Lamb & Hayward Curator's Series: Lilburn, Fauré Requiem

Programme Notes

Symphony No. 1 (1949)

DOUGLAS LILBURN (1915-2001)

Douglas Lilburn (1915-2001), the grandfather of New Zealand classical music, and namesake of our beloved home – the Douglas Lilburn Auditorium – had an immense impact on Aotearoa New Zealand’s musical landscape. Born in Wanganui, he dedicated his life to crafting a distinct Aotearoa New Zealand sound, drawing from our unique environment, culture, and history.

Lilburn composed his first symphony in 1949, one of the earliest symphonies composed by a New Zealand composer. The work premiered in 1951 by the National Orchestra of New Zealand and is heralded as a vivid sonic portrait of a nation’s soul.

The symphony begins with Allegro non troppo, an assertive and bold theme. CSO’s sweeping strings and powerful brass evoke the grandeur of the country’s mountains and coastlines, while the woodwinds add colour and texture suggesting the movement of wind across open plains. Look out for the contrast between the energetic, rhythmic passages and the more reflective, lyrical sections, showcasing Lilburn’s ability to balance intensity with introspection.

The second movement, Andante con moto, is full of tranquil melodies and gentle, undulating rhythms, evoking the natural beauty of New Zealand’s landscapes. The woodwind and string sections create a dialogue, with the interplay passing between them like a conversation, conjuring images of rivers and forests with its gentle ebb and flow.

The final movement, Allegro, bursts with energy. Listen for the rhythmic drive that underpins the entire movement, with the percussion and lower strings creating a sense of unstoppable momentum. The brass and woodwinds add bright, jubilant bursts of sound. As the movement progresses, listen for the way Lilburn builds intensity, culminating in a powerful, uplifting finale.

Since its premiere, Lilburn’s Symphony No. 1 has been a staple of New Zealand’s orchestral repertoire. This performance, conducted by CSO Chief Conductor Benjamin Northey, is a celebration of New Zealand’s cultural heritage and a tribute to Lilburn’s lasting influence on our musical history.

Requiem in D minor Op. 48 (1890)

GABRIEL FAURÉ (1845–1924)

Gabriel Fauré (1845-1924) occupies a unique place in the history of French music. Renowned for his delicate and lyrical compositions, Fauré’s works often convey a sense of quiet introspection and emotional depth. His Requiem Op. 48 is among his most famous and cherished works, revered for its gentle, consoling character.

Unlike many Requiem settings, which emphasize the fear of divine judgment, Fauré’s Requiem is focused on peace and eternal rest, reflecting his personal views on death as "a happy deliverance, an aspiration towards happiness above”. Fauré composed his Requiem between 1887 and 1890 as an expression of his own beliefs about death and the afterlife.

The Requiem opens with the Introit et Kyrie, setting the tone for the entire work. The music is gentle and inviting, with the choir softly pleading for "requiem aeternam" (eternal rest) for the departed souls. The text is a prayer for rest and mercy, and Fauré’s setting emphasizes this through a calm and flowing melodic line. The Offertory is more solemn, featuring a solo baritone voice, performed by our inimitable soloist, Roderick Williams OBE, alongside CSO Chorus. It is a plea for the deliverance of souls from eternal death, with the hope that they may be granted a place in paradise.

Sanctus is one of the most radiant movements in the Requiem. It is marked by a light, celestial quality, with the choir softly intoning "Sanctus, Sanctus, Sanctus" (Holy, Holy, Holy). The movement features a violin solo that soars above the choral texture, adding a shimmering quality that suggests the presence of the divine. Fauré’s delicate orchestration and the use of high-register strings create a sense of elevation, as if the music itself is ascending towards the heavens.

Pie Jesu, a most beloved section of the Requiem, is often performed as a standalone piece. It is a prayer for mercy and eternal rest, set as a simple yet profoundly moving solo, performed tonight by our glorious soprano Emma Pearson. The purity of Emma’s voice, unadorned by elaborate accompaniment, conveys the innocence and sincerity of the plea. The clear simplicity of the setting highlights the text’s emotional weight without resorting to overt sentimentality.

Agnus Dei begins with the choir singing a soft, plaintive plea for mercy ("Lamb of God, who takes away the sins of the world, grant them rest"). The movement gradually builds in intensity, reaching a climax as the choir sings "Lux perpetua luceat eis" (Let perpetual light shine upon them). The Agnus Dei is a pivotal moment in the Requiem, where the music shifts from supplication to affirmation. The movement’s climactic moment, with its bold choral declaration, serves as a powerful expression of faith in the promise of eternal light.

The Libera me is the most dramatic movement of the Requiem. Roderick William’s baritone opens with an impassioned plea for deliverance from eternal death. The movement features the most dynamic contrasts in the entire work, with moments of intense fear juxtaposed against calm reassurances of peace. Fauré acknowledges the natural human fear of death, yet the movement ultimately resolves into calm, reflecting his belief in death as a peaceful passage rather than a terrifying end.

The Requiem concludes with the In Paradisum, a movement that depicts the soul’s journey to paradise. The chorus sings of angels leading the soul to eternal rest as it ascends to its eternal home.

Fauré’s Requiem is a masterpiece of understatement and subtlety. In an era where many composers were creating grand, dramatic works, Fauré chose to focus on simplicity, serenity, and consolation. His Requiem offers a deeply personal perspective on death, one that resonates with listeners for its emphasis on peace rather than fear. It reflects a broader cultural shift in late 19th-century France towards a more humanistic and less doctrinaire approach to spirituality. This requiem is beloved for its ability to bring comfort and peace to those who hear it.