Book contents
- Fauré Studies
- Cambridge Composer Studies
- Fauré Studies
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Acknowledgments
- Looking Back on a Journey
- 1 Patrons and Society
- 2 Keys to the Ineffable in Fauré
- 3 Fauré as Student and Teacher of Harmony
- 4 Romancing the mélodie, or Generic Play in the Early Hugo Settings
- 5 Lux aeterna
- 6 From Homer’s Banquet to Fauchois’ Feast
- 7 Orchestral Melody in Pénélope
- 8 Fauré the Practical Interpreter
- 9 Fauré, Orientalism, and Le voile du bonheur
- 10 Jankélévitch, Fauré, and the Thirteenth Nocturne
- Index
5 - Lux aeterna
Fauré’s Messe de Requiem, Op. 48
Published online by Cambridge University Press: 17 April 2021
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Book contents
- Fauré Studies
- Cambridge Composer Studies
- Fauré Studies
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Music Examples
- Contributors
- Acknowledgments
- Looking Back on a Journey
- 1 Patrons and Society
- 2 Keys to the Ineffable in Fauré
- 3 Fauré as Student and Teacher of Harmony
- 4 Romancing the mélodie, or Generic Play in the Early Hugo Settings
- 5 Lux aeterna
- 6 From Homer’s Banquet to Fauchois’ Feast
- 7 Orchestral Melody in Pénélope
- 8 Fauré the Practical Interpreter
- 9 Fauré, Orientalism, and Le voile du bonheur
- 10 Jankélévitch, Fauré, and the Thirteenth Nocturne
- Index
Summary
Upon learning of Gabriel Fauré’s death, his patron Leo Frank Schuster (1852–1927) raced across the Channel to attend the grandiose state funeral in Paris. The reason for this hectic journey was twofold: Schuster sought to mourn a departed friend, but he also hoped to hear Fauré’s Messe de Requiem, Op. 48, which was being sung for the occasion. As the Requiem had not yet been performed in Great Britain – it would not be heard there until 1936 – Schuster did not want to miss this opportunity.
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- Information
- Fauré Studies , pp. 113 - 133Publisher: Cambridge University PressPrint publication year: 2021