Talk:Requiem in D minor, Op. 48 (Gabriel Fauré)

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Error list

Please note: some (or most?) errors may not be actual mistakes, but just differences between different editions. The reference editions used for comparison are Schirmer, HL 50324670 [SCH] and Bärenreiter, BA 7513 [BÄR]. Some comparison with the Hamelle edition of 1900 is also provided by PML's remarks. The choir training/rehearsal aids available on the Choralia web site have been corrected in compliance with this error list.

The spirit of this comparison is to help people who want to make this CPDL edition consistent with other editions, specifically in the case the director or other singers in the same choir make use of current commercial editions such as [SCH] and [BÄR].


1. Introït et Kyrie

All parts (SATB), measure 6, beat 1: the 3/4 note should last for the entire measure (i.e. 4/4) [SCH only] [in BÄR the duration is 3/4, with the exception of the B where it is 4/4 – this looks quite strange, so it’s probably an error in BÄR]

This one is debatable - arguably the cut off could come at the 4th beat of bar 6 in order to clear the air for the strings/organ's note. It's a 3/4 note in the Hamelle FS and VS (1900). PML

All parts (SATB), measure 9-10, beat 4-1: the final note of the measure should last only 1/4 (not 1/4 + 1/8 - it should stop at the end of the measure). The 1/8 note tied over in measure 10 should be removed [SCH, BÄR]

All parts (SATB), measure 11, beat 2: the second note of the measure should last 1/4 and not 3/8 (1/4 dotted) [SCH, BÄR]

All parts (SATB), measure 61, beat 1: the note should last 1/2, not 1/4 [SCH, BÄR]

All parts (SATB), measure 81-82: lyrics should be “Ky – ri- e” (the “Ky” lasts two quarters) rather than “e- le- i- son” [SCH, BÄR]

All parts (SATB), measure 86-87: the note D should last 8/4 (two full measures) and not 7/4 [SCH, BÄR]

Soprano, measure 49, beat 1: the note D should last 3/4 and not 1/2 [BÄR only]

Alto, measure 51, beat 1-3: the two F notes (1/4 + 1/2) should be A (same duration) [SCH only]

Alto, measure 53, beat 1-4: the two F notes (1/2 + 1/2) should be A (same duration) [SCH, BÄR]

Alto, measure 69, beat 4: the note F should be D [SCH, BÄR]

Tenor, measure 22, beat 3-4: the two A notes should be 3/8 (1/4 dotted) + 1/8, and not 1/4 + 1/4 [SCH only]

Tenor, measure 24, beat 1: the note F (low) should be a 1/4 rest [SCH, BÄR]

Tenor, measure 25, beat 1-3: the three notes C (3/8 + 1/8 + 1/4) should be replaced by a single 3/4 note, with syllable “pe” on C and syllable “tu” on B(b) at beat 4 [SCH only]

No - PML

Tenor, measure 26, beat 2-3: the note A (1/2) should be replaced by two 1/4 notes, with syllable “a” on A at beat 1, syllable “lu” on A at beat 2, syllable “ce” on A at beat 3, and syllable “at” on D at beat 4. Text is “et lux per-“ on measure 24, “-pe- tu-“ on measure 25, “-a lu- ce- at” on measure 26, “e- is” on measure 27 [SCH only]

Again, no - evidently Fauré's word accents in bars 25-26 weren't to the liking of some later editor, and many editions (Schirmer included evidently) repeat this error. The correct underlay is bar 25: "-pe-tu-a lu-" 1·/4 1/8 1/4 1/4, bar 26: "ce-at___" 1/4 1/2 1/4 - PML
I confirm that [SCH] is such from measure 25 to 26 - Choralia

Tenor, measure 38, beat 1: the note A should last 1/2 and not 1/4 [SCH, BÄR]

Tenor, measure 51, beat 1-3: T.I should sing F (not unison D with T.II), while D is correct for T.II [SCH, BÄR]

Tenor, measure 53, beat 1-4: T.I should sing F (not unison C# with T.II), while C# is correct for T.II [SCH, BÄR]

Tenor, measure 54, beat 2-4: T.I should sing F# for 1/2, then go to C# (unison with T.II) for 1/4, rather than singing F# for 3/4, i.e., until the end of the measure [SCH, BÄR]

Tenor, measure 68, beat 1-2: the notes F and C should have the same duration, 1/4 each, rather than 3/8 (F) and 1/8 (C) [SCH, BÄR]


2. Offertoire

Soprano, measure 80, beat 2: the note G# should be G [SCH, BÄR]

