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Track(s) taken from CDA66757

Messe Cum jubilo, Op 11

composer
author of text
Ordinary of the Mass

Westminster Cathedral Choir, James O'Donnell (conductor)
Recording details: July 1994
Westminster Cathedral, London, United Kingdom
Release date: March 1995
Total duration: 19 minutes 59 seconds
 

Other recordings available for download

Houston Chamber Choir, Robert Simpson (conductor)
Ashley Riches (bass), King's College Choir Cambridge, Sir Stephen Cleobury (conductor)

Reviews

‘O'Donnell's achievement becomes the reference point against which future recordings of this repertoire are measured’ (Choir & Organ)

‘The Westminster Cathedral boys and men carry the lyricism and harmonic luxuriance to an ethereal plane. The choral singing is superb … helping one to bathe in Duruflé's sumptuous ideas’ (The Daily Telegraph)
Duruflé’s Mass 'with rejoicing', as it is subtitled in Gregorian chant anthologies, is based upon the first of several plainchant settings used in masses for feast days celebrating aspects in the life of the Blessed Virgin Mary. While the vocal line takes its cue from the actual plainchant melody and its constantly shifting metre, Duruflé’s modern setting embraces a much broader tonal spectrum than the original medieval modal scales.

The choral ensemble is streamlined to very simple dimensions: a unison ensemble of baritone voices, with a baritone soloist featured in various sections of the work. In that solo/choral arrangement, it simulates the monastic practice of alternately singing phrases or verses of Gregorian chant antiphonally in two groups, or responsorially by a cantor alternating with a larger chorus.

Like Duruflé’s better-known Requiem, the instrumental accompaniment was originally composed for orchestra and organ, with subsequent arrangements calling for a smaller instrumental ensemble and organ, or organ alone as it is heard in this performance. The general simplicity of the musical texture and the economy of forces make the Mass 'Cum Jubilo' an ideal piece of liturgical service music, available for wide use by choirs of varying sizes and abilities.

The three-part 'Kyrie eleison' is sung quietly by the full chorus, with a running figure in the organ part that periodically imitates the beginnings or endings of vocal phrases during interludes between them. The 'Gloria' is a much bolder piece, beginning with a forceful introduction by the organ and full-throated singing by the male chorus throughout the divine praises. After a quiet moment during the 'Gratias agimus tibi', the first section rises to a climactic ending, then quickly gives way to a quiet set of running notes that introduce the central petitions sung by the soloist. These pleas for mercy are underscored by subtle melodic imitations between the vocal line and the organ. An animated tempo accompanies the closing section, climaxed by a much-repeated choral 'Amen'.

The final three movements gently lead the listener deeper and deeper into complex tonal implications. Given the bright Lydian-mode scale patterns of the 'Sanctus' and 'Agnus Dei' plainchants, it is surprising to find Duruflé moving its melodic phrases to higher or lower tonal areas, while harmonizing them with unrelated chordal sequences in the organ part. The jubilant text of the 'Sanctus' movement is also delivered at a subdued volume level, rising to its loudest choral singing only in the climactic 'Hosanna's toward the end.

The 'Benedictus' is sung by the soloist, and the complex harmonies of the thrice-repeated 'Agnus Dei' are gently intoned by the chorus in the midst of ever-softer, ever-more-relaxed organ interludes, ultimately resolving themselves in the final chord.

from notes by Carl R Cunningham © 2016

Le Messe «Cum jubilo» suggère, plus que le Requiem, le dégoût que Duruflé ressentait pour les mises en musique «excessives» du texte, pratique courante pendant les décennies précédentes. Dans cette œuvre, seules les voix inférieures du chœur sont utilisées et présentent le texte à l'unisson. L’œuvre ne contient que deux sections courtes pour voix seule: dans le Gloria, aux paroles: «Domine fili …», ainsi que dans le Benedictus. Même l’œuvre similaire de Fauré, la Messe Basse, permet au chœur (deux sections de même hauteur de note pour voix aiguës) de chanter en harmonie. L’utilisation par Duruflé des thèmes de plain chant est apparent, mais encore une fois ceux-ci sont utilisés avec une subtilité qui dément leur simplicité sous-jacente. La partition pour orgue contribue à cet effet. La proclamation à son de trompe annonçant la Gloria marque le moment suprême de la célébration de la gloire de Dieu lors de la messe, alors que, par contraste, l’accompagnement des derniers mouvements—le Sanctus, le Benedictus et l’Agnus Dei qui complètent l’acte de communion même—suggère une atmosphère de voyage éthéré et un émerveillement de la présence divine plus détaché. Cette musique est destinée à la messe catholique à son niveau le plus pratique, mais aussi le plus admirable.

extrait des notes rédigées par Wadham Sutton © 1989
Français: Hypérion

Die Messe „Cum jubilo“ deutet sogar in noch stärkerem Maße als das Requiem an, daß Duruflé die „übertriebenen“ Vertonungen von Texten, die in den vorangegangenen Jahrzehnten beliebt waren, als geschmacklos betrachtete. Hier werden nur die tieferen Stimmen aus dem Chor benutzt, und diese Stimmen tragen den Text im Einklang vor. Es sind lediglich zwei kurze Soloabschnitte vorhanden: im Gloria bei den Worten „Domine fili …“ und im Benedictus. Das hiermit vergleichbare Werk von Fauré ist die Messe Basse, aber sogar sie gestattet dem Chor (der aus zwei hohen Gesangsstimmen, die in der gleichen Tonhöhe singen, besteht) Harmonien zu intonieren. Es ist sofort zu hören, daß Duruflé Motive des gregorianischen Gesangs benutzt, doch werden diese mit einer Raffiniertheit gebraucht, die ihre grundlegende Schlichtheit Lügen straft. Die Orgelstimme trägt zu dieser Wirkung bei. Der das Gloria einleitende Fanfarenstoß bezeichnet den wichtigen Moment, in dem die Herrlichkeit Gottes innerhalb der Messe gefeiert wird. Im Gegensatz dazu evoziert die Begleitung der Schlußsätze—des Sanktus, Benedictus und Agnus Dei, welche die Abendmahlsfeier selbst vervollkommnen—eine Atmosphäre spirituellen Emporsteigens und ein distanzierteres Entzücken angesichts der göttlichen Gegenwart. Dies ist für die katholische Messe komponierte Musik auf ihrer praktischsten, aber gleichzeitig schönsten Ebene.

aus dem Begleittext von Wadham Sutton © 1989
Deutsch: Anke Vogelhuber

Other albums featuring this work

Duruflé: Complete Choral Works
Studio Master: SIGCD571Download onlyStudio Master FLAC & ALAC downloads available
Duruflé: Requiem & other choral works
Studio Master: KGS0016Download onlyStudio Master FLAC & ALAC downloads available
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