I agree Matt, it is a lovely version and it has long been a particular favourite of mine.ravel30 wrote: That was my first version of this work and I have always been very fond of it. It was one of the first naxos recording that I have seen as recommended by experts. No wonder why it is beautifully played and sung.
Matt.
Fauré's Requiem
Re: Fauré's Requiem
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: Fauré's Requiem
The very same fellow in person Seán!Seán wrote: Is that the Jeremy Summerly who delivered the BAL selection on last Saturday's programme?
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: Fauré's Requiem
I've resisted posting in this thread until now because I wanted to relisten to my recordings of this work and see if my memory of them was correct. It was, and is, so now I feel I can comment!
Under normal circumstances and with other pieces, I'd favour small forces over large. I tend toward the "purist" view and I'd generally choose an "original" rather than any kind of later reworking, especially if the general consensus is that the smaller-scale version is superior. Normally I detest an overblown reading of anything, would frequently have misgivings about massed choral forces even when they're called for, and I often have an irrational fear of American musicians.
But not here.
I should probably put in a couple of caveats:
1) I learned this music from a large-scale version, it was my first foray into the repertoire and that will always be hard to beat.
2) Having accompanied a few of the movements/sections of Fauré's Requiem for the small-scale and decidedly amateur (in the best sense!) choir at Monkstown, I have an immediate bias against this kind of presentation in recordings. This may indeed be an intimate work, but if a recording has even the merest hint of "local parish choir" about its sound-world, I'm going to be turning off pretty quickly.
Which leads me to this:
I got this as part of a 3CD Requiem box-set, and I was very interested to hear the "middle" version of the work. The first few times I listened to it I turned it off pretty quickly, and while I managed to wade as far as the Pie Jesu last night, I truly can't stand this CD. I know it's spoken of highly upthread and that's great (!) but it leaves me utterly cold. If this was my introduction to the work, I doubt I'd have ever thought anything of it. I just find it all so...disappointing! The "Hosanna in excelsis" section of the Sanctus is a prime example, I just don't feel it, it goes nowhere, everything is just so buttoned-down. Yes yes it's a Requiem, but dear God this is one of the few moments you get to go above mf so go for it! Gah!!
On the other end of the scale, many of you know that I am an enormous fan of this disc. I feel so strongly about it I'd probably consider it a desert-island selection:
It's big, ballsy, about as "intimate" as the Verdi Requiem sung by multiple Philharmonic choirs, but for me it's a thrilling, goosebump fest. The sound of so many voices singing quietly is magical, and crescendos have a visceral power and impact that are irresistible. The aforementioned "Hosanna in excelsis" has serious cojones here, in fact its now more akin to a football chant when the home team are winning 4-0. Utter vulgarama, and I love it!!!
(The Duruflé gets similar treatment, and the crescendo in that Sanctus is one of the most thrilling moments of any CD I own. If/when I destroy a bass driver, I'll probably be playing that.)
I'd suggest that if you're having trouble "getting" the smaller-scale readings of the work, you should give this one a go.
Under normal circumstances and with other pieces, I'd favour small forces over large. I tend toward the "purist" view and I'd generally choose an "original" rather than any kind of later reworking, especially if the general consensus is that the smaller-scale version is superior. Normally I detest an overblown reading of anything, would frequently have misgivings about massed choral forces even when they're called for, and I often have an irrational fear of American musicians.
But not here.
I should probably put in a couple of caveats:
1) I learned this music from a large-scale version, it was my first foray into the repertoire and that will always be hard to beat.
2) Having accompanied a few of the movements/sections of Fauré's Requiem for the small-scale and decidedly amateur (in the best sense!) choir at Monkstown, I have an immediate bias against this kind of presentation in recordings. This may indeed be an intimate work, but if a recording has even the merest hint of "local parish choir" about its sound-world, I'm going to be turning off pretty quickly.
Which leads me to this:
I got this as part of a 3CD Requiem box-set, and I was very interested to hear the "middle" version of the work. The first few times I listened to it I turned it off pretty quickly, and while I managed to wade as far as the Pie Jesu last night, I truly can't stand this CD. I know it's spoken of highly upthread and that's great (!) but it leaves me utterly cold. If this was my introduction to the work, I doubt I'd have ever thought anything of it. I just find it all so...disappointing! The "Hosanna in excelsis" section of the Sanctus is a prime example, I just don't feel it, it goes nowhere, everything is just so buttoned-down. Yes yes it's a Requiem, but dear God this is one of the few moments you get to go above mf so go for it! Gah!!
