Requiem, Op. 48 (final version, 1900): 3. Sanctus Cover Image

Requiem, Op. 48 (final version, 1900): 3. Sanctus: Mass, Orchestra Accompaniment, Conductor Score & Parts

$45.00 USD

Requiem, Op. 48 (final version, 1900): 3. Sanctus: Mass, Orchestra Accompaniment, Conductor Score & Parts

Name: Requiem, Op. 48 (final version, 1900): 3. Sanctus: Mass, Orchestra Accompaniment, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-E106402
Price: 45.00 USD
Availability: OutOfStock

By Gabriel-Urbain Faure

Item: 36-E106402

$45.00

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Gabriel Faure's (1845-1924) REQIUEM, Op. 48, is the best known of the composer's large works. Seemingly not written for the death of any particular person, he wrote of the work, "Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest." Though first written in 1887-88, this final version for full orchestra was completed in 1900, and it is this version that was performed at Fauré's own funeral in 1924. Excerpt of the beautiful movement 3, Sanctus, for chorus and orchestra. Instrumentation: 0.0.0.0: 4.2.0.0: Hp.Org: Str (4.4.2-2.2-2.3 in set): Mixed Choir. Violas and celli are divisi. Reprint edition.

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Series: Kalmus Choral Library

Publisher: Keiser Productions, Inc.

UPC: 605258656186

SKU: 36-E106402

Instrumentation: 0.0.0.0: 4.2.0.0: Hp.Org: Str (4.4.2-2.2-2.3 in set): Mixed Choir

More about this title

About the Composer: Gabriel-Urbain Faure

Gabriel-Urbain Faure (1845-1924) spent most of his career as a church organist and choirmaster, roles that shaped his deep understanding of liturgical music and the human voice. His harmonic language evolved dramatically over his lifetime, moving from the Romantic conventions of his youth toward a more subtle and innovative harmonic palette that influenced an entire generation of twentieth-century composers.

Faure's sacred music stands apart for its restraint and spiritual intimacy. Rather than seeking grandeur or dramatic effect, his choral works, particularly the Requiem, prioritize meditation and comfort. He refused to sensationalize the Mass for the Dead, instead creating something profoundly personal that has become the standard French setting of the liturgy.

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Why we love this

This Sanctus achieves something rare: it is both accessible and genuinely sophisticated. The choral writing lies comfortably for mixed voices, the orchestral accompaniment is elegant rather than overwhelming, and the harmonic language invites singers to discover nuance and beauty without requiring advanced chromatic reading. Conductors find themselves drawn back to it because it rewards repeated study.

What to expect

The Sanctus unfolds with quiet radiance. Voices enter in luminous unison and gentle counterpoint while the orchestra breathes around them, never competing. There is profound peace here, built not from bombast but from perfect clarity and restraint. You emerge from this movement feeling that something sacred has been witnessed rather than performed.

Who it's for

This edition serves conductors preparing a complete Requiem performance or programming the Sanctus as a standalone liturgical work. It is equally valuable for choirs at the intermediate-to-advanced level who are ready to engage with Faure's harmonic language and the demands of cathedral-style ensemble singing.

How to get the most out of it

Balance the choir so the organ and harp shimmer beneath rather than support the voices. Faure's orchestration here is transparent by design.
Shape the dynamic arc across full phrases rather than moment to moment. The movement's power comes from sustained direction, not constant inflection.
Allow the violas and divided cellos to bloom in their divisi passages. These inner voices carry harmonic color that defines the work's character.
Resist over-interpretation of tempo. A steady, meditative pulse allows the harmony to unfold naturally without pushing or pulling at the text.

How to use it

Program this as the centerpiece of a service of sacred music, or pair it with other French choral literature from the same period for a concert exploring the liturgical tradition. Its modest orchestral forces and liturgical text make it suitable for both concert hall and sacred space.