Opera singer Wade Kernot Photo: Supplied
This small, perfect work rises from solemn chords at the beginning to weave a serene and almost sensuously beautiful setting of the Requiem.
Fauré chose to minimise the more hellfire parts of the liturgy. The usual Dies Irae section takes a relatively small space, though it is certain dramatic when it arrives.
The choir and orchestra rarely unleash the full roar of divine wrath as in other Requiems. Instead the work is largely filled with sinuous plainchant-like lines reflecting Fauré's early training in church music.
Possibly the best known movement is the Pie Jesu, in which the simplest possible orchestral setting allows the soprano to soar in an unfortettable melody.
The work ends with the tranquilly uplifting In Paradisium, where the choir's sopranos, supported by organ and harp, suggest an angelic host.
Recorded 3 October 2020, Michael Fowler Centre, Wellington by RNZ Concert
Producer: David McCaw
Engineer: Darryl Stack
