Faure: Requiem [Original recording remastered]

Dietrich Fischer-Dieskau (Performer), Gabriel Faure (Composer), André Cluytens (Conductor), Monte Carlo Conservatory Concert Society Orchestra (Orchestra), Henriette Puig-Roget (Performer), Victoria de Los Angeles (Performer) | Format: Audio CD

Product Details

• Performer: Dietrich Fischer-Dieskau, Henriette Puig-Roget, Victoria de Los Angeles
• Orchestra: Monte Carlo Conservatory Concert Society Orchestra
• Conductor: André Cluytens
• Composer: Gabriel Faure
• Audio CD (January 12, 1999)
• Number of Discs: 1
• Format: Original recording remastered
• Label: EMI Classics
• ASIN: B00000GCA4
• In-Print Editions: MP3 Download
• Average Customer Review: 4.2 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #255,550 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

18 of 23 people found the following review helpful:

5.0 out of 5 stars One of the best, June 23, 2000

By A Customer

This review is from: Faure: Requiem (Audio CD)

Having just completed a dissitation on Faure's Requiem Mass I have had the delightful experience of listenting to many different interpretations of this fine work. Faure intended to show "Death as a comforter" rather than as a terrible event (as seen in the gargantuan masses of Verdi and Berlioz). One cannot flaw the actual composition; although some claim it is far too sweet the darker movements provide an adequate balance. I can't help feeling that those who make the aforementionned criticism have missed the point of this work. The lighter movements (Agnus Dei, Pie Jesu and In paradisum) are not necessarily sweet. The Pie Jesu has wonderful pleading undertones, while the In paradisum is more serene and calming than sweet.

An initial response to this recording, however, may not be entirely favourable. The quality is dated and there are some irritating background noises, bows striking music stands and the like. However, such minor points can be easily forgiven. Cluytens makes a very satisfactory interpretation, bringing out the charm and the desired nature of this intricate, intimate work. The choir is also very good, with none of the usual 'old moaners' as members. They and the orchestra perform with meaningful subtlety.

Where this recording really shines, however, is in the soloists. Fischer-Dieskau is far from operatic and is surely the sort of voice the composer intended. He is calming and even-toned in the Offertorium and commanding in the Libera me. Fans of Victoria de los Angeles may be slightly disappointed; she was not at her best here. There is a somewhat uncontrolled feeling and at some points her intonation leaves a little to be desired. However, she does have a very fine voice with all the serene beauty and ringing tone required.

All in all this is a good buy and is great value. If you're tempted to buy the more expensive version with Cecilia Bartoli and Bryn Terfel you may be disappointed. Although both have very fine voices Terfel is somewhat out of place and Bartoli is more warm than pleading. There are, however, plenty of good recordings of this popular work and it is on the whole a matter of taste. Nevertheless beware of the Giulini, Schmidt, Battle version. Although the soloists have fine voices there is too much wallowing and the work loses momentum, but then again that is my personal taste. Just enjoy this beautiful requiem!

21 of 28 people found the following review helpful:

2.0 out of 5 stars Dismal travesty and bad value for money, December 2, 2004

By 

sphaerenklang "stringph - at - gmail" (UK) - See all my reviews

This review is from: Faure: Requiem (Audio CD)

I must say right off the bat that most of this recording is a travesty of Faure's conception, both in the orchestration and in the tempi and resulting expression. The orchestration cannot be helped, since it is only in recent years that it was discovered that Faure's original was for lower strings, brass, organ and timpani only, with many differences (e.g. solo violin an octave higher in the Sanctus), and was then re-orchestrated by someone else.

However, that doesn't make much odds. What is much more important is the inordinately heavy, dragging, lugubrious feel of many movements. What's wrong with that, it's a Requiem isn't it? But a look at Faure's tempo markings reveals that many passages that are played at a dead slow Adagio or Lento in this effort are supposed to be Andante: the effect, rather than a depressive pall of mourning, would be more a serene meditation or remembrance. The louder passages would be less of a trial of endurance, and more urgent, dramatic and human. Cluytens brings a heavy, Germanic, doom-laden Romantic atmosphere which is demonstrably alien to Faure's score; the Richard Marlow/Trinity College choir recording is no doubt much closer to the spirit of the piece.

In addition, the choir is far from the technical standards typical of German and English groups: intonation is frequently sagging and the sopranos are subject to wobble. Even in the famous first opening chords, there is an unsteady first tenor sticking out of the blend.

