Missa Salve regina (1954) [16:12]
Rosa mystica - No 1 of Triptyque grégorien (1978)* [4:51]
La nativité - No 2 of Trois poèmes évangéliques Op. 2 (1932)**[5:14]
Messe solenelle (1951) [18:55]
Hymne d’actions de graces ‘Te Deum’ - No 3 of Trois paraphrases grégoriennes Op. 5(1934)* [5:45]
The Choir of Westminster Cathedral/David Hill
English Chamber Orchestra Brass Ensemble/
*James O’Donnell, **Andrew Lumsden (organ)
rec. 1-3 July 1987, Westminster Cathedral, London. DDD
Latin texts and English translations included
HYPERION HELIOS CDH55444 [50:59]
Though the organ music of Jean Langlais is encountered quite frequently
on disc his choral music is not all that strongly represented, apart from
individual pieces included in mixed programmes though I did review
one disc, of French provenance, a few years ago. The reappearance at budget
price of this Hyperion Helios disc, previously available as CDA66270,
is very welcome.
The Missa Salve regina is spectacular. Based on a plainchant melody
it’s unusually and opulently scored. It follows the French tradition
of Mass settings involving two organs - the Grand Orgue and the Orgue
de Choeur - but Langlais goes further. He includes a brass octet from
which a pair each of trumpets and trombones play with the Grand Orgue
while the remaining trumpet and three trombones partner the other organ.
There are two choirs: a male voice choir (TTBB) and a unison choir, here
comprising trebles. These forces, often used to contrast with each other,
are deployed effectively and impressively. Much of the music is celebratory
and colourful and one thing I like is the way that the sound of the trebles
often cuts right through the textures. It’s an often-imposing pièce
d’occasion - it was first performed in Notre Dame, Paris at
Christmas 1954 - and it sounds absolutely splendid here. The Mass does
not include a setting of the Credo and the organ piece, Rosa mystica,
is inserted after the Gloria, effectively taking the place of a voluntary
at the Offertory.
The slightly earlier Messe solenelle is more conventionally scored
for mixed choir and organ. It’s another fine setting, though different
in tone. The Kyrie builds from a quiet, austere start and becomes progressively
more impassioned and powerful; by the end of the movement the organ is
a towering presence in the texture. Again there is no Credo. The Sanctus
is exciting; the Benedictus more calm and reflective until, at the end,
there’s a reprise of the short but very energetic ‘Hosanna’
from the Sanctus. In the Agnus Dei Langlais gradually ratchets up the
intensity and tension, culminating in a loud, urgent ‘Dona nobis
pacem.’ The Westminster choir gives a fervent performance.
The programme is completed by two highly contrasting organ solos. La
nativité is a tranquil meditation on various elements of the
Nativity scene. Hymne d’actions de graces ‘Te Deum’
brings the programme to an emphatic and thrilling end. The piece sounds
magnificently sonorous on the Westminster Cathedral organ, especially
the sound of the pedals. This instrument can be a full-throated beast
and James O’Donnell gives it its head. The last couple of minutes
are superb.
All three of the leading musicians here have gone on to have distinguished
careers since this recording was made. David Hill stepped down as Master
of the Music at Westminster Cathedral shortly after making this recording,
since when his musical journey has taken him variously to Winchester Cathedral,
St John’s College, Cambridge, the Bach Choir and the BBC Singers.
James O’Donnell, Hill’s assistant at the time of this recording,
succeeded him as Master of the Music before moving down the road to the
equivalent post at Westminster Abbey. Andrew Lumsden, Assistant Organist
at Southwark Cathedral in 1987, eventually succeeded David Hill at Winchester
Cathedral. With musicians of this calibre behind this recording no wonder
the quality of the music-making is so high.
The recording was made nearly thirty years ago but still sounds most impressive.
The main organ is thrillingly reported while the choir and brass are vividly
captured.
This is a most welcome reissue.
John Quinn
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