Tír Na HiFi

Lovely thread Fergus, well done.

Ciaran wrote:Just raiding Wikipedia for information on the different versions.

The earliest composed music included in the Requiem is the "Libera Me", which Fauré wrote in 1877 as an independent work.

The Requiem exists in three versions.

1. The original version is the smallest, with five movements (Introit and Kyrie, Sanctus, Pie Jesu, Agnus Dei and In Paradisum), but did not include the "Libera Me". This version was first performed January 16, 1888 under the composer’s direction in La Madeleine in Paris. It is scored for
   • mixed choir
   • solo boy or female soprano
   • harp
   • timpani
   • organ
   • strings (solo violin, divided violas, divided cellos and basses)
2. In 1889, Fauré added the "Hostias" portion of the Offertory and in 1890 he expanded the Offertory and added the 1877 "Libera Me". This second version, known today as the chamber orchestra version, was premièred January 21, 1893, again at the Madeleine with Fauré conducting. This version was rediscovered, edited and championed by John Rutter in the 1980s. It is published by Oxford University Press. In addition to the new movements, this version adds the following instruments to the orchestration:
   • solo baritone (a "quiet bass–baritone, the cantor type")
   • 2 bassoons
   • 4 horns
   • 2 trumpets
3. In 1899–1900, the score was reworked for full orchestra. There is some question as to whether this was the work of Fauré himself or one of his students. This version was premiered April 6, 1900, with Eugène Ysaÿe conducting. It was the best known version until John Rutter rediscovered Fauré's original manuscript of the chamber orchestra version in the Bibliothèque Nationale in Paris in the early 1980s. The third arrangement adds more woodwinds, brass, and strings. This full orchestration comprises:
   • mixed choir
   • solo boy soprano
   • solo baritone
   • 2 flutes
   • 2 clarinets (only in the "Pie Jesu")
   • 2 bassoons
   • 4 horns
   • 2 trumpets (only in the "Kyrie" and "Sanctus")
   • 3 trombones
   • timpani (only in the "Libera me")
   • harp
   • organ
   • strings (with just a single section of violins, but divided violas and cellos, as before)

Thank you very much for that contribution Ciaran. One can definitely see the augmentation in the instrumentation and judge the effect that it might have for better or worse.

Seán wrote:Lovely thread Fergus, well done.

Thank you Seán; a labour of love on an otherwise idle day!

Next up is the Rutter version....





This version was recorded in 1984 and was the first to dispense with the larger orchestral forces and get back to the original Faure scoring. The textures are therefore much lighter and the music is much more transparent than the Davis version. The bass line is particularly noticeable. The timbre of the violas as opposed to the higher pitched violins also adds to the overall atmosphere.

The choir sing very well, with controlled, earnest passion in places, and the solo singing from Caroline Ashton is divine in its purity - simply beautiful. The orchestral playing from members of the City of London Sinfonia is exemplary - delicate and powerful where appropriate but never intrusive and always sympathetic.

Recorded in the Great Hall, University College School, London, it does have that church acoustic "feel". The Rutter version is a warm, polished and sophisticated yet tender version that is to be greatly admired.

Almost there now for me with....





I find this to be a magnificent and uplifting performance that is sung beautifully by the Monteverdi Choir. The orchestration is also wonderfully and sensitively played throughout. It is the original instrumental version but it is very full sounding, such is its quality. There are elements of drama in here but they are very sensitively done and are only applied to emphasise certain passages. Otherwise it is a very stately version and another very earnest performance that is full of passion and devotion. I personally find it a powerful and compelling performance.

Excellent stuff Fergus. I have the Gardiner recording currently on order having read your review. I will hope to pick up the Rutter recording in due course a a good price. Thanks again for the time taken. dt

dhyantyke wrote:Excellent stuff Fergus. I have the Gardiner recording currently on order having read your review. I will hope to pick up the Rutter recording in due course a a good price. Thanks again for the time taken. dt

My pleasure! I am delighted that you got something out of the thread and I certainly hope that you enjoy the music when you finally receive it. Do let us know your thoughts. Perhaps you could add a few words to this thread in due course. Best of luck with it.

And the final offering from my collection is....






This is a clean, crisp yet very solemn and measured version. The Schola Cantorum of Oxford directed by Jeremy Summerly sing radiantly and is suitably accompanied in a very tasteful and sympathetic way by a reduced sized Oxford Camerata. This version was recorded in one of the chapels in Oxford and the acoustic adds a great deal to the flavour of the disc.

This is a very sober version but glows with warmth and feeling from beginning to end. The Summerly version is almost brutal in its simplicity and directness - the contrast between the organ, the lower register strings and the choral singing is quite dramatic, bold and very beautiful. Ravishingly beautiful music played and sung in the simple and straightforward way in which it was probably meant to be played. For me, in this music, small is beautiful.

The Summerly version, because of the almost minimalist approach brings out the ultimate simplicity and beauty of the piece for me. It has quite a full, warm and radiant sound for all of its minimalism however and it really gets to the essence of the work.



The above image is that of my CD cover but, like me, it has now aged and has, unlike me, been reissued. This apparently is the latest Naxos cover for those who might want to seek it out....

fergus wrote:And the final offering from my collection is....






This is a clean, crisp yet very solemn and measured version. The Schola Cantorum of Oxford directed by Jeremy Summerly sing radiantly and is suitably accompanied in a very tasteful and sympathetic way by a reduced sized Oxford Camerata. This version was recorded in one of the chapels in Oxford and the acoustic adds a great deal to the flavour of the disc.

This is a very sober version but glows with warmth and feeling from beginning to end. The Summerly version is almost brutal in its simplicity and directness - the contrast between the organ, the lower register strings and the choral singing is quite dramatic, bold and very beautiful. Ravishingly beautiful music played and sung in the simple and straightforward way in which it was probably meant to be played. For me, in this music, small is beautiful.

The Summerly version, because of the almost minimalist approach brings out the ultimate simplicity and beauty of the piece for me. It has quite a full, warm and radiant sound for all of its minimalism however and it really gets to the essence of the work.



The above image is that of my CD cover but, like me, it has now aged and has, unlike me, been reissued. This apparently is the latest Naxos cover for those who might want to seek it out....

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.

fergus wrote:And the final offering from my collection is....



This is a clean, crisp yet very solemn and measured version. The Schola Cantorum of Oxford directed by Jeremy Summerly sing radiantly and is suitably accompanied in a very tasteful and sympathetic way by a reduced sized Oxford Camerata.

Is that the Jeremy Summerly who delivered the BAL selection on last Saturday's programme?