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█ █▓███████▄ ▄▄█████▀▀▀▀▀ .;.C M G.;. ▀▀▀▀▀▓▓███▄▄ ▄█████████ █
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█▀ anton bruckner/maurice duruflΘ (laudantes consort ▀█
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▄▄▄▄▄▄▄█████▓░ ▄▄██▓▀▀ ;.. General infos ..; ▀▀▓██▄▄ ░▓█████▄▄▄▄▄▄▄
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▀▀███ ▓ Type ........: album ▓ ███▀▀
▀ ██ ░ Music Style .: classical ░ ██ ▀
▄ ▐█ Release.Date : 2009-08-16 █▌ ▄
▀▓▀ ▐█ Release.Size : 92,2 MB █▌ ▀▓▀
█ Playtime ....: 72:59 min █
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█████ ▀ █ Label..:.....: Cypres █ ▀ █████
███▓░ █ Source ......: cdda █ ░▓███
██▓░ █ Tracks ......: 19 █ ░▓██
██▓░ █ Bitrate......: vbr. 175kbps █ ░▓██
███▓░ █ Frequency....: 44,1kHz █ ░▓███
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▀ ..;.TracKList.;.. ▀
01 ::: anton bruckner - requiem ::: 05:05
02 ::: anton bruckner - dies irae ::: 07:10
03 ::: anton bruckner - domine ::: 02:39
04 ::: anton bruckner - hostias ::: 01:42
05 ::: anton bruckner - quam olim ::: 02:36
06 ::: anton bruckner - sanctus ::: 01:29
07 ::: anton bruckner - benedictus ::: 04:46
08 ::: anton bruckner - agnus dei ::: 03:15
09 ::: anton bruckner - requiem ::: 01:09
10 ::: anton bruckner - cum sanctis ::: 01:15
11 ::: maurice duruflΘ - introit ::: 03:47
12 ::: maurice duruflΘ - kyrie ::: 03:33
13 ::: maurice duruflΘ - domine jesu ::: 09:01
christe
14 ::: maurice duruflΘ - sanctus ::: 03:37
15 ::: maurice duruflΘ - pie jesu ::: 04:06
16 ::: maurice duruflΘ - agnus dei ::: 04:27
17 ::: maurice duruflΘ - lux aeterna ::: 04:23
18 ::: maurice duruflΘ - libera me ::: 05:34
19 ::: maurice duruflΘ - in paradisum ::: 03:25
Total ::: 72:59
░ ..;Release Notes;.. ░
░ This is the third in the Laudantes ░
░ ConsortÆs four disc survey of requiems, ░
░ one from each century. Previous discs in ░
░ the series have mixed the common and the ░
░ uncommon - Ockeghem and Lassus, Campra ░
░ and Michael Haydn - and shown the choir ░
░ to have chameleon-like abilities to get ░
░ under the skin of the different styles. ░
░ On this disc their nineteenth century ░
░ choice is BrucknerÆs early Requiem and ░
░ their twentieth century choice is the ░
░ Requiem by DuruflΘ. ░
░ ░
░ BrucknerÆs Requiem was written in 1848 ░
░ when he was 24, though he revised it in ░
░ 1854 and again in 1894. It is for choir, ░
░ soloists and orchestra (strings and ░
░ trombones). Stylistically it is ░
░ determinedly old-fashioned, and ░
░ unfortunately it rarely rises above its ░
░ models. Frankly, if it wasnÆt by Bruckner ░
░ no-one would be very interested in it. ░
░ Bruckner sets the Introit, Kyrie, Dies ░
░ Irae, Offertory, Sanctus, Benedictus and ░
░ Communion. It is the Benedictus which ░
░ seems to offer the most promising ░
░ material. There Bruckner seems to be able ░
░ to transcend his models. Though the ░
░ writing is competent and coherent, there ░
░ are few glimpses of the mature Bruckner ░
░ of the masses and symphonies. ░
░ ░
░ Guy Janssens and his forces give the work ░
░ a decent shot. This is, after all, a rare ░
░ outing in the catalogue although Matthew ░
░ Best and has Corydon Singers recorded it ░
░ in 1988. The choir are accompanied by an ░
░ orchestra playing on period instruments ░
░ and overall they make a good clean, ░
░ focused sound. I was less taken with the ░
░ soloists. Neither Elke Janssens nor ░
░ Penelope Turner is quite a match for ░
░ BestÆs casting of Joan Rodgers and ░
░ Catherine Denley. Plus Roel Williams ░
