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FAURE: Requiem / Messe Basse
£6.99
£4.99
(CD)
In Stock - Usually ships within 48 hours.
Gabriel Faure (1845 - 1924)
Requiem, Op. 48
Requiem, Op. 48
Louis Vierne (1870 - 1937)
Andantino
Deodat de Severac (1872 - 1921)
Tantum ergo
Tantum ergo
Gabriel Faure (1845 - 1924)
Messe basse
Cantique de Jean Racine, Op. 11
During the last thirty years many of our most treasured choral works have
been deliberately defamiliarized. Bach's St Matthew Passion, Handel's Messiah,
and Mozart's Requiem are celebrated examples of works whose present form
and performance standard would have been unrecognizable to audiences three
decades ago. As the historical performance movement has crept inevitably towards
the music of our own century, performers have begun to reinterpret the music of
the nineteenth century in the light of current musicological thinking.
Before John Rutter's edition of the early 19805 Faure's Requiem was
generally known as a concert piece for large choir and full orchestra. The
original instrumentation was, however, quite different, in some performances
using a choir of around thirty singers accompanied by four violas, four cellos,
solo violin, and organ. The intimacy of the scoring was a deliberate reaction
against Berlioz's Requiem which Faure detested because of its use of
massed forces to emphasize the horror of purgatorial suffering. The first
performance of the Requiem took place liturgically at the Madeleine in Paris in
1888. There were at that stage only five movements; the Offertoire and Libera me
(the two movements involving the Baritone soloist) were added later. In fact the
Libera me had been completed as an independent work for voice and organ ten
years before; the Offertoire was the only movement to postdate the first
performance of the Requiem. The performance presented here uses the
work's original instrumentation whilst including all seven movements of the
finished Requiem. It is based upon the edition prepared by Denis Arnold in 1983
for Schola Cantorum of Oxford which was subsequently performed at St Louis-des-
Invalides in Paris in July 1984.
Vierne was a generation younger than Faure, but like Faure had been
assistant to the charismatic organist Charles-Marie Widor at the church of St
Sulpice in Paris. Vierne was soon appointed organist of the great cathedral of
Notre Dame where he died at the organ console, as had been his wish, in 1937.
The Andantino was purportedly written in a single evening as a sight-reading test for students. Although the piece appears technically straightforward, the subtlety and precision required of a good performance make it easy to judge an unintelligent rendition harshly. Such academicism was despised by de Severac who forsook the traditionalism of the Paris Conservatoire within months of his arrival there and transferred to the newly-formed Schola Cantorum. De Severac was not attracted to musical life in Paris: he preferred the provincial life of southern France. For this reason de Severac's music frequently possesses a pastoral charm and Tantum ergo shows the composer at his most simple and traditional. Like Faure and Vierne, de Severac's formidable ability as an improviser meant that much of his most inspirational music was never written down. While it is precisely this improvisational facility that makes the music of Faure, Vierne, and de Severac so immediately appealing, it is easy unjustly to resent the French tradition of organ improvisation for the loss of those musical gems that might otherwise have survived for posterity .
The Andantino was purportedly written in a single evening as a sight-reading test for students. Although the piece appears technically straightforward, the subtlety and precision required of a good performance make it easy to judge an unintelligent rendition harshly. Such academicism was despised by de Severac who forsook the traditionalism of the Paris Conservatoire within months of his arrival there and transferred to the newly-formed Schola Cantorum. De Severac was not attracted to musical life in Paris: he preferred the provincial life of southern France. For this reason de Severac's music frequently possesses a pastoral charm and Tantum ergo shows the composer at his most simple and traditional. Like Faure and Vierne, de Severac's formidable ability as an improviser meant that much of his most inspirational music was never written down. While it is precisely this improvisational facility that makes the music of Faure, Vierne, and de Severac so immediately appealing, it is easy unjustly to resent the French tradition of organ improvisation for the loss of those musical gems that might otherwise have survived for posterity .
