Also, Cantique de Jean Racine; Tu es Petrus; Tantum ergo. Rolf Beck, Schleswig-Holstein Festival Chor Lubek; Ensemble orchestral de Paris. Hanssler Classic CD 98.628.
People probably know the influential French organist, pianist, teacher, and composer Gabriel Faure (1845-1924) best for his Pavane in F-sharp minor, Op. 50 (1887) for orchestra and optional chorus, and his Requiem, Op. 48 (1887, revised 1893-1900) for choir, soloists, and orchestra. This is not to suggest that his many nocturnes and songs or his orchestral music for Pelléas et Mélisande aren't important or popular; they just tend to take a backseat to the Pavane and Requiem. The present disc gives us yet another performance of the Requiem, along with several other choral numbers.
People have, of course, been writing Requiem Masses--musical services, hymns, or dirges celebrating the repose of souls of the dead--for many years, and they have, understandably, been mostly somber, weighty, solemn affairs. Not so with Faure's version. As Faure himself remarked of it, "It has been said that my Requiem does not express the fear of death, and someone has called it a lullaby of death. But it is thus that I see death: as a happy deliverance, an aspiration toward happiness above, rather than as a painful experience. My Requiem was composed...for pleasure." For this reason, Faure's Requiem has become one of the most celebrated settings of the mass, perhaps almost as famous as Mozart's. So we should welcome any new interpretation of the work, like this one from Rolf Beck and his Schleswig-Holstein Festival Choir of Lubek, supported by the Ensemble orchestral de Paris.
After writing the work for chamber orchestra and choir, Faure had second thoughts and revamped it in 1898-1900 for full orchestra and apparently was happy with that arrangement for the rest of his days. So that's the way folks played it until the 1980's, when British composer, conductor, editor, arranger, and all-around musicologist John Rutter found Faure's original manuscript for chamber orchestra, which Beck follows here. It's a little more intimate a setting, and it allows the chorus more room to shine. (You can find Rutter's own, very fine performance, incidentally, on a Collegium CD.)
Anyway, Beck and his singers and players are serene and tranquil in the opening Intuit et Kyrie, and then they continue the mood with a sweet and leisurely Offertoire. Under Beck, the Sanctus displays a Schubertian grace, followed by soprano soloist Chiyuki Okamura floating her voice above the notes in the Pie Jesus segment. The Agnus Dei is a dramatic high point in the piece; and after that, baritone David Wilson gets his turn in the sun with Libera me. Beck closes the work with an appropriately innocent and heavenly In Paradisum, which may be the best part of the show.
Of the three additional couplings on the disc, the lovely Cantique de Jean Racine stands out. Although Faure wrote it as a student presentation when he was nineteen, there is nothing immature about it at all. The two other, brief sacred pieces, Tu es Petrus and Tantum egro, seem more ordinary by comparison, but Beck's singers perform the Tantum ergo so beautifully, it doesn't matter.
Hanssler Classics recorded the performances live at Christkirche zu Rendsburg (Requiem) and Dom zu Meldorf in July and August of 2010. There is a slight edge on the massed voices, not much, nothing of any real concern. Otherwise, the sound is not quite as lucid as my favorite recording with David Willcocks (EMI), but it's nicely expansive, perhaps owing to the live acoustic. The three accompanying pieces sound a bit bigger and more spacious, with greater depth to the chorus and a fuller bloom on the instrumentation. For that matter, however, nothing about the recordings sound live, and if the back of the jewel box hadn't said so, I wouldn't have guessed. So, despite my general disdain for live recordings, this one at least doesn't call attention to the fact.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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