Alto, measure 18, beat 2-4: the duration of note C should be 1/4 rather than 3/8 (1/4 + 1/8), while the last note E in the measure should be 1/4 rather than 1/8. [SCH, BÄR]

Alto, measure 81, beat 4: the last two notes in the measure (A and G#) should have 3/16 and 1/16 duration, respectively, rather than 1/8 each [SCH, BÄR]

Tenor, measure 26, beat 2-4: the syllable “su” should be postponed by 1/8 (on C# rather than on D), the syllable “Chris” should be postponed by 2/8 (on B rather than on C#) [SCH, BÄR]

Tenor, measure 81, beat 2: the note A# should be A [SCH, BÄR]

Bass, measure 91-92, beat 3-1: note E at the end of measure 91 should be tied with the first note of measure 92 [SCH, BÄR]


3. Sanctus

Soprano, measure 30, beat 1-3: the note B(b) should last 1/2 (followed by a 1/4 rest) rather than 3/4 [SCH only]

I will investigate this one, but I'd stick with 1·/2 (dotted minim) rather than minim and rest - PML

5. Agnus Dei

All parts (SATB), measure 84, beat 1-3: the duration of the first note in the measure should be 1/4 followed by 1/2 rest, rather than 3/8 followed by 3/8 rest [BÄR only]

Alto, measure 28, beat 2: the note G should be E [SCH, BÄR]

Alto, measure 59, beat 1-2: the note Eb should be E (it changes to Eb at beat 3) [SCH, BÄR]

Tenor, measure 59, beat 1-2: error in [BÄR], the duration of note Ab of T.II is shown as 1/4 while it is probably 1/2 as for T.I (otherwise, to fill the measure, a 1/4 rest is missing at beat 2)

Tenor, measure 68, beat 1-3: the duration of note F should be 1/2 and then change to D at beat 3, rather than remaining F throughout the measure [SCH, BÄR]


6. Libera me

Soprano, measure 55, beat 4-6: the duration of the second note A in this measure should be 3/4 (a dot has been omitted) [SCH, BÄR]

Alto, measures 54 to 56: all the notes (all F but the last, which is G) should be A [BÄR only – this difference is limited to one note only in SCH, see next]

Alto, measure 56, beat 6: the last note (G) should be F [SCH only – see above]

I think you mean it should be A - PML
I confirm that the last note of alto in measure 56 is F on [SCH] - Choralia

Tenor, measure 84-85: the duration of note E should be 3/2 (i.e., the whole measure 84 and the first half of measure 85), not 2/2 [SCH, BÄR]

Again I will check this, but from memory only the soprano persists into bar 85, and a semi-breve is correct for the tenor. In practice this note is shortened so that the tenors cut off at the same time as the altos and basses. - PML

Bass, measure 131, beat 2-4: only the note D should be present (both for B.I and B.II), not the note F (for B.II) [SCH, BÄR]


7. In Paradisum

Soprano, measure 22, beat 3: the last D note in the measure (1/8) should be B [SCH, BÄR]

Soprano, measure 40, beat 3: the duration of note F(#) should be 3/4 (i.e., the whole measure) and not 1/2 (a dot has been omitted) [SCH, BÄR]

Tenor, measure 54, beat 3: the last note in the measure (1/8) should be A for T.I and F(#) for T.II, not F(#) for both [SCH, BÄR]

Not sure about this one, will check. My score has unison F# so I'm tempted to think I'm right. - PML
I confirm that both [SCH] and [BÄR] show A for T.I - Choralia

Bass, measure 28: the duration of note A should be 3/4 (a dot has been omitted) [SCH, BÄR]

Bass, measure 54, beat 3: the last note in the measure (1/8) should be A for B.II, not B [SCH only]


Error listing by --Massimo Capozza, a.k.a. --Choralia 14:08, 23 December 2006 (PST)

Revisions by PML -- Philip Legge @ © Φ 19:28, 19 February 2007 (PST)

Further revised by --Massimo Capozza, a.k.a. --Choralia 06:09, 13 September 2007 (PDT)


I have decided to make another revision of mr. Juras edition, based on better commercial editions than used before. The best references available for the 1900 edition of the composition are, in my opinion, now the scholarly editions

- Hamelle/Alphonse Leduc, AL 28 946 [ALD], ed. Jean-Michel Nectoux, 1998

- Bärenreiter, BA9461-90 [BÄR II], ed. Christina M. Stahl & Michael Stegemann, 2011

