Information
Composer: Maurice Duruflé
Martin Ford, organ
The Choir of Magdalen College
English Sinfonia
Bill Ives, conductor
Date: 2008
Label: harmonia mundi
http://www.harmoniamundi.com/#!/albums/1328
- (01) Requiem, Op. 9
- (10) Prélude sur I'Introït de I'Épiphanie
- (11) Fugue sur le thème de Henri Rabaud
- (12) Quatre Motets sur des thèmes grégoriens, Op. 10
- (16) Chant donné en hommage à Jean Gallon
- (17) Méditation pour orgue
- (18) Messe 'Cum Jubilo', Op. 11
Martin Ford, organ
The Choir of Magdalen College
English Sinfonia
Bill Ives, conductor
Date: 2008
Label: harmonia mundi
http://www.harmoniamundi.com/#!/albums/1328
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ARTISTIC QUALITY: 9 / SOUND QUALITY: 10
Maurice Duruflé’s Requiem is the Pelléas et Mélisande of its genre. Like Debussy’s opera, this music exists in a kind of otherworld, removed from standard form and transcending the usual bonds of melodic structure and harmonic movement. The irregular phrasing and modal, largely scalewise melodies characteristic of the plainchant on which the work is based, are ideal vehicles for creating a kind of rhythmic and harmonic ambiguity that certainly owes something to Debussy but would never be confused with his music. This recording, which uses Duruflé’s 1961 version for choir, small orchestra, and organ, is authoritatively and affectingly sung, with some super solo work in the Pie Jesu from countertenor Magid El-Bushra, exquisite tenor sound and singing throughout, and sublime trebles, especially at the opening of the In Paradisum. And the appropriate atmosphere–contemplation, exaltation, prayer, and reassurance–is enhanced by the perfect balance of all the performing forces (not an easy task!) in a spacious, vibrant acoustic. It all adds up to one of the best Duruflé Requiems on disc.
The four motets are slightly less successful, especially the Ubi caritas, presented a bit too squarely, taking the “plain” in plainchant too literally, missing expressive opportunity in the phrasing. But again, these are sung with lovely choral tone and balance and well-executed ensemble–not shabby at all, just not quite as compelling as performances by the Corydon Singers (Hyperion) or Trinity College, Cambridge (Conifer). Similarly, the Messe “Cum jubilo”, sung here by 13 baritone voices, features first-rate ensemble singing, much of it quite impressive in its power, and, but for a few strained upper-register notes in the Gloria-movement solo, it too is a top choice for this work. The four works for solo organ, in exemplary performances by Martin Ford (Prélude sur l’Introit de l’Épiphanie; Fugue on a theme by Henri Rabaud; Chant donné en hommage à Jean Gallon; Méditation pour orgue), complement the choral selections nicely and further distinguish this program from several other recommendable recordings with otherwise identical repertoire. Highly recommended! [10/20/2008]
-- David Vernier, ClassicsToday
More reviews:
https://www.theguardian.com/music/2009/jan/02/classicalmusicandopera-durufle
https://www.allmusic.com/album/durufl%C3%A9-requiem-op-9-mw0001876330
https://www.audaud.com/durufle-requiem3rd-version-for-choir-small-orchestra-and-organ-quatre-motets-sur-des-themes-gregoriens-messe-cum-jubilo-4-pieces-for-organ-fugue-prelude-chant-donne-meditation-solo/
Maurice Duruflé’s Requiem is the Pelléas et Mélisande of its genre. Like Debussy’s opera, this music exists in a kind of otherworld, removed from standard form and transcending the usual bonds of melodic structure and harmonic movement. The irregular phrasing and modal, largely scalewise melodies characteristic of the plainchant on which the work is based, are ideal vehicles for creating a kind of rhythmic and harmonic ambiguity that certainly owes something to Debussy but would never be confused with his music. This recording, which uses Duruflé’s 1961 version for choir, small orchestra, and organ, is authoritatively and affectingly sung, with some super solo work in the Pie Jesu from countertenor Magid El-Bushra, exquisite tenor sound and singing throughout, and sublime trebles, especially at the opening of the In Paradisum. And the appropriate atmosphere–contemplation, exaltation, prayer, and reassurance–is enhanced by the perfect balance of all the performing forces (not an easy task!) in a spacious, vibrant acoustic. It all adds up to one of the best Duruflé Requiems on disc.
The four motets are slightly less successful, especially the Ubi caritas, presented a bit too squarely, taking the “plain” in plainchant too literally, missing expressive opportunity in the phrasing. But again, these are sung with lovely choral tone and balance and well-executed ensemble–not shabby at all, just not quite as compelling as performances by the Corydon Singers (Hyperion) or Trinity College, Cambridge (Conifer). Similarly, the Messe “Cum jubilo”, sung here by 13 baritone voices, features first-rate ensemble singing, much of it quite impressive in its power, and, but for a few strained upper-register notes in the Gloria-movement solo, it too is a top choice for this work. The four works for solo organ, in exemplary performances by Martin Ford (Prélude sur l’Introit de l’Épiphanie; Fugue on a theme by Henri Rabaud; Chant donné en hommage à Jean Gallon; Méditation pour orgue), complement the choral selections nicely and further distinguish this program from several other recommendable recordings with otherwise identical repertoire. Highly recommended! [10/20/2008]
-- David Vernier, ClassicsToday
More reviews:
https://www.theguardian.com/music/2009/jan/02/classicalmusicandopera-durufle
https://www.allmusic.com/album/durufl%C3%A9-requiem-op-9-mw0001876330
https://www.audaud.com/durufle-requiem3rd-version-for-choir-small-orchestra-and-organ-quatre-motets-sur-des-themes-gregoriens-messe-cum-jubilo-4-pieces-for-organ-fugue-prelude-chant-donne-meditation-solo/
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Maurice Duruflé (11 January 1902 – 16 June 1986) was a French composer, organist, and teacher. An organ pupil of Charles Tournemire and Eugène Gigout, he was a lifelong friend and an assistant of Louis Vierne at Notre-Dame and titular organist of St-Étienne-du-Mont in Paris. In 1939, he premiered Francis Poulenc's Organ Concerto which he had advised on organ part. As a composer, Duruflé was highly critical of his own composition and only published a handful of them. His organ music, tends to be well polished, and is still frequently performed in concerts by organists around the world.
***
Grayston (Bill) Ives (born 1948) is a British composer, singer and choral director. He was a chorister at Ely Cathedral and then studied music at Cambridge, taking composition lessons with Richard Rodney Bennett. Until March 2009, Ives was Organist, Informator Choristarum and Fellow and Tutor in Music at Magdalen College, Oxford and directed the college's choir in many recordings on the Harmonia Mundi label. As a composer, Ives' work consists mainly of sacred and secular music for choir. Ives composes as Grayston, but prefers to be known as "Bill", a nickname he acquired at an early age.
https://en.wikipedia.org/wiki/Grayston_Ives
http://www.graystonives.com/
https://en.wikipedia.org/wiki/Grayston_Ives
http://www.graystonives.com/
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