Tonight’s concert includes Requiem settings by two French composers
who took a number of years to craft their creations. Maurice
Duruflé’s Requiem was commissioned in 1941 by the
collaborationist Vichy regime, but Duruflé - by choice - took as
many years to craft it as it took for the regime to fall, and he
completed it in 1947, dedicating it to the memory of his father.
However, it began as a set of organ pieces based on the Gregorian
chants used in the Mass for the Dead; indeed Duruflé had already
sketched out his organ suite when he received the commission. It is
influenced by his study of Ravel, Debussy, Dukas and especially the
Fauré Requiem, which it reflects in the choice of structure
and order (aside from the addition of Lux æterna between the
Agnus Dei and Libera me), and in its enphasis on
tranquillity, rest, and peace (unlike, say, the thunder and grief of
Berlioz and Verdi).
Fauré’s Requiem began with his Libera me composed for
baritone solo and organ (with no choir) in 1877. This was not
included in the Requiem’s first version in 1887, then in 1893 -
after continued work - it was included, alongside a new
Offertoire. A further version appeared in 1900, with a much
grander orchestral score (at the encouragement of his publisher,
eager to “cash in” on the work’s popularity), but it was intended as
an intimate work for choir and small instrumental forces. It is
almost certainly a musical tribute to his father, who died in 1885,
and it was altogether different from the now-traditional grand
Requiem because here was a composer who, unlike many of his
contemporaries, had no clear religious beliefs. In place of the
sombre nature of many Requiem settings that had gone before, Fauré’s
is noted for its calm, serene and peaceful outlook. In it we find
musical solace in a work that focuses not on the morbid, but on the
supposedly restful and fear-free nature of death.
During the interval of the concert, the choir launch their fourth
commercial CD release, also entitled Requiem Reflections,
which features all of tonight’s performers in a recording of Fauré’s
choral works, including the Requiem, as well as the Cantique de
Jean Racine, Messe Brève, Pavane, Tantum ergo,
and solo harp work Une châtelaine en sa tour. Please keep an
eye on our website for details of pre-release orders at a discounted
price.Programme:
Northampton Bach Choir
Harp - Rowena Bass
Violin - Stephen Hague
Cello - Corinne Malitskie
Organ - Stephen Moore
Soprano - Philippa Hyde
Baritone - Gwion Thomas,
Conductor - Lee Dunleavy
Duruflé - Requiem
Fauré - Requiem
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Philippa Hyde
Soprano |
| Philippa Hyde commenced her
singing studies with Ann Lampard and continued under the
tuition of David Johnston and Yvonne Minton CBE at the Royal
Academy of Music. She graduated with the coveted Dip RAM in
1993. In 2001 she was awarded the ARAM, an honour granted to
past students of the Academy who have achieved distinction
in their profession. Philippa is an experienced recording
artist, and has been a regular soloist for Hyperion Records.
In 2016 she recorded the solo parts of Fauré’s Requiem,
alongside the Messe brève, with the Northampton Bach
Choir. |
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Gwion Thomas
Baritone |
| Gwion Thomas was born in
South Wales and studied at the Royal Northern College of
Music, Manchester, graduating with Distinction. He has
regularly works with Welsh National Opera, Stowe Opera, and
Scottish Opera, as well as at the Aldeburgh Festival. Past
prestigious recitals include Schubert Institute, Kent Opera
Janus Series, Manchester Midday Concerts, and Machynlleth
Festival, where he has performed the Schubert Song-Cycles.
In 2016 he recorded the solo parts of Fauré’s Requiem,
alongside the Messe brève, with the Northampton Bach
Choir. |
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