January 1888 and performed that month at the Madeleine for the funeral of the architect Joseph Lesoufaché. This version lacked the and , which Fauré added at some time in the following decade. The predates the rest of the Requiem, having been composed eleven years earlier as a baritone solo. The forces required for the original 1888 version were a choir about forty in number consisting of boys and men (the Madeleine did not admit female choristers), solo boy treble, harp, timpani, organ, strings (solo violin, divided violas, divided cellos and basses). For a performance at the Madeleine in May 1888 Fauré added horn and trumpet parts. 1893 version Fauré continued to work intermittently on the Requiem, and by 1893 he judged the score ready to be published (although the proposed publication fell through). Several attempts have been made to reconstruct the score as it was in 1893. The Fauré specialist Jean-Michel Nectoux began working on it in the 1970s, but the first edition to be published was by the English conductor John Rutter in 1989. Nectoux's edition, jointly edited with Roger Delage, was published in 1994. They had the advantage of access to important source material unavailable to Rutter: a set of orchestral parts discovered in 1968 in the Madeleine and a score made in the 1890s by a bass in the Madeleine choir and annotated by Fauré. Music & Letters judged the Rutter edition, "makeshift and lacking in the standards of scholarship one expects from a university press". The Musical Times considered the Nectoux and Delage edition "invaluable". Fauré's own manuscript survives but, as the critic Andrew Thomson puts it, "the waters were muddied by his overwritings on the original MSS, adding two bassoons and two more horns and trumpets, together with modifications of the cello and bass parts." Reviewing the Nectoux and Delage edition, Thomson wrote of "several pleasant surprises [including] the restoration of the urgent timpani rolls underlining 'Christe eleison', and the ethereal harp chords which so enhance the spiritual atmosphere of 'Lux aeterna'". For the 1893 version a baritone solo, two bassoons, four horns and two trumpets are added to the original scoring. When possible Fauré employed a mixed choir and a female soprano soloist, partly because the soprano lines, particularly the solo in the , are difficult to sing and demand excellent breath control, easier for adult women than for boys. Final version At