voices are abbreviated, S for soprano, A for alto, T for tenor, B for bass. The composer divides the choir into as many as six parts, SATTBB, but frequently uses unison of one part or several. Given the liturgical nature of the work, boy trebles are often used instead of sopranos. Details The structure of Fauré's work bears striking similarity to that of by Brahms, although Fauré set Latin liturgical texts to music, whereas Brahms chose German Bible quotations. Both works have seven movements, both employ a baritone and a soprano soloist, the baritone singing with the choir in movements 2 and 6, the soprano in a central movement, movement 4 in Fauré, movement 5 in Brahms where she appears with the choir. In both works, the four remaining movements are sung by the choir alone, whereas Verdi, for example, has the soloists sing several arias and ensembles in his Requiem. Introït et Kyrie Similar to Mozart's Requiem, the work begins slowly in D minor. After one measure of just D in the instruments, the choir enters in six parts on the D minor chord and stays on it in homophony for the entire text "" (eternal rest). In gradual progression of harmony and a sudden , a first climax is reached on "" (and lasting light), diminishing on a repeated "" (may shine for them). The tenors repeat the prayer alone for eternal rest on a simple melody. The sopranos continue similarly that praise is due in Jerusalem, then all voices exclaim "" (hear). The Kyrie begins with the same melody that the tenor sang before, but now in unison of soprano, alto and tenor, repeated in the following four measures in four-part harmony. The call "Christe" is strong and urgent the first time, repeated more softly a few more times. The final call "" appears pianissimo. Offertoire The Offertoire begins in B minor with a canon of alto and tenor in short succession on a simple modal melody with little ambitus, in a prayer "" (O Lord, Jesus Christ, King of Glory) to free the souls of the departed from eternal punishment and the deep lake, ending in unison. The sequence is repeated beginning one step higher for the next line, and again one step higher for the following more urgent call to Jesus, enforced by the basses. The voices add only softly, broken by rests, what the