░ sounds frankly rather stressed by the ░
░ tessitura of the part. ░
░ ░
░ Janssens and his forces have paired ░
░ BrucknerÆs early work with DuruflΘÆs ░
░ mature Requiem, written in 1947 when the ░
░ composer was in his mid-forties. He was ░
░ inspired by some organ paraphrases of the ░
░ plainsong for the Mass of the Dead, and ░
░ the work is suffused with plainsong. ░
░ DuruflΘ created three versions of the ░
░ piece, the first for chorus, orchestra ░
░ and organ, the second for chorus and ░
░ organ and the third for chorus, small ░
░ orchestra and organ. ░
░ ░
░ Colour is an important factor in the ░
░ work. In the original version the organ ░
░ plays only an episodic part, adding to ░
░ the delicate and sophisticated ░
░ instrumental colourations. This ░
░ variegated feeling is, by and large, lost ░
░ in the organ-only version which must be ░
░ regarded as something of a second choice, ░
░ created primarily for liturgical ░
░ purposes. ░
░ ░
░ For some inexplicable reason, it is this ░
░ organ version which Janssens has chosen ░
░ to record, despite the presence of a ░
░ small orchestra for the Bruckner. It ░
░ would have been possible to record the ░
░ DuruflΘ in the composerÆs third version ░
░ with very similar forces to those used ░
░ for the Bruckner, except that Janssens ░
░ has opted for period instruments for the ░
░ Bruckner. ░
░ ░
░ If I was going to pick a recording of the ░
░ organ version of the DuruflΘ, then high ░
░ on my list would be that made in ░
░ DurufleÆs own church, St. Etienne du ░
░ Mont, by Ian de Massini and the Cambridge ░
░ Voices. ░
░ ░
░ Colour and mystery are an essential part ░
░ in a successful performance of the work. ░
░ It is necessary for the organist to find ░
░ a whole variety of colours in their ░
░ instrument and for both singers and ░
░ organist to generate a feeling of ░
░ mystery. Unfortunately, the most ░
░ prominent feature of this new recording ░
░ would seem to be clarity and directness. ░
░ Usually these would be virtues that I ░
░ would laud, but in the DuruflΘ they are ░
░ out of place. ░
░ ░
░ Quite simply, Janssens and his singers ░
░ just fail to generate the atmosphere of ░
░ plainchant sung in the gloom amidst a ░
░ swirl of incense. Theirs is a far ░
░ clearer-sighted, less romantic ░
░ performance and it may appeal to some ░
░ people. ░
░ ░
░ The disc was recorded in the church of ░
░ St. Etienne, Braine-lÆAlleud in Belgium. ░
░ The organ there is one dating from 1915 ░
░ by Van Bever. Though the Van Bever ░
░ brothers worked in the grand romantic ░
░ organ tradition, the organ part as played ░
░ on this disc simply fails to sound ░
░ adequately French to my ears. You cannot ░
░ beat hearing the music played on a ░
░ distinctively French instrument, ░
░ preferably a CavaillΘ-Coll. ░
░ ░
░ Though it is not an ideal recording by ░
░ any means, I have always had an ░
░ admiration for the Naxos recording by the ░
░ Ensemble Vocal Michel Piquemal and the ░
░ Orchestre de la CitΘ under Michel ░
░ Piquemal. This has the advantage that the ░
░ choir sound as if they have been singing ░
░ the work for ever; their feeling for the ░
░ workÆs atmosphere is very apposite. ░
░ ░
░ There are more recommendable versions of ░
░ both the works featured on this disc. If ░
░ this combination does appeal to you, then ░
░ the performances are creditable even if ░
░ not ideal, but you will want other ░
░ recordings of the works in your library ░
░ as well. ░
░ ░
░ Robert Hugill ░
░ ░
░ ░
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