The fact that Poulenc’s choral music contains some
of his most inspired and genuinely moving writing has not been lost
on the record companies. There are a number of excellent discs in the
catalogue from, among others, The Sixteen (Virgin), Christ Church Cathedral
Choir, Oxford (Nimbus), St. John’s College, Cambridge (Decca Double)
and Groupe Vocale de France (EMI). That said, the re-issue at mid-price
of this superb collection from John Rutter’s Cambridge Singers is something
to be genuinely welcomed. Rutter really excels in this sort of repertory,
and the tonal beauty of his crack choir makes for very satisfying listening.
As Rutter’s own scholarly liner note points out, Poulenc
himself considered this body of work to be as important as any in his
entire output. In a famous letter he stated "I think I put the
best and most authentic side of myself into my choral music". Of
the works featured here, there is little doubt that the most enduringly
popular will be the Gloria, which has by far the largest number
of rivals in the catalogue. I must say I feel Rutter’s account could
live with the best of them. He makes the most of the grandly ceremonial
opening, though some of the sheer swagger that Bernstein manages to
convey (mid-price Sony) is missing. Nevertheless, this account has many
strengths, and Rutter refuses to play to the gallery. Some of the spiky
Stravinsky-style syncopations are slightly smoothed out, but that only
helps to highlight the tender moments, of which there are many. The
Domine Deus finds the soloist, Donna Deam, a shade warbly in the upper
register (nerves perhaps?), but she shapes the words beautifully. The
choir is on superb form; the sheer unanimity of tone in Laudamus te
is exhilarating, and the orchestral support throughout is excellent.
Of the remaining items, I particularly enjoyed the
Litanies à Vièrge Noire (Litanies of the Black
Madonna), which contains some of Poulenc’s most intense writing. Again
Stravinsky looms large, with startling dissonances allied to fairly
plain, diatonic harmony. The result has a starkness that is both bleak
and moving, and strikes me as more heartfelt than so much of his other,
more flippant work.
The two sets of motets are included in the rival recordings,
and are also top-drawer Poulenc. The Quatre motets pour un temps
de pénitence have a dark, dramatic intensity that can be
likened to the Spanish master Victoria who, Rutter tells us, was constantly
in the composer’s thoughts as he worked on the motets. The part writing
is simple and elegant, with superbly controlled counterpoint and inspired
climaxes, all well realised by Rutter and his choir. The Noël
motets are equally inspired, if slightly lighter in vein. Poulenc’s
great gift for melody comes really to the fore in these superbly crafted
pieces; sample the Hodie Christus natus est, as good a setting
of this famous text as you will hear.
All in all, an excellent achievement. The Gloria
is well served on disc, but this version has merits that grow on one
subtly with each hearing. In any case, the other items easily make the
disc worth investigating. Choral fans will already know of Rutter’s
high standards, and this disc will not disappoint on any technical grounds.
Recording is full and clear, with the suitably resonant acoustic well
tamed by the engineers. Recommended.
Tony Haywood
City of London Sinfonia/John