Requiem, Op. 48 (final version, 1900): 4. Pie Jesu Cover Image

Requiem, Op. 48 (final version, 1900): 4. Pie Jesu: High Voice, Orchestra Accompaniment, Conductor Score

$10.00 USD

Requiem, Op. 48 (final version, 1900): 4. Pie Jesu: High Voice, Orchestra Accompaniment, Conductor Score

Name: Requiem, Op. 48 (final version, 1900): 4. Pie Jesu: High Voice, Orchestra Accompaniment, Conductor Score
Brand: Alfred Music
SKU: 36-E106301
Price: 10.00 USD
Availability: OutOfStock

By Gabriel-Urbain Faure

Item: 36-E106301

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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 4, Pie Jesu, for soprano solo and orchestra. Instrumentation: 2.0.2.2: 0.0.0.0: Hp.Org: Str (0.0.3-3.3-3.3 in set): Solo Sop. No violins play in this excerpt, though the violas and celli are divisi. Reprint edition.

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Series: Kalmus Vocal Library

Publisher: Keiser Productions, Inc.

ISBN10: 8-89-810298-4

ISBN13: 979-889-810-2982

UPC: 605258654366

SKU: 36-E106301

Instrumentation: 2.0.2.2: 0.0.0.0: Hp.Org: Str (0.0.3-3.3-3.3 in set): Solo Sop

More about this title

About the Composer: Gabriel-Urbain Faure

Gabriel-Urbain Fauré (1845–1924) was a French composer whose harmonic language and refined orchestration shaped late Romantic music. He served as director of the Paris Conservatoire and influenced generations of French composers through both his teaching and his output of chamber works, art songs, and large-scale sacred music.

Fauré's Requiem stands apart from the tradition established by Berlioz and Verdi. Rather than emphasizing drama and judgment, Fauré created a setting centered on peace and consolation, reflecting his personal philosophy about death and spiritual comfort. His orchestral writing here—economical yet luminous—demonstrates why he remains essential to choral and orchestral repertoire.

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Why we love this

Pie Jesu sits at the heart of the Requiem's emotional core, and this conductor score gives you direct access to one of the most performed and loved movements in all of sacred music. The orchestration—violas and cellos supporting a soprano line over harp and organ—is transparent and deeply affecting without overwhelming the soloist. Programming this excerpt allows you to feature a strong soprano voice within an accessible orchestral context.

What to expect

Gentle and consoling, Pie Jesu unfolds with the quality Fauré described as his "very human feeling of faith in eternal rest." The spare orchestration creates an almost intimate atmosphere despite the full ensemble; the soprano voice seems suspended in a warm harmonic bath of violas, cellos, harp, and organ. There is no anxiety here, only acceptance and beauty.

Who it's for

Conductors programming a full orchestra concert or a sacred music service will find this movement an ideal showcase for a soprano soloist. The orchestration is manageable for community and professional orchestras alike, requiring no violins and modest winds. This is an excellent choice when you want significant musical substance without the logistical demands of the complete Requiem.

How to get the most out of it

Balance the soprano voice so it floats above the viola and cello accompaniment rather than cutting through it; the intimacy of this moment depends on restraint from the ensemble.
Shape the long phrases carefully with the soloist; Fauré's harmonic language moves subtly, and rubato works when both conductor and singer are aligned.
The harp and organ should blend rather than stand out individually; use them to create a unified harmonic cushion beneath the melody.
Mark the divisi sections in the violas and cellos in rehearsal to ensure clean voice leading, especially where parts diverge.

How to use it

Use this movement as the centerpiece of a sacred music program, perhaps flanked by works of contrasting character or period. It pairs naturally with other Romantic-era sacred music, or it can anchor a concert exploring themes of remembrance and spiritual reflection. Consider programming it in a spring concert or memorial service where its gentle nature will resonate most deeply.