Gabriel Fauré´s religious attitudes in his Requiem in D minor, Op. 48


  • Mei-Hsin Chen University of Navarra



Gabriel Fauré’s Requiem in D minor, Op. 48, one of the most captivating liturgical musical works that have been composed for the Masses of Requiem, broke the prototypes hitherto adopted for the creation of this music genre. Fauré embodied a vision of death different from his predecessors and contemporary composers through an engaging and appealing musical style, a consequence of his religious attitudes. The motivations behind this evolving composition yet remain unclear; however, the luster reflected in its well-chosen liturgical texts, complemented and embellished by its musical forms and melodies, allows us to penetrate the reasons why Fauré wrote this “lullaby of death”, as he described.


Chase, R. (2003). Dies irae: A Guide to Requiem Music. Scarecrow Press.

Duchen, J. (2000). Gabril Fauré. Phaidon.

Fauré-Fremiet, P. (1967). Gabriel Fauré. Albin Michel.

Gombrich, E. H. (1991). Styles of Art and Styles of Life. London: Royal Academy of Arts.

Gombrich, E. H. (2003). “Sobre la interpretación de la obra de arte. El qué, el por qué y el cómo.” RA. Revista de Arquitectura, 5, 13-20.

Henry, H. T. (1908). The Catholic Encyclopedia. s.v. “Dies Irae.” New York: Encyclopedia. (accessed April 22, 2021).

Nectoux, J. M. (Ed). (1991). Gabriel Fauré: A Musical Life. Translated by Roger Nichols. Cambridge University Press.

Nectoux, J. M. (Ed). (2004). The Correspondence of Camille Saint-Saëns and Gabriel Fauré: Sixty Years of Friendship. Translated by Jonathan Barrie Jones. Ashgate.

Orledge, R. (1979). Gabriel Fauré. Eulenburg Books.

Phillips, E. R. (2000). Gabriel Fauré: A Guide to Research. Garland.

Pope Pius X. (1903). “Tra le Sollecitudini: Instruction on Sacred Music.” Adoremos Bulletin.

Steinberg, M. (2005). Choral Masterworks: A Listener’s Guide. Oxford; New York: Oxford University Press.