It's not British, but...Durufle and Poulenc

Listeners will recall that there are three versions of Maurice Duruflé’s Requiem, op.9. The first was completed in 1947 and was scored for choir and full orchestra. The following year, the composer arranged it for choir and organ. In 1961, he reworked it for choir, chamber orchestra and organ. The present recording is of the 1948 edition.

The genesis of the work was a 1941 commission from the French Vichy government for a symphonic poem. Somehow, Duruflé changed his remit to a Requiem. Unbelievably, despite failing to fulfil his contract, the succeeding government paid him an enhanced fee.

The model for this Requiem is Fauré’s earlier example. Yet, this is not just an imitation of the elder composer’s magnum opus but is a respectful tribute. Duruflé explained: “I do not think I was influenced by Fauré, contrary to the opinion of certain music critics who, anyway, have never given any explanation for their point of view. I have simply tried to surround myself with the style suitable to Gregorian chants as well as the rhythmic interpretation of the Benedictines of Solesmes.” Each movement was based on Gregorian chant from the Mass for the Dead.

A major difference between the Requiems of Fauré and Duruflé from those of Berlioz and Verdi is their concentration on rest and peace, rather than “tragic images of hellfire and heaven storming grief.” Gone were the Day of Judgement texts (Dies Irae) and in came the optimistic In Paradisum.

Any recording of Duruflé’s Requiem must balance its eclectic stylistic characteristics. I have already mentioned the Gregorian rhythms. There are passages that nod to the polyphony of the baroque era. Sheer romanticism is apparent in many passages. And finally, there are parts of this work that reinforce the title of Ronald Ebrecht’s collection of essays: Maurice Duruflé – The Last Impressionist. This latter characteristic is obvious in the Introit and parts of the Sanctus. Texture varies considerably. From a cappella to fully accompanied singing, unison passages, counterpoint, and harmony, as well as soloists, all lend a tremendous sense of variety.

I have heard several performances of Duruflé’s Requiem over the years, both on disc and in the concert hall/church. I was impressed by The Choir of Trinity College Cambridge and Stephen Layton on this disc. I guess that any performance must be able to cast its spell on each new generation of listeners and performers.

The conductor Robin Ticciati has described the work as “a balm for the soul, a score filled with tremendous hope and peaceful searching.”  The present recording provides the listener with this consolation. I can ask no more.

A decided bonus on this disc is the remarkable performance of Francis Poulenc’s a capella Quatre motets pour un temps de pénitence. They were all finished just before the outbreak of the Second World War. Timor et tremor dates from January 1939, Vinea mea electa during December 1938, the third, Tenebrae factae sunt from July 1938, and the final number, Tristis est anima mea was written in Paris during November 1938.

Like in Duruflé’s Requiem, Poulenc used “found” material in Gregorian plainchant, once again from the Mass for the Dead. These four motets manage to create a sense of timelessness. They combine plainchant, sensuous harmonies, wide mood swings and stylistic challenges. The present recording emphasises the profundity of Poulenc’s feelings in these four motets and captures the anxiety in the air when they were composed. They are far removed from the “Harlequin Years” of his early piano music.

The liner notes by Roger Nichols give a detailed and helpful introduction to both works. They are also printed in French and German. The texts are given in Latin and English. There are useful resumes of the Choir of Trinity College and their director, Stephen Layton.

This is an ideal recording of Duruflé’s Requiem. The advertising script for this CD hits the nail on the head: this work “continues to cast its potent spell over performers and listeners alike. This new recording from Stephen Layton and his Trinity forces fully deserves to be regarded as ‘definitive.’”

Track Listing:
Maurice Duruflé (1902-86)
Requiem, op.9 (1947/1948)
Francis Poulenc (1899-1963)
Quatre motets pour un temps de pénitence FP97 (1938-39)
Harrison Cole (organ), The Choir of Trinity College Cambridge/Stephen Layton
rec. 31 July 2021 Trinty College Chapel, Cambridge (Poulenc); 15-20 July 2022, Church of Saint-Eustache, Paris (Duruflé)
Hyperion CDA68436
With thanks to MusicWeb International where this review was first published.