I first encountered
this recording by Maurice Duruflé
of his sublime Requiem on a dim
Erato LP many years ago. Subsequently
Erato reissued that recording and the
others here on CD. (The Requiem was
on Erato 4509-96952-2. The other pieces
included here were on 4509-98526-2.
I mention this in case collectors have
some of these performances and don’t
want to risk unnecessary duplication.)
I’ve been lucky enough
to sing in several performances of the
Requiem over the years, including
a couple of performances in France with
a French choir and orchestra. If there
were any justice in the world it would
be as highly regarded as Fauré’s
lovely setting, to which in many ways
it bears a striking resemblance. Like
Fauré, Duruflé eschews
spectacle and drama in his setting and
focuses instead on the peace and consolation
of the funeral Mass, not least for the
bereaved. Indeed, the two composers
set exactly the same passages of the
text of the Mass. However, where Duruflé
differs from Fauré is in his
much more overt debt to plainsong. Plainsong
is an ever-present influence throughout
the work and because the thematic material
is almost exclusively based on plainsong
chants, there is a great freedom of
rhythm and metre throughout the work.
It is a wonderfully luminous and spiritual
setting, steeped in the timelessness
of Gregorian chant.
The accompaniment exists
in three versions. Here the composer
directs the original scoring for full
orchestra and organ. (The later versions
are for a smaller orchestral ensemble
with organ or for accompaniment by organ
alone. All three work very well, I think.)
This is a very French
performance. Thus, for example, we hear
the sound of real French horns
in the third movement, ‘Domine Jesu
Christe’, which some may hate; I think
they sound wonderful in this context.
The singers, too, are unmistakably Gallic
with a nasal tone, especially from the
tenors. If you know you are allergic
to this kind of sound you may wish to
avoid this performance – but may I respectfully
suggest that would be a mistake. Duruflé
draws a devoted and committed performance
from singers and players alike. It’s
not a performance entirely free from
blemish but it carries the firm stamp
of authority.
I have reservations
about both soloists. I don’t find the
sound made by baritone Xavier Depraz
altogether pleasing. He sounds under
pressure a few times and there’s one
occasion when he adds an ugly aspirant
in a phrase that comes out as "pro
h animabus illis" (track
3, 6’02"). In the ‘Pie Jesu’, ravishingly
scored for strings and solo cello, contralto
Hélène Bouvier is perhaps
a little too fulsome for my taste but
others may disagree with that subjective
assessment.
If you don’t know this
Requiem and want to sample before
buying may I recommend you try track
9. This is the ‘In Paradisum’ with which,
like Fauré, Duruflé concludes
his setting. This is an even more wondrous
setting than Fauré’s glorious
inspiration? Duruflé attains
a mood of ethereal loveliness that is
quite otherworldly. This ending falls
like a benediction of heavenly peace.
The performance here is suitably rapt.
The four motets are
exquisite miniatures, especially the
lovely Ubi caritas. I don’t think
that the choral sound is quite as well
blended as it should be. Under the composer’s
direction we hear spirited, serviceable
performances. I’ve heard more subtle
performances but these will give pleasure.
The Messe "Cum
Jubilo" is scored for the unusual
combination of baritone solo, a chorus
of baritones, organ and orchestra. My
review copy had a five-second gap in
the music in track 14 at 0’56",
which is not present in the original
CD issue. There are a few rough patches
of intonation in the choral singing
but, once again, one forgives that in
view of the commitment the singers display.
Baritone Roger Soyer is a warm soloist
in the reflective central section of
the Gloria and, even more so, in the
Benedictus.
Finally there’s a major
work written by Duruflé for his
own instrument, the organ. His tribute
to Jehan Alain includes allusions to
that composer’s magnificent Litanies
in the Prélude. The work is played
with magisterial authority by Duruflé’s
wife and there’s a wonderfully authentic,
reedy French tone to the organ, especially
in the aforementioned Prélude.
Madame Duruflé builds the concluding
fugue to a powerful, exciting conclusion.
The recorded sound for this work is
the best in the set.
This anthology offers
an excellent introduction to the music
of this modest, unassuming but dedicated
French composer. The recordings are
quite adequate for their age though
the orchestral sound is somewhat muddy,
especially in the Requiem. There
are decent notes and the Latin texts
are provided. This music has many beauties
and many subtleties and is very well
worth getting to know, especially under
the composer’s direction. Strongly recommended.
John Quinn
*Hélène Bouvier (mezzo-soprano);
Xavier Depraz (bass);