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Track(s) taken from SIGCD163

Psaume CXXIX 'De profundis version'

composer
1961
author of text

Vasari Singers, Jeremy Backhouse (conductor), Jeremy Filsell (organ)
Recording details: February 2008
Tonbridge School Chapel, Kent, United Kingdom
Produced by Adrian Peacock
Engineered by David Hinitt
Release date: April 2009
Total duration: 22 minutes 24 seconds
 

Reviews

'Jeremy Filsell has clearly studied Duruflé’s orchestral versions and pulls out whatever stops necessary on the Tonbridge School organ to recreate the effect the composer was seeking. On the strength of such inspired organ accompaniment, this album immediately places itself head and shoulders above any other recording of this version and makes a compelling case for the validity of it as a concert rather that purely liturgical performing version' (Gramophone)

'This is a very distinguished record. The main work is Durufle's Requiem, in the version with organ accompaniment, which is extremely well played by Jeremy Filsell with Robert Cohen participating in the Pie jesu movement to moving effect. The singing, from this distinguished choir, is really fine, and the vocal soloists add their individual refinement most admirably. The main work is partnered with Durufle's Four Motets, music of equal quality and sung with admirable purity of style throughout. Jean-Jacques Grunenwald's far less well-known choral music clearly on this showing, demands a wider audience than it has received hitherto and the nature of these performances by the Vasari Singers, under the gifted Jeremy Backhouse, will surely go a long way to achieve that aim. The sound quality is first rate throughout and all-in-all this superb album is strongly recommended' (Musical Opinion)

Separated into three movements, Psaume CXXIX was written in 1961 for choir and orchestra, including organ, and presents the complete Latin text of the psalm. The instrumental sections of this work are extensive and are vital in creating a dark atmosphere at the opening of the first movement (‘De Profundis’). The opening words of the text ‘Out of the deep have I called unto you O Lord’ are appropriately introduced by the basses, before a wordless section for full choir brings a quiet cry of despair vividly to life in a considerable and early climax. A softer section follows, in which the mood slowly begins to change as the psalmist states his plea further.

A sense of relief is felt as the second movement begins (‘Quia apud’) with a calm statement ‘For with thee there is merciful forgiveness’ in the upper voices. The tone becomes more confident as the resultant affirmation of ‘Let Israel hope in the Lord’ approaches, before the return of material from the opening movement lends an air of uncertainty once more. The text of this psalm is traditionally found in the Mass for the Dead, and Grunenwald appends the opening incantation of the Mass as the final movement (‘Requiem aeternam’). The sentiment is one of optimism once more, however, as gentle counterpoint works its way through the choir, before the sopranos are left alone to bring the work to a close with a clear vision of ecstasy.

from notes by Adam Binks © 2009

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