Saint-Saëns: Requiem & Psalm XVIII

 

The Requiem setting by French composer Camille Saint-Saëns is very much a bridge between the earlier excesses of Hector Berlioz's grand setting and Gabriel Fauré's prayerful benediction in a later setting. Why of the three Saint-Saëns' is ignored in the concert hall is beyond me, for this is a beautiful work.

Perhaps it is due to the rather large roles for four soloists, who take up much of the runtime, with the choir piping in every once in a while. Luckily in this recording, we have the confident singing of four home-grown French soloists, led by the great French soprano Françoise Pollet. While we don't get much of the latter singer on her own in the Requiem, the rest are laudably confident throughout.

While I am not terribly familiar with French orchestras and conductors in general, I was impressed by the playing of the Orchestre National d'Île-de-France led by Jacques Mercier. So too, the Choeur Régional Vittoria d'Île-de-France is a lovely symphonic choir in this work, who receive a meatier portion in the last four portions of this Requiem. I could imagine a more voluptuous soprano-section sound from the chorus, but as mentioned earlier, I am not terribly familiar with French choral performing styles.

This 1997 RCA release is actually a reissue of a 1989 performance sourced from the French ADDA label (pictured at the very bottom of this blog post). The soloists are perhaps a little unnaturally upfront, the pipe organ outburst in the Dies Irae movement seems artificially goosed, and the balances from track to track can be inconsistent. Yet, this is a generally satisfying performance captured in a Parisian cathedral, coming with all of the grandeur and devotion afforded such a work.

Yet, it doesn't end with the Requiem. If that work is neglected in the concert hall, Saint-Saëns' Psalm XVIII is heretofore unknown. If there were a reason to choose this RCA recording over that of Pierre Calmelet, another fine French recording of the Saint-Saëns Requiem I need to revisit again, the rare Psalm composition would be it.

Strangely, this cantata is based on Psalm 19, despite the Roman numerals in the title. I say cantata, for it is really a series of solos and vocal ensembles mixed with occasional choral contributions. As a matter of fact, Saint-Saëns adds soloists as the work continues, opening with chorus, then a solo, followed by a duet, a quartet, a quintet, and a sextet, with the latter landing as the crown jewel of the set. The quartet is particular, showcases four solo baritones, an unusual French tradition, although here, each are in fine fettle vocally.

In Psalm XVIII, I sense more of an upbeat Baroque quality compared to the Requiem, especially in the opening and closing numbers, where the music chugs along merrily, although set firmly in the composer's own brand of Romanticism. Of course, it wouldn't be Saint-Saëns if we weren't given a triumphant fugal setting to reach into traditional choral forms of the past, done so gloriously here in a few places.

The duet movement, in particular, is remarkably beautiful. Scored for harp, solo violin, solo viola, all alongside the two female soloists, there is an ancient quality married to an operatic singing style which is rather fetching. In general, Saint-Saëns' Psalm setting is a winsome balm on the whole over the more soulful Requiem, a fine recording pairing, if there ever was one.

I would say, if you enjoy the choral/orchestral stylings of Felix Mendelssohn, you would be at home in Saint-Saëns' Psalm XVIII, a choral nod to the past while landing firmly in Romanticism. Maybe not a new masterpiece, but a fine work nonetheless. The contributions of the French vocal soloists make both of these performances rise to the top, despite any quibbles regarding the recording quality or balances mentioned earlier.

 

 

Works
Requiem, op. 54 (34.44)
Psalm XVIII, op. 42 (35.53)

Soloists
Françoise Pollet, soprano
Magali Chalmeau-DaMonte, mezzo-soprano
Jean-Luc Viala, tenor
Nicolas Rivenq, baritone

Ensembles
Choeur Régional Vittoria d'Île-de-France
Orchestre National d'Île-de-France
Jacques Mercier, conductor

Label: RCA
Year: 1989; 1997
Total Timing: 71.18

 

 

 

I think I am more enthusiastic over the pairing of Saint-Saëns' beautiful Requiem with the rare Psalm XVIII. The two make a fine combination as a program.

This recording has its quirks, though, I assume due to its cathedral locale. However, its French soloists make it highly recommendable alongside Calmelet and Fasolis, although I need to revisit both of those recordings.

Find more Saint-Saëns recordings HERE!