Faure Requiem, Op. 48 ^a. Messe basse ^b. Cantique de Jean Racine, Op. 11 ^b.

Vierne Pieces de fantaisie. Suite No. 1, Op. 51—Andantino ^c.

Severac Tantum ergo ^d. ^a Lisa Beckley (sop); ^a Nicholas Gedge (bass-bar); ^abd Oxford Schola Cantorum; ^a Oxford Camerata / Jeremy Summerly with ^abc Colm Carey (org).

Naxos (Super budget price) (CD) 8 550765 (60 minutes: DDD). Texts and translations included.

One would say at once that this is a highly competitive recording of the Faure Requiem (it will be the thirtieth in the next Classical Catalogue if nothing is deleted in the meantime); but in fact it stands on its own because of the version it presents and the edition it uses. These seem to have been rather lost to view in the general enlightenment following the revelation of the score as revised for performance in 1894. The history is well known by now but, briefly, it goes: written 1887, first performed 1888 (five movements only; small orchestra of violas and cellos with organ); Libera me and Offertoire added, with brass, harp and timpani added to instrumentation, all in stages but complete by 1894; full orchestral version, perhaps at the insistence of the publisher and possibly farmed out to pupil, published 1901. Most of the 30 available recordings are still of this last and now somewhat discredited version; several more recent ones are of the 1894 score edited either by Nectoux and Delage or by John Rutter. This present recording is of an edition by Denis Arnold (1983) based on the original version (1887) but incorporating the two additional movements.

On first impulse, the word arising is 'austere'. Certainly the flashes of gold and scarlet made by the few but highly effective brass entries in the familiar versions are missed; the harp is notably absent from the Sanctus, and that wispy, high solo violin (1894) is now a less other-worldly presence at normal on-the-stave pitch. The instrumental colours are darkish, yet not sombre, and are lightened by the sunlight stippling of the organ in the In Paradisum. With the voices added, the effect is of a subtler beauty, still more distinctively itself than even the 1894 score.

The performance of this and the Messe basse is admirable: excellent playing by Jeremy Summerly's Oxford Camerata, and fresh-voiced, sensitively attuned choral singing. Authenticity extends now to French pronunciation of the Latin ("luceat eis" very French indeed). The rather flaccid organ solo by Vierne, written (the notes tell us) as a sight-reading exercise for his pupils, is finely played by Colm Carey. The Tantum ergo by Severac is a haunting, carol-like little piece, beautifully sung, and Faure's Cantique de Jean Racine makes a perfect conclusion to this lovely programme.

JBS