If you are new to Poulenc and his choral music or if you do not have a
disc of these now, well-known
a cappella works then this would be
an ideal place to start. It contains the core items of his output in
serviceable and sometimes quite inspired interpretations by what is a fine
choir. The Elora Singers and their director Noel Edison are no strangers
either to the recording studio or perhaps I should say church and there are
many other discs by them in the Naxos catalogue.
Another plus, I am delighted to report, is that Naxos, for this release at
least, have not only supplied an extensive essay by Dominic Wells and black
and white photos of the choir and conductor
but also complete texts
with translations. There is a translation of the essay into French so, you
can see, before we even discus the music and its performance that there is
much to commend this issue.
I have been making a comparison with the superb Swedish Radio Choir who
recorded the
Mass and the
Sept Chansons in 2011 (Channel
Classics SA31411) along with that virtuoso work
La Figure Humaine.
Both choirs are, in fairness, technically reliable and dependable but there
are other factors, which will guide a preference.
When, as a choirboy in the early 1960s at an English provincial cathedral,
I first sang the
Mass in G, I remember thinking that it was the
hardest thing I’d ever done and one of the most modern. It is certainly a
challenge for any choir and can never really work liturgically with, for
example its very long
Kyrie and quite extended
Sanctus.
The polyphony is often quite complex and there are many modulations and
chromatic passages which form a strong aspect of Poulenc’s chromatically
modal language, so that intonation can cause difficulties. The Swedish choir
are generally more expressive and more spacious in delivery; overall they
add almost two minutes onto the performance time of this new version.
However for my taste the soprano soloist, who is especially highlighted in
the
Agnus Dei, has a slightly obtrusive vibrato whereas the unnamed
soloist in the Elora Choir is pure and ‘floaty’. Indeed I can't help
but wonder if this Canadian choir are generally younger as there is a
glorious freshness to their reading which is very attractive. My only
sadness is that they tend to miss many of the expressive points which need
even more control and care.
Some of you might not like the presence of women in the choir and
therefore the sound of the boy choristers of King's College under Sir
Philip Ledger on Classics for Pleasure might be more to your liking.
Similarly you can hear the Choir of Christ Church Cathedral, Oxford in a
fine and again slower and expressive performance of the
Quatre motets
pour le temps de pénitence under Simon Preston (Decca 430 346-2). On
the whole the Elora Festival Singers are a little rushed in much of this
repertoire although, where needed, excitement is certainly there especially
in the faster and lighter movements of the
Sept Chansons. You will
hear this in the third one -
Par une nuit nouvelle - a piece which
has many quite awkward corners and sudden contrasts. The Swedish choir are
much more fleet of foot in the first chanson
La blanche neige but
more willing to give space and time to the moving
Tous les droits.
Even so the Elora gives a consistent and open-toned account, which is always
airy and bright. It would be interesting to know how many of this Canadian
choir are primarily French speakers because their diction is immaculate and
clear.
The
Quatre motets pour le temps de Noël have been recorded by so
many choirs either as a set or individually. Noel Edison brings out many of
the nuances in each motet and the effect overall is pleasing and well
shaped.
Quem vidistis pastores dicite comes off particularly
favourably.
It’s a pity that there is a playing time of well under an hour but for a
good quality, budget CD which is presented so well in so many areas it is
churlish to complain.
Gary Higginson
