The genesis of this version of the Fauré Requiem has been discussed at
length by
John Quinn in his review of the disc. I would point out
only that the date given for the work’s first performance, in its earliest
manifestation, was 16 January 1888
vice 1884. The erroneous date is
from the English translation of Marc Rigaudière’s detailed notes
accompanying the disc, but not in the original French. I will concentrate
only on the performance and recording.
Immediately one is startled by the entrance of the orchestra and organ at
the work’s beginning, for this is not the gentle, contemplative work that
one may be used to from earlier recordings. Part of this is due no doubt to
the close recording and also to the leaner sonority of the Orchestra of the
Age of Enlightenment and its powerful brass and organ. There is nothing
wrong with the approach and it could be seen as a corrective to versions
that tend to sentimentalize the popular requiem.
The singing of the King’s College Choir is unexceptionable as one would
expect and likewise both soloists are excellent. Gerald Finley leaves
nothing to be desired in the
Offertoire or
Libera me
movements. His voice is strong and full, but warm, without being in any way
“operatic”. Likewise Tom Pickard captures the purity and innocence of the
Pie Jesu perfectly, once one gets used to his odd-sounding
vowels.
There is one place in the orchestral part that baffles me, however. In the
Libera me at 1:50 just before the
Dies illa, dies irae the
brass play repeated notes introducing this section. In this version, or on
this recording, it sounds as though either some of the brass are repeating
these more than usual or are coming in late. It could also be an editing
glitch, or perhaps the later versions of the Requiem removed some extra
notes. In any case, this place in the familiar editions is more convincing
than what is heard here.
Although I find much to praise in this performance of the 1889 Requiem, I
have gone back to two others that I have known over the years. I still have
a real fondness for John Rutter’s recording with the Cambridge Singers and
City of London Sinfonia of his edition of 1893. The performance feels more
intimate than Cleobury’s, and Rutter’s soloists are fully equal to those on
this CD. Caroline Ashton sings with a pure, white tone that is beguiling and
Stephen Varcoe is every bit as good as Finley. I really don’t see the
advantage of the 1889 version over that of 1893, as I find the truncated
Offertoire not fully satisfying. One can always programme the
Rutter version when listening, since it is included separately here. The
other recording I used for comparison is of the fuller orchestra version
performed by Robert Shaw and his Atlanta Symphony and Chorus. I have always
assumed that Shaw used the 1900 published edition, though the notes with
that disc make reference to the Rutter edition. At least it sounds like the
version with full orchestra and a larger chorus. It is a very good account
of its type and recorded at a greater distance than Cleobury’s here. The
soloists there are Judith Blegen and James Morris. Even with their heavier
voices — and this is only alongside Rutter’s and Cleobury’s soloists — they
acquit themselves well and are not too operatic.
This new CD offers rather short measure, but has two valuable fillers in
the popular
Cantique de Jean Racine and the less well-known
Messe Basse. It is good to have the former in its original version
with organ and so beautifully performed as it is here by the choir.
Likewise, the boys are radiant in the
Messe Basse with special
mention due to the soloists, Joshua Curtis in the
Kyrie and Adam
Banwell in the
Benedictus.
The recording, which I have heard only in stereo, is generally excellent.
At times when the choir is singing full out, the sound can be on the grainy
side. This may have to do with the close recording more than anything else.
I haven’t noticed this before in other recordings from King’s. Overall, I
have had much pleasure from these performances and will surely return to
them even if that of the Requiem does not displace other versions in my
affection.
Leslie Wright
Previous reviews:
John Quinn ~~
Gwyn Parry-Jones
