At the end of the 1890s Fauré's publisher, Julien Hamelle, suggested that the composer should rescore the Requiem for performance in concert halls. 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).