Much can be said about the available sources from Fauré´s own lifetime, and the one interested in the editors decisions should read more about that in “critical notes” appedicies of the editions listed above. Clearly, due to the lack of a definite autograph, the situation will in a way be as for the “Messiah” by Handel – we will never have a “last” edition. In accordance with that I have concentrated of the differences between my referenences and mr. Jura´s edition, and the analysis of the latter made by mr. Capozza back in 2007 (then based on older – and maybe more erraneous - commercial editions). When differences occur, I have mainly decided to follow [BÄR II]. When the points from mr. Capozza´s analysis are consistent with [ALD] and [BÄR II], these adjustments have been carried out in my edition without further comments below. There are obviously a number of errors in older printed editions, but differences between [ALD] and [BÄR II] should not be regarded as errors but as different interpretations of the sources used.

1. Introit et Kyrie

All parts (SATB):

Measure 6, beat 1: both [ALD] and [BÄR II] shows a duration of 3/4 (dotted half note) follow by a 1/4 rest.

Measure 9-10, beat 4 – 1: both [ALD] and BÄR II shows a tie between beat 4 in measure 9 (1/4) and beat 1 in measure 10 (1/8). [ALD] shows a diminuendo in measure 9, while [BÄR II] states “sempre f”, thus indicating a difference in the sources.

Measure 11, beat 2: the second note should last 3/8 (dotted 1/4 or 1/4 tied to 1/8) [ALD, BÄR II]

Measure 61: the note should last 1/4 [ALD, BÄR II]

Measure 71, second beat: a marcato sign should be placed over the note [ALD, BÄR II]

Measure 86 – 87: the note should last 7/4 (1/1, 1/2 and 1/4) followed by 1/4 rest [ALD, BÄR II]


Soprano:

Measure 49: the note should last only 1/2 [ALD, BÄR II]


Alto:

Measure 51, beat 1 – 3: [BÄR II] shows F notes but [ALD] raises them to A (1/4 + 1/2 in both cases)

Measure 53, beat 1 – 4, same as above, [BÄR II] shows F notes but [ALD] raises them to A


Tenore:

Measure 22, beat 3 -4: [ALD] shows dotted 1/4 + 1/8 for the A notes, while [BÄR II] shows 1/4 + 1/4.

Measure 24, beat 1: the word “et” should be sung legato F – A (1/4 + 1/4). No rest at beat 1! [ALD, BÄR II]

Measure 25, beat 1 -3: the rhythm should be dotted 1/4 + 1/8 + 1/4 on the phrase “-pe-tu-a” [ALD, BÄR II]

Measure 26: the rythm should be 1/4 + 1/2 + 1/4 ( A - A – D) on the phrase “ce-at” [ALD, BÄR II]

Measure 38, beat 1: the A note should last only 1/4 [ALD, BÄR II]

Measure 51, beat 1 – 3: [ALD] shows divisi for the whole measure (T1 – F, T2 – D) while [BÄR II] shows D unisone for beat 1 – 3 and divisi only for the 4th beat (T1 – F, T2 – D)

Measure 53: [ALD] shows divisi for the whole measure (T1 – F, T2 – C#) while [BÄR II] shows unisone C#.

Measure 54, beat 2 -4: [ALD] shows 1/2 divisi (T1 – F#, T2 – C# ) for beat 2-3 and the 1/4 unisone (C#), i.e. the T2 note duration is dotted 1/2, while [BÄR II] shows divisi (T1- F#, T2-C#] with the same duration for both T1 and T2, dotted 1/2.


2. Offertoire

Alto:

Measure 18, beat 2-4: The rhythm should be 1/4 + (1/8 +1/4) + 1/8 on the phrase “-mas de func”- [ALD, BÄR II]


3. Sanctus

Soprano:

Measure 30: the note should last 3/4 (dotted 1/2) [ALD, BÄR II]


5. Agnus Dei

All parts (SATB):

Measure 84: Both [ALD] and [BÄR II] shows a dotted quarter note (i.e. a 1/4 tied to an 1/8) for the first note, followed by a 3/8 rest.


6. Libera me

Alto:

Measure 54 – 55: All the notes should be F [ALD, BÄR II]

Measure 56: All the notes should be A [ALD, BÄR II]


The mp3 rendering was made with Finale 2011, EWQL Symponic Choirs and Garritan Classic Pipe Organs. The organ accompaniment is completely from mr. Jura´s edition.


--MWE (talk) 17:34, 22 December 2013 (UTC)

--MWE (talk) 16:46, 14 March 2014 (UTC)