The intimate sound of the earlier versions was effective in liturgical performances, but for the large concert venues, and large choral societies of the time, a larger orchestra was required. The autograph of the resulting 1900 version does not survive, and critics have speculated whether Fauré, who was not greatly interested in orchestration, delegated some or all of the revision to one of his pupils. Many details of the augmented score differ from Fauré's own earlier amendments to the original 1888 manuscript. The new score was published in 1901 at the same time as a vocal score edited by one of Fauré's favourite pupils, Jean Roger-Ducasse, and some critics have speculated that he reorchestrated the full score at Fauré's instigation. Others have questioned whether so skilled an orchestrator as Roger-Ducasse would have "perpetrated such pointlessly inconspicuous doublings", or left uncorrected the many misprints in the 1901 edition. Alan Blyth speculates that the work may have been done by someone in Hamelle's firm. The misprints have been corrected in later editions, notably those by Roger Fiske and Paul Inwood (1978) and Nectoux (2001). The orchestration of the final version comprises mixed choir, solo soprano, solo baritone, two flutes, two clarinets (only in the ), two bassoons, four horns, two trumpets (only in the Kyrie and ), three trombones, timpani (only in the ), harp, organ, strings (with only a single section of violins, but divided violas and cellos, as before). Nectoux has expressed the view that what he terms the "church" (1893) and the "concert" (1900–1901) versions of the Requiem should both be performed, the choice of edition being dictated by the size of the venue. It is not clear whether the composer favoured either version over the other. Blyth comments "All of his comments about the Requiem ring truer as descriptions of the 1888 and 1894 ["sic"] versions than of the published text of 1901". Fauré, however, complained in 1921 that the orchestra at a performance of the work had been too small, and commented to Eugène Ysaÿe on the "angelic" violins during the in the full orchestral version. The Requiem was first recorded in 1931, by Fanny Malnory-Marseillac, soprano; Louis Morturier, baritone; the Choeur de la Société Bach and Orchestre Alexandre Cellier, conducted by Gustav Bret.