Music for Remembrance
Maurice
DURUFLÉ (1902-1986)
Requiem, Op.9 (1947)* [37:53]
Ralph VAUGHAN WILLIAMS (1872-1958)
Psalm 90: Lord, thou hast been our Refuge (1921)
[8:19]
Philip MOORE (b.1943)
The Prayers of Dietrich Bonhoeffer (2002) [15:11]
Herbert HOWELLS (1892-1983)
Take him, earth, for cherishing (1964) [8:28]
Sir John TAVENER (1944-2013)
The Peace that surpasseth Understanding (2009) [5:06]
*Christine Rice (mezzo); *Roderick Williams (baritone); ** David Martin
(counter-tenor); Robert Quinney (organ); Westminster Abbey Choir
Britten Sinfonia/James O’Donnell<
rec. Westminster Abbey, 4, 5, 7 February 2013 (Duruflé, Vaughan Williams);
4 February 2014 (Tavener); St Alban’s, Holborn, London, 24 May 2013
(Howells, Moore)
Texts and translations included
HYPERION CDA68020 [74:57]
The centenary of the outbreak of World War I has prompted an unprecedented
amount of reflection in the UK and, I’m sure, in other countries also. We
may be forgiven for wondering if the commemoration can be sustained at this
level of dignity and thoughtfulness until 2018, as seems to be the
intention. Already there have been quite a number of musical commemorations
of the centenary on disc – and I have at least one more in my “to review”
tray; doubtless there are more to come. However, as Brian Wilson said in his
download review of this new release from Westminster Abbey: “We
may have had our fill of special programmes on television and in history
periodicals analysing the causes, progress and outcomes of that conflict but
there is always space for a recording such as this.”
The principal item on the programme is Duruflé’s gloriously serene setting
of the Requiem. Duruflé worked on the piece between 1945 and 1947 but I
didn’t know until I read David Gammie’s very good notes, that it received
its first performance in a broadcast concert on Radio France on 2 November
1947, the Feast of All Souls. This concert was a memorial to those killed in
the war so the inclusion of Duruflé’s work in this present Remembrance
programme is particularly appropriate.
The score exists in three versions: for full orchestra; for organ alone;
and for organ and a small orchestra. It’s the latter version – the last one
that Duruflé made – that James O’Donnell has chosen. That’s the same
version that was used in a previous and very highly regarded Hyperion
release by Matthew Best and the Corydon Singers. Best offers a different –
but hugely satisfying – listening experience for his choir is an SATB
ensemble whereas the Westminster choir has trebles and male altos. Another
point of differentiation is that the Corydon Singers were recorded at what
seems like a slightly greater distance from the microphones as compared to
what we hear on this new disc. Probably it was necessary to tame the
resonant Westminster Abbey acoustic by bring the choir closer to the
microphones. The result is a very successful recording but, especially in
the ethereal passages such as ‘In Paradisum’ you may feel that the earlier
recording is a case of distance lending even more enchantment.
As I say, this new recording is very successful and that goes for the
performance as well as the recorded sound. One thing that interests me is
that on a number of occasions James O’Donnell gets some of his trebles to
sing the alto line rather than his male altos. That’s usually in places
where the top two parts are singing together and I expect he feels that it’s
preferable to have more equal voices on each part. Examples include the
two-part ‘Christe eleison’, ‘Quam olim Abrahae’ in the Offertoire and at the
start of the Sanctus. In this last instance the male altos reclaim their
line for the ‘Hosanna’ and it’s a very telling switch. I can’t recall
hearing these passages presented in this way before but I think it works
very well. The choir sings the Requiem extremely well and I particularly
appreciate the way that O’Donnell, while bringing out all the serene beauty
of the score, also injects the right touches of drama. The climactic ‘Kyrie’
is intense and passionate while the brief ‘Dies Irae’ in the ‘Libera me’
movement is biting and exciting; this is just one example of many where the
edge of the trebles’ voices makes a positive difference to the timbre when
compared with SATB performances.
The two soloists are excellent. Roderick Williams shows his usual
sensitivity not just to the music but also to the text: his final phrase in
Movement III – ‘fac eas, Domine, de morte transire ad vitam’ – is delivered
in a compelling mezza voce. Christine Rice has the most substantial
solo. I enjoyed her ’Pie Jesu’ very much, appreciating her rich, warm tone
and poised delivery. I wondered if the important cello part was a just
little too reticent but this is only a minor point. The accompaniment as a
whole is expertly done, with Robert Quinney’s organ playing particularly
impressive. Concluding with a suitably ethereal performance of ‘In
Paradisum’ this is a very fine version of the Duruflé Requiem; it’s one to
which I’m sure I’ll return often.
The remainder of the programme is shrewdly chosen. The multiple layers of
Vaughan Williams’ Lord, thou hast been our Refuge come across
very well in the Abbey acoustic and towards the end the shining trumpet tone
of Paul Archibald makes a strong effect. In that piece RVW makes an
effective use of a semi chorus, as does Sir John Tavener, though in a very
different way, in The Peace that surpasseth Understanding. This was
written for the Armistice Day service in the Abbey in 2009. It’s mainly for
unaccompanied choir but right at the end Tavener interpolates four huge
organ chords. These represent the Four Angels before the Throne of God. It’s
a highly effective coup de théâtre, almost as stunning as the
similar device in Tavener’s God is with us. I don’t think I’ve heard this
work before and I found it very impressive. To me it offers further proof
that Tavener was at his very best when writing small-scale religious
pieces.
The Westminster choir gives a fine account of the wonderful, eloquent
Howells anthem. The aching beauty and rich harmonic colours come over very
well indeed. I was interested to see that this piece was recorded in what I
imagine to be a somewhat smaller acoustic at the church of St Alban’s,
Holborn. That was a good decision. Philip Moore’s The Prayers of
Dietrich Bonhoeffer was set down in the same venue. This is fine
music. The first two prayers are urgent and powerful and the choir sings
them with great intensity and commitment. Then the beautifully tranquil and
trusting final movement, ‘Evening prayers’, provides a very welcome and
necessary contrast. In these Moore pieces there are several good solo
contributions from members of the choir.
James O’Donnell’s excellent choir is on top form throughout this recital.
Producer Adrian Peacock and engineer David Hinitt have recorded them very
well in both venues while David Gammie’s notes are up to Hyperion’s usual
high standards. This perceptively planned and expertly performed programme
is a thoughtful and important musical contribution to the commemoration of
the Great War.
John Quinn
Previous review: Brian Wilson
Support us financially by purchasing this disc from |
|
 |
 |
 |
|