This 2016 release followed on an immensely successful 2014 performance of the
Fauré Requiem, Op. 48, and in many ways it's a partner to the earlier recording. The
Fauré had a historical-performance aspect, re-creating the 1889 premiere even down to the specific organ stops used. In this case, historical performance is not involved: the version of the
Duruflé Requiem performed is not the original, but a 1961 revision for mezzo-soprano, chorus, organ, and chamber orchestra. But the forces bring the music close to the overall effect of the
Fauré, with boy sopranos of the
Choir of King's College connecting the two performances. In both recordings, the organ is brought to the foreground and issues almost electronic-like sounds that shoot beams of mystic light through the small
Orchestra of the Age of Enlightenment. It's gorgeous, and it might easily result in a revival for this version of the work. Conductor
Stephen Cleobury does wonderfully with his mezzo-soprano soloist: for sampling, you could luxuriate in the "Pie Jesu," with its restrained instrumental backing making the music less operatic and more cantata-like. You also get a pair of little-known
Duruflé works, the Quatre Motets sur des thèmes Grégoriens, Op. 10, and the Messe "Cum jubilo," Op. 11, with chorus, organ, and one soloist; each of these could challenge the conception of
Duruflé as a one-hit wonder. Yet the biggest news here is the
Duruflé Requiem itself, and the way the work retains its slightly otherworldly quality in this intimate version. Highly recommended.