Customer Reviews

Faure Requiem Op.48 / Durufle Requiem Op.9

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4 star:		(3)
3 star:		(1)
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This disk has set the standard for performing the settings of the Requiem mass by two great French masters, Gabriel Faure and Maurice Durufle. The Faure setting is an intimate one with occasional moments of tempestuousness. This particular recording features the more heavily orchestrated edition (for an excellent chamber version see the Cambridge Singers under John Rutter). Put in seven parts, additional features include two baritone solos and a lovely soprano solo. The choral parts are not difficult, but require a delicate touch with great articulation, all provided here. The harmonies gently shift with occasional color changes and chromatic mediant relationships. The concluding movement (In Paradisum) sums up the experience with a satisfying contemplative moment devoid of bombasticity. A masterwork not to be missed.

The Durufle Requiem is a horse of a different color. The rhythms and harmonies are not so classically straight-forward like the Faure; far from it. Not only do the rhythms constantly shift, the melodies aren't classically structured, but instead, quote and are reminiscent of chant, making the rhythmic changes seem natural. The harmonic setting is heavily steeped in church modes, but Durufle's lush orchestrations make this anything but old-fashioned. Much more thickly textured, Durufle doesn't fear to leap into occasional revelry and joyousness; Durufle has a knack for timing his climaxes just right, more moments of exuberance than Faure exhibited. This edition is the fully orchestrated version, and while there is a nice organ accompaniment edition, I much prefer the grandeur of the orchestra. Robert Shaw chooses not to have soloists, but instead have the choir parts sing the solos. This version is still highly exciting and lacks nowhere (unless you want soloists). You might want to choose to have an all Durufle choral CD (Michael Plasson in EMI classics is a good choice), but this pairing of two classics is an equally fine program.

The Atlanta Symphony Orchestra and Chorus have not put out such a successful CD as in this 1987 digital Telarc classic. The sound is full and virile, the heightened sense of drama is apparent and can't be beat by any other recording, certainly not by another American choir. Nearly two decades after its release, this still remains the standard.

This recording of the Faure and Durufle Requiems has single handedly served to wear out the speakers of my stereo system! The Atlanta Symphony and Chorus are at their finest on both settings, but the Durufle stands out as being exquisite. Those unfamiliar with this great work should purchase this CD in order to experience a first rate recording of this choral masterpiece. The Atlanta musicians have done a magnificent job of blending voices, instruments, and organ into a nearly-perfect masterpiece of sacred music. If you are fortunate enough to listen to this work on a high-quality stereo system that properly translates the intensity of the pedal division of the organ, you know what I mean when I say that listening to this work is a moving experience. Of particular delight in the Durufle setting are the Sanctus and In Paradiso movements. This recording should serve to become the staple by which all other recordings of these works are compared. It is a must have for any lover of sacred choral music.

The Faure Requiem (Op. 48) in D minor is a soft, gentle requiem unlike the powerful Verdi, Berlioz, and Durufle. The delicate qualities of this requiem are captured beautifully on this recording.

The Durufle Requiem (Op. 9) is one of my most favorite compositions of all time and it is not performed well on this disc for one reason: the solos are sung by the choir and that is not what I want to hear when I want to hear Durufle's requiem. Piquemal's version is still my favorite and I recommend that over this one.

There are hundreds of versions and recordings of this two works that are often linked together. However, this recording by Robert Shaw completely blows the field away. Telarc did a fabulous job of recording this performance; the disc sounds spectacular. The soloist are also very good. However, this disc is led by the chorus. Only in a few other discs have I heard a choir sound so full. The chorus is energized in places where it needs to be, and austere in the quiet sections. This CD is amazing and is highly recommended.

I am an unabashed preacher of the Shaw choral doctrine. Even though I was never a music student, I have always been a student of music, in particular choral music. And in my humble opinion, few have interpreted such wide ranges of choral music better than the late Mr. Shaw. However, I find that in this particular recording of two of the finest settings of the Requiem text that the Faure lacks, while the Durufle soars. I have sung the Faure, and still find that Shaw's reading was just that - a reading. No real emotion derived from the music. The Durufle, on the other hand, is ethereal and inspiring. Powerful and beautiful. The chorus understands the use of overtones and the simple complexity of Durufle's music. Usually, if I have the CD in my player I skip the Faure and go staight to the Durufle. I do have other recordings of both Requiems, and find Shaw's Durufle the definitive recording. He UNDERSTOOD Durufle. However, for an excellent Faure Requiem I'd recommend either the John Rutter and Cambridge Singers (Collegium) or Charles Dutiot and the Montreal Symphony (London).