Perhaps you will think that because this is such a famous and 'authoritative' recording that it is impossible that it should go so wrong in its overall outlook. But let's go through the movements.

The tenors' 'Requiem eternam' a few minutes after the start is 'Andante moderato', 72 beats per minute: Cluytens starts at 56, dismal enough, but after a few pages is down to 50 and even 48 for the cries of 'Christe eleison'! At such speeds it is impossible for the phrases to have any shape or flow or for those outbursts to have any dramatic urgency.

The second movement 'O Domine' is also subject to glacially creeping tempos. The marking is 48 per minute, Cluytens starts the alto entry at 36 and a few pages later is down to 32: rather than a very slow, but flowing, four in a bar, he takes a plodding eight. Once again this kills any possibility of shaping the phrases and of producing any emotional effect beyond the grief-sodden.

Things pick up ('Hostias') with the arrival of Fischer-Dieskau, in one of his most sensitive and lyrical outings: Cluytens' speed is only a few notches below the marking and we hear some rather beautiful phrasing and ebb and flow in the orchestra. With the return of the choir, alas, the tempo is yet more static, almost turning Faure's soaring coda into a plodding counterpoint exercise.

Sanctus is rather more successful, except for the sopranos' apparent inability to pronounce the letter 's' at the end of words. What we get is 'Sanctu, Dominu Deu Sabaoth'... nor do they escape going flat on occasional descending phrases.

de los Angeles' Pie Jesu is not as bad as some have suggested: the wobble in her pure soprano is rarely obtrusive and the only major fault is some rather schmaltzy scooping at the last return of the opening melody. Cluytens actually goes rather faster than the metronome here, but no great damage is done, only a slight diminution of the effect of 'eternal rest'.

With Agnus Dei, the interpretation returns to indomitable slowness and turgidity. For those who care, Faure's marking is 72, Cluytens starts at 55 then later reaches 50 and even 46 per minute: the 'Lux aeterna' really is interminable! As one might expect, the harmonic and melodic sequence of the music becomes fairly incoherent with such a continual ritardation - and apart from that, the syncopated bass figures at the first loud entry are simply lumpen and unrhythmical.

At 'Libera me' the arrival of Fischer-Dieskau presages intelligent music-making, and that is what we get, just the right tempo combining the urgency of the prayer with the dignity of Faure's great melody. But when Cluytens is left to his own devices, he runs hopelessly into the mud. Instead of increasing the tension at 'ventura ira' (the coming of thy anger) in preparation for the Piu mosso (faster) section marked by Faure, he actually slows down. Dies Illa is simply elephantine galumphing with plenty of portentousness but no terror or anger. At the end of this section, competent conductors can gradually drain out the adrenalin before returning to 'Libera me' at the original tempo, but Cluytens has nowhere to go - his 'lux perpetua' is already at a crawl and he can barely raise the energy to get back to the tempo primo, and it is left to Faure's big tune to just about save the honour of the movement.

In Paradisum is actually quite good: the tempo is only slightly lugubrious, the organ figures just about escape the pedantic effect which would set in if any slower, the sopranos stay adequately in tune.

To sum up, this CD is not worth buying, because of the dismal conducting, mediocre choir, the fact that one can easily pick up the original LPs, and the absence of any filler. (On the Trinity/Marlow disc there are, in addition to the Requiem, the Cantique de Jean Racine, four motets of Durufle and one of Messaien, and a mass of Durufle.) Fischer-Dieskau is the one part of it that one could really call 'legendary'. Buy it only if you are a DFD fanatic.

6 of 7 people found the following review helpful:

4.0 out of 5 stars A warm, human account, June 17, 2002

By 

Simon Barrow (Exeter, United Kingdom) - See all my reviews

This review is from: Faure: Requiem (Audio CD)

The growing popularity of Faure's Requiem has made it fashionable in some music circles to be slightly superior about it. Revisiting this classic recording (which was first re-issued by EMI in 1989, having been available as a budget LP for over 30 years) reminds me why that is a wholly misplaced reaction. Victoria de los Angeles and Dietrich Fischer-Dieskau bring real depth to their solos. The Paris Conservatoire under Cluytens dwells on the luscious instrumental textures at the surface of the work, but there is loss and longing in there too. Faure's Requiem sits on the cusp of religiosity and agnosticism. This classic performance captures its sheer warmth and humanity. No doubt there are better technical recordings - in at least two places there are badly engineered fades that presumably go back to the original master tapes. But if you want the emotion and feeling of this twentieth century classic, here is a fine place to start