Faure: Requiem & Durufle: Requiem Atlanta Symphony Chorus Requiem, Op. 9: V. Pie Jesu Fauré: Requiem – Duruflé: Requiem – Poulenc: Motets. Gabriel Fauré, Maurice Duruflé, Robert Shaw, Atlanta Symphony Orchestra Faure: Requiem / Durufle: Requiem . Durufle: Requiem, Op. 9: V. Pie Jesu. Maurice Durufle – Requiem: V Pie Jesu. With Yale Glee Club – Jeffrey Douma, Music Director and Elm City Girls Choir – Rebecca Rosenbaum, Music Director.
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It represents the idea of peace, faith, and hope. University of Rochester Press, The singing, from this distinguished choir, is really fine, and the vocal soloists add their individual refinement most admirably. Its companion is a much more substantial offering. The alternative, the reduction for solo organ and choirmay prove inadequate in certain parts of the Requiem where the expressive timbre of the strings reauiem needed.
In fact, if a performance is to be successful the performers need to make the listener completely unaware of the bar lines; the music must proceed in pretty much a seamless flow, as would be the case if one were listening to a choir of monks expertly singing plainchant.
This is a piece that deserves to be better known. April Total duration: In this brief episode the choir gets a rare chance to show that they can sing with real punch and they grasp the opportunity with some forceful singing.
The Ppie was first published in by Durand in an organ version. Here Signum pull out all the stops for not only are we treated to the exquisite voice of Sarah Connolly but the crucial cello obbligato features none other than Robert Cohen. The Solesmes school of chant restoration and performance achieved widespread acceptance in the Catholic church dugufle even some Protestant congregations.
A baritone soloist was now needed for both the added sections, and this seven-movement version was presented, again at the Madeleine, on 21 January John Quinn MusicWeb International.
Here time seems to stand still as we hear a spiritual and wonderfully refined performance. View all posts by f. She spoke for him, and, it must be said, she protected him from the public and was a keeper of his secrets. Introit Requiem Aeternam Kyrie eleison Offertory Domine Jesu Christe Sanctus and Benedictus Pie Jesu Agnus Dei Communion Lux aeterna Libera jesk In Paradisum The full orchestra version is scored for 3 flutes 2nd and 3rd doubling piccolo2 oboes 2nd doubling 2nd cor anglaiscor anglais, 2 clarinets, bass clarinet, 2bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings violins, violas, cellos, and double basses.
After a while the whole choir is heard, singing wordlessly, before the organ takes over the argument in an interlude, much of which is dark, even menacing, in tone.
Robert Matthew-Walker Musical Opinion. Over forty are known to have been written up to the end of the sixteenth century, the most well-known ones being those by Ockeghem the earliest surviving polyphonic setting, an earlier one by Dufay having been lostLassus who wrote twoPalestrina and Victoria, whose Officium defunctorum is generally considered to be the last, and supreme, setting in the polyphonic style. He rescored the work for small orchestra in It exists in three versions: Fill in your details below or click an icon to log in: This page was last edited on 24 Novemberat The version recorded here would seem the most convincing compromise.
He lived in Paris during one its most chaotic and creative periods, and yet he had no interest in sharing in the salons of the literary and musical elite. The sound quality is first rate throughout and all-in-all this superb disc is very strongly recommended. The choir is disciplined, expressive, expertly controlled and the internal balance is faultless to my ears.
This section contains the most obviously appealing music in the whole work.
Requiem (Duruflé) – Wikipedia
Views Read Edit Dufufle history. He was an outstanding teacher at the Paris Conservatory, with an unparalleled understanding of harmony and Gregorian chant, an ancient form that he helped restore to popularity. Their partnership with the magnificent Jeremy Filsell goes from strength to strength — how reqiuem choirs are lucky enough to have as their frequent accompanist someone who is a virtuoso in his own right? Here the soloist is Christopher Maltman, luxury casting indeed.
These books reveal that the Requiem was conceived, and the first part of it written down, in C minor—a tone lower than the three separate versions which were eventually completed. Das erforderliche Kontingent war bescheiden: Musically it may be more a succession of moments than a structured entity, but the sum of those moments, each delivered with consummate attention to detail by an extraordinarily able choir and an astonishingly perceptive organist, is a performance not just of Technicolor magic but some emotional depth too.
You are jessu using your WordPress. His contribution to this CD is of world class standard.
From to he was organist at another Paris church, St. Piie primary concern was the beauty of his music. Eschewing change, he was a conservative in a radical world. He completed it in September The style and personality of a rrquiem, also, seems to focus particularly sharply when writing a Requiem Mass: Sometimes the musical text was completely respected, the orchestral part intervening only to support or comment on it; sometimes I was simply inspired by it or left it completely, for example in certain developments suggested by the Latin text, notably in the Domine Jesu Christe, the Sanctus and the Libera.
The central movement, Pie Jesu, has the only solo for the mezzo-soprano. Ple sensuous chords of the full choir add to the spiritual tranquillity, and the last chord, an unresolved dominant ninth, evaporates into eternity.
Compared with other great composers of his day — Bernstein, Stravinsky, Shostakovich, Britten — he seems strangely out of touch jsu his times, both in his requiej and his personality.
It is the composer’s final revision of the work that is recorded here. The work is for SATB choir with brief mezzo-soprano and baritone solos. Sulpice, holding that post until his death. This repertory of liturgical song had become something of a French speciality in the 19th century, and among the scholars working on the chants were a group of Benedictines at the French monastery of Solesmeswho developed a theory of chant rhythm as a free succession of notes of mostly equal value in groups of two and three.
He died in Paris on 4 November at the age of seventy-nine. Here, as throughout the performance, the balance between singers and organ is all that could be desired. There have been many settings of the Requiem text since the Gregorian plainsong version found in the Liber Usualis. She taught his private organ pupils before they advanced requim study with him.
The thematic duruffle is mostly taken from the Mass for the Dead in Gregorian chant.