One thing abundantly clear from listening to this CD is that Robert Shaw truly understood these pieces: he saw that while they are united by the fact that both eschew the "Dies irae" that dominates the Mozart and Verdi Requiems, they are otherwise very different works.

The best evidence for this comes from the Fauré, which is performed in a version reconstructed by John Rutter. The biggest change is that the violin part is transposed up an entire octave; while it does not sound like much, it sounds perfectly natural to me, while the more commonly performed version sounds off.

Likewise, Shaw's decision to give the solo in the Pie Jesu to all the altos instead of to a single soloist (a decision blasted by Dennis Keene in the notes for his recording on Delos) also works surprisingly well, even if it isn't what Duruflé himself intended.

The full orchestration of Duruflé's Requiem is heard here to splendid effect; the menace of the Libera me is quite vivid, while the climax of the Duruflé Sanctus is far better here than in any other version I've ever heard (little wonder that it appears on at least *four* Telarc compilation CDs!).

Listening to this CD, I was amazed to find it was recorded nearly 20 years ago. It is, quite simply, one of the best CDs in my collection, and one I would recommend to just about anyone.

As I am not a fan of Faure's Requiem, I am going to limit my comments and overall review of the CD to Durufle's Requiem.

What a performance this is. It truly is one of the most sublime, peaceful, spiritual, and beautiful compositions I have heard. The heavenly soft opening speaks volumes of what this requiem will be like. The diction of the chorus is impeccable, but beyond this, their singing is perfectly balanced, and at times you feel as though they really are singing in complete unison without one flaw, which is impressive for a group of people. Heavenly sounds emit from the chorus. You can tell they were well prepared in this piece. Also, the chorus never drowns out the orchestra, which is an integral part of the polyphonic nature of the piece.

The recording quality of this requiem, as I always seem to say about Telarc, is top notch. The sound is warm, lush, has a great deal of presence and transparency, and full. You may have to kick up the volume a bit more than on other recordings, but that is no big deal when you get to hear the end result. Every detail is in this recording, from the very faint cellos backing up the female singers, the beautiful oboe solos, or full fleging sound of the orchestra and chorus. When they play together, it's magic and will literally provide goosebumps when the organ adds its part!

If you're a fan of requiem masses or just want something very soothing and uplifting to listen to buy this recording. My only request is this: really pay attention to all the details. Listen to the recording. Don't be doing other things while it's playing, but let is absorb your thoughts, and you may very well temporarily understand what inspiration is.

It's hard to put into words exactly how this CD makes me feel. I'm a fan choral music in general, and Gabriel Faure in particular, so hearing his requiem was an utterly joyful experience for me. I was pleasantly surprised to find Maurice Durufle's requiem just as beautiful as Faure's. Each work has its own charm and appeal, but both are incredibly uplifting. When I hear "In Paradisum" from Faure's requiem, it doesn't so much make me less afraid of death as it makes me want to know what Faure was thinking/feeling/seeing when he wrote such an exquisitely gentle and comforting piece of music. Likewise, "Agnus Dei" from Durufle's requiem enchants to the point that one forgets this is meant to be funerary music. Both works are brought to life here by incredibly gifted vocalists and the excellent conducting of the legendary Robert Shaw. This has rarely left my CD player in the last 3 months. Highly recommended!

Also recommended: "Bluebird: Voices from Heaven"

Robert Shaw was a consummate choral conductor even before he added the glories of his tenure with the Atlanta Symphony Orchestra to his resume. He understood the repertoire spectrum of choral music and was capable of creating thundering mystery with Berlioz, Beethoven, and Mahler while holding the forces of purity in the words of the Gregorian chants and the French repertoire. The Faure and Durufle Requiems are often paired - for obvious reasons. And yet in Shaw's hands the differences in the two works are quietly appreciated in this recording. He used two fine artists as soloists in the Faure - Judith Blegen and James Morris - and incorporated them into the overall line of Faure's vision, making the Requiem seamless. And for pure otherworldly sound and spiritual enlightenment, few others can match the vocal and orchestral perfection he achieved in the Durufle. This recording, made in 1987, will remain the Gold Standard for these two works for many years.

I heard the premiere radio broadcast of this recording on Atlanta's classsical radio station right before the CD was released. I listened rapturously to it, and thought I was hearing it live--not recorded. The technical qualities of the recording have never been surpassed by the Atlanta Symphony, except for their Rachmaninov Vespers.

The soloists, particularly Judith Blegen, are in superb voice and convey the most serene and emotional singing I've heard in any sacred music. The Atlanta Symphony is in top form as an ensemble and the placement of the organ is perfect.

You will not find a more beautiful requiem than that of Monsieur Faure's. The Durufle is also beautiful and a perfect partner to the Faure.

Enjoy!!