earth shall move, when you come to judge the world through fire. I am made to tremble, and to fear, at the destruction that shall come, and also at your coming wrath. [when heavens and earth shall move.] That day, day of wrath, calamity and misery great and exceedingly bitter day. Rest eternal grant them, Lord. and may perpetual light shine on them.

In Paradisum

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In paradisum deducant te Angeli; in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam Jerusalem Chorus angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem.

May the angels lead you into paradise at your coming may the martyrs receive you, and conduct you into the holy city, Jerusalem. May the chorus of Angels receive you, and with Lazarus, once a pauper, eternally may you have rest.


Notes:

Gabriel Fauré describes his Requiem as “Altogether…as gentle as myself.” His pupil and fellow composer, Charles Koechlin asserted that Fauré dismissed “the cruel anthropomorphism of divine justice modeled upon the sanctimonious prudery of human courts,” stressing instead tenderness and hope.

Although this jewel was composed for one of the largest churches in Paris, it is small-scaled and intimate. The composer said, “My Requiem…has been said to express no fear of death; it has been called a lullaby of death. But that is how I feel about death: a happy deliverance, a reaching for eternal happiness, rather than a mournful passing…Perhaps I have sought to depart from what is conventional because for so long I was organist at services of interment. I’m fed up with that. I wanted to do something different.”

For most of his life, Fauré worked as a church organist. After training at Ecole de musique classique et religieuse, he went immediately into a church job and eventually followed his old teacher, Camille Saint-Saens as organist at La Madelaine in 1877. In 1896 he became choirmaster and served until his appointment as director of the Paris Conservatory in 1905. His tenure as a church musician is impressive in light of reports that he was not completely enthusiastic about the work which supported his efforts as a composer. Through his professionalism and innate courtesy he could execute those duties which, along with the teaching he disliked, were his only source of income.”

The requiem was begun in 1886 and finished in January of 1888, in time for a burial service at La Madelaine; a concert performance took place at the church in May. It was also performed there in 1924 at Fauré’s own funeral service. The work kept growing until some years after its premiere. The Offertory, “O Domine Jesu Christe,” was added to the original five movements in 1889, and the movement with baritone solo, “Libera Me,” in 1892. Fauré’s original instrumentation was modest because of his intention of the music for service use. The small ensemble of instruments centers around the organ and omits violins, except for one soloist.

Orchestra

Concertmaster

Vanessa Ripley

Violin

David Edge

Viola I

Vanessa Ripley, Christina Saetti

Viola II

Lucy Firlie-Gunther, Heather Garner

Cello I

Victor Firlie, Pei-An Chao

Cello II

Terri Boselli, Jane Van Voorhis

Bass

John Pellegrino

Horn I

Gene Standley

Horn II

Jocelyn Standley

Harp

Janet Thompson

Organ

Brett Greene

Soloists

Mark A. Baker

is Professor of Voice and Director of the Opera and Musical Theater program at Capital University. He has performed over sixty leading roles with opera companies across the country. His honors have included being Opera Columbus’ Artist of the Year as the artist deemed to have had the greatest positive impact on the quality of the operatic arts in Central Ohio.

Meghan Rogers

is a senior vocal music education major at Capital University. In addition to singing, Meghan also enjoys photography, composing, and playing trumpet and piano. She is fulfilling an assignment in student teaching this semester while she prepares to begin a career as a music educator.

Chancel Choir Members

Soprano

Ramona Bhatt, Susan Boisvert, Charlotte Conaway, Audrey Hall, Carol Hamilton, Sue Henderson, Mary Hill, Sally Hough, Lora Mitchell, Donna Preissle, Sue Rapier, Marcia Smith, Carol Sterbenz, Sharon Tipton, Melissa Wilson, Janet Wise

Alto

Jean Arthur, Joyce Blackmore, Marietta Brits, Eleanor Buford, Julianne Burkholder, Brenda Galbo, Edna Hill, Sandy Hindall, Sue Lair, Charlene McLeod, Deanna Olson, Thelma Patrick, Lori Sheppard, Carolyn Taylor, Debb Wilson, Sue Wilson

Tenor

Glenn Garland, Scot Hindall, Jeff Johnson, Lorenzo McKeever, Steve Moore, Jody Patrick, Drew Sheppard, Taylor Surface, Bill Yost

Bass

Don Anderson, Dave Arthur, Bill Ausich, John Beck, Duane Cable, Gene Davis, Rob Fischer, John Hall, Steve Hindall, Fred Hofer, John Puleo, Bob Vertrees, Tim Warner