On the other end of the scale, many of you know that I am an enormous fan of this disc. I feel so strongly about it I'd probably consider it a desert-island selection:
It's big, ballsy, about as "intimate" as the Verdi Requiem sung by multiple Philharmonic choirs, but for me it's a thrilling, goosebump fest. The sound of so many voices singing quietly is magical, and crescendos have a visceral power and impact that are irresistible. The aforementioned "Hosanna in excelsis" has serious cojones here, in fact its now more akin to a football chant when the home team are winning 4-0. Utter vulgarama, and I love it!!!
(The Duruflé gets similar treatment, and the crescendo in that Sanctus is one of the most thrilling moments of any CD I own. If/when I destroy a bass driver, I'll probably be playing that.)
I'd suggest that if you're having trouble "getting" the smaller-scale readings of the work, you should give this one a go.
Nerdcave: ...is no more! 
Sitting Room: Wadia 581SE - Rega Planar 3/AT VM95ML & SH - Bluesound Node II - Copland CSA 100 - Audioplan Kontrast 3
Kitchen: WiiM Pro - Wadia 151 - B&W 685s2
Sitting Room: Wadia 581SE - Rega Planar 3/AT VM95ML & SH - Bluesound Node II - Copland CSA 100 - Audioplan Kontrast 3
Kitchen: WiiM Pro - Wadia 151 - B&W 685s2
Re: Fauré's Requiem
I enjoyed reading that post Simon of your honest evaluations. Appearenly Herreweghe recorded both versions of this work. I own neither but I will own both in the future. I look forward to that interesting listening comparison.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: Fauré's Requiem
Great thread, I'm a sucker for a requiem, I know I have a recording of this buried somewhere! Good impetus to dig it out and get into a new piece!
I'm shtunned that Si would favour a big version in favour of what I would call "pared back"!
I think the Rutter sounds like it might be more up my alley, despite my almost physical dislike of the man and his Carols ( assuming of course it's the same Rutter!!)
How about a Mozart Requiem thread, theres one I know inside out... of the top of my head I have 5 versions!
I'm shtunned that Si would favour a big version in favour of what I would call "pared back"!
I think the Rutter sounds like it might be more up my alley, despite my almost physical dislike of the man and his Carols ( assuming of course it's the same Rutter!!)
How about a Mozart Requiem thread, theres one I know inside out... of the top of my head I have 5 versions!
Brass Bands are all very well in their place -
outdoors and several miles away....
outdoors and several miles away....
Re: Fauré's Requiem
by all means, go ahead and tell us about them! we're all up for interesting new threads over here...jaybee wrote:How about a Mozart Requiem thread, theres one I know inside out... of the top of my head I have 5 versions!
Re: Fauré's Requiem
Indeed, although if I recall correctly I bought this CD on a certain trip to Chicago when I discovered it was a Stereophile R2D4. (There's a sporting chance you were with me at the time!) I think I bought it during my "glory days of music listening" so I have an extra bias for it.jaybee wrote: I'm shtunned that Si would favour a big version in favour of what I would call "pared back"!
You should open a Mozart Requiem thread, cos the only one of those I have is Herreweghe in the same Requiem box. I think it fares a lot better.
Nerdcave: ...is no more!
Sitting Room: Wadia 581SE - Rega Planar 3/AT VM95ML & SH - Bluesound Node II - Copland CSA 100 - Audioplan Kontrast 3
Kitchen: WiiM Pro - Wadia 151 - B&W 685s2
Sitting Room: Wadia 581SE - Rega Planar 3/AT VM95ML & SH - Bluesound Node II - Copland CSA 100 - Audioplan Kontrast 3
Kitchen: WiiM Pro - Wadia 151 - B&W 685s2
Re: Fauré's Requiem
jaybee wrote: How about a Mozart Requiem thread, theres one I know inside out... of the top of my head I have 5 versions!
I agree with the other two lads; the challenge is laid down....go for it!!!
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra
Re: Fauré's Requiem
R2D4? Record to Die For ??
Do you remember the alladin's cave hifi shop in Roscoe Village??
Do you remember the alladin's cave hifi shop in Roscoe Village??
Brass Bands are all very well in their place -
outdoors and several miles away....
outdoors and several miles away....
Re: Fauré's Requiem
This is the “Concert” version of this work i.e. the later version with full orchestral scoring. The overall tone is one of reverence and there is a beautiful feel to the performance. It is played and sung beautifully and the period instruments add a beautiful texture both to the music and to the atmosphere. Nothing is loud and nothing is forced; the music and the sentiments flow effortlessly. It is difficult to imagine that there are 70 musicians sometimes performing this work; the sound balance is definitely in favour of the vocals throughout. It is a delicate and beautiful interpretation.
To be is to do: Socrates
To do is to be: Sartre
Do be do be do: Sinatra
To do is to be: Sartre
Do be do be do: Sinatra