The appearance of Faure's Requiem in the 1880s, a decade during which
the composer's most successful compositions were songs and piano pieces, can on
I y be explained by the fine choral music which preceded it. The Messe basse
represents Faure at his most practical. Written in conjunction with the French composer and organist Andre Messager (also at one time assistant to Widor at St Sulpice) during a holiday in Normandy in 1881, the Messe basse was composed for the modest forces of a local church. A setting of the motet O salutaris hostia and the Kyrie were Messager's contribution; the remaining movements of the Ordinary, without the Credo, were set by Faure. When revising the score in 1906 Faure adapted the violin and harmonium accompaniment for organ, at the same time excising the Gloria and replacing Messager's Kyrie
with one of his own. The final version of the Messe basse is one of the few existing settings of the mass for female voices and organ. The youthful Cantique de Jean Racine dates from 1865 when Faure was studying with Saint-Saëns at the Ecole Niedermeyer in Paris. The Cantique earned Faure a premier prix in composition and is a testament to the young composer's melodic genius and to his penchant for rich textures.
represents Faure at his most practical. Written in conjunction with the French composer and organist Andre Messager (also at one time assistant to Widor at St Sulpice) during a holiday in Normandy in 1881, the Messe basse was composed for the modest forces of a local church. A setting of the motet O salutaris hostia and the Kyrie were Messager's contribution; the remaining movements of the Ordinary, without the Credo, were set by Faure. When revising the score in 1906 Faure adapted the violin and harmonium accompaniment for organ, at the same time excising the Gloria and replacing Messager's Kyrie
with one of his own. The final version of the Messe basse is one of the few existing settings of the mass for female voices and organ. The youthful Cantique de Jean Racine dates from 1865 when Faure was studying with Saint-Saëns at the Ecole Niedermeyer in Paris. The Cantique earned Faure a premier prix in composition and is a testament to the young composer's melodic genius and to his penchant for rich textures.
This recording is an attempt to move Faure's liturgical music from the
concert hall to the church. In particular, the reconstruction of
nineteenth-century French ecclesiastical pronunciation and the restoration of
Faure's preferred phrasing are just two of the most useful elements in the
search for the composer's intentions. To those familiar with the more expansive
versions of Faure's Requiem there will inevitably be unfamiliar textures
in this performance. However, few of Faure's romantic gestures are lost in the
chamber version, and moreover, the reserved translucence of the instrumentation
emphasizes the fact that the Requiem -and indeed all the choral music recorded
here - was originally designed for liturgical performance.
Schola Cantorum
Schola Cantorum is Oxford University's longest-running chamber choir. It was founded in 1960 by the Hungarian dissident Laszlo Heltay, and over the last three decades many of the choir' s former members have become involved in professional music at the highest levels. Former singers include Emma Kirkby and Jane Glover, while Andrew Parrott, Nicholas Cleobury, and Ivor Bolton are among the choir's former conductors. Schola Cantorum's patrons are Sir Michael Tippett and Lord Menuhin, and for specific projects the choir has worked under Leonard Bernstein, Gunstav Leonhardt, Sir Colin Davis, and Sir Neville Marriner as well as Britten, Tippett, and Stravinsky in performances of their own music, since 1990 Schola Cantorum has been conducted by Jeremy Summerly under whom the choir has released many recordings and has toured extensively, both in Britain and abroad.
Schola Cantorum is Oxford University's longest-running chamber choir. It was founded in 1960 by the Hungarian dissident Laszlo Heltay, and over the last three decades many of the choir' s former members have become involved in professional music at the highest levels. Former singers include Emma Kirkby and Jane Glover, while Andrew Parrott, Nicholas Cleobury, and Ivor Bolton are among the choir's former conductors. Schola Cantorum's patrons are Sir Michael Tippett and Lord Menuhin, and for specific projects the choir has worked under Leonard Bernstein, Gunstav Leonhardt, Sir Colin Davis, and Sir Neville Marriner as well as Britten, Tippett, and Stravinsky in performances of their own music, since 1990 Schola Cantorum has been conducted by Jeremy Summerly under whom the choir has released many recordings and has toured extensively, both in Britain and abroad.
Oxford Camerata
The Oxford Camerata was formed by Jeremy Summerly in order to meet the growing demand for choral groups specializing in music from the Renaissance era.
It has since expanded its repertoire to include music from the medieval period to the present day, using instrumentalists where necessary. The Camerata has made several recordings for Naxos, and future plans include discs of music by Hildegard of Bingen, Dufay and Tye.
The Oxford Camerata was formed by Jeremy Summerly in order to meet the growing demand for choral groups specializing in music from the Renaissance era.
It has since expanded its repertoire to include music from the medieval period to the present day, using instrumentalists where necessary. The Camerata has made several recordings for Naxos, and future plans include discs of music by Hildegard of Bingen, Dufay and Tye.
Jeremy Summerly
Jeremy Summerly studied Music at New College, Oxford from where he graduated with First Class Honours in 1982. For the next seven years he worked for BBC Radio and it was during this time that he founded the Oxford Camerata and undertook postgraduate research at King's College, London. In 1989 he became a lecturer at the Royal Academy of Music and in the following year he was appointed conductor of Schola Cantorum of Oxford. In 1991 he signed a long-term contract with Naxos to record a variety of music with Schola Cantorum of Oxford and the Oxford Camerata.
Jeremy Summerly studied Music at New College, Oxford from where he graduated with First Class Honours in 1982. For the next seven years he worked for BBC Radio and it was during this time that he founded the Oxford Camerata and undertook postgraduate research at King's College, London. In 1989 he became a lecturer at the Royal Academy of Music and in the following year he was appointed conductor of Schola Cantorum of Oxford. In 1991 he signed a long-term contract with Naxos to record a variety of music with Schola Cantorum of Oxford and the Oxford Camerata.
Disc 1
- Introit et Kyrie - 06:36
- Offertoire - 08:55
- Sanctus - 03:29
- Pie Jesu - 03:31
- Agnus Dei - 05:59
- Libera me - 04:38
- In paradisum (Copycat) - 03:27
- Andantino - 03:36
- Tantum ergo - 03:15
- Kyrie - 02:21
- Sanctus - 02:28
- Benedictus - 02:23
- Agnus Dei - 03:11
- Cantique de Jean Racine, Op. 11 - 06:29
Requiem, Op. 48 (more info)
Performed by:
Oxford Camerata
Composed by: Gabriel Faure
Conducted by: Jeremy Summerly
Nicholas Gedge, bass-baritone
Colm Carey, organ
Lisa Beckley, soprano
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Composed by: Gabriel Faure
Conducted by: Jeremy Summerly
Nicholas Gedge, bass-baritone
Colm Carey, organ
Lisa Beckley, soprano
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Andantino (more info)
Composed by:
Louis Vierne
Colm Carey, organ
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Colm Carey, organ
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Tantum ergo (more info)
Composed by:
Deodat de Severac
Conducted by: Jeremy Summerly
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Conducted by: Jeremy Summerly
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Messe basse (more info)
Composed by:
Gabriel Faure
Conducted by: Jeremy Summerly
Colm Carey, organ
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Conducted by: Jeremy Summerly
Colm Carey, organ
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Cantique de Jean Racine, Op. 11 (more info)
Composed by:
Gabriel Faure
Conducted by: Jeremy Summerly
Colm Carey, organ
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
Conducted by: Jeremy Summerly
Colm Carey, organ
Recording date: 17-18 May 1993
Produced by: Lieber, Judy
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Composer(s)/ Author(s):
Faure, Gabriel; Severac, Deodat de; Vierne, Louis
Conductor(s):
Summerly, Jeremy
Orchestra(s):
Oxford Camerata
Artist(s):
Beckley, Lisa; Carey, Colm; Gedge, Nicholas
Label: Naxos Classics
UPC: 730099576529
Item Number: 8550765
Release Date: Jan 1, 2000
Faure, Gabriel; Severac, Deodat de; Vierne, Louis
Conductor(s):
Summerly, Jeremy
Orchestra(s):
Oxford Camerata
Artist(s):
Beckley, Lisa; Carey, Colm; Gedge, Nicholas
Label: Naxos Classics
UPC: 730099576529
Item Number: 8550765
Release Date: Jan 1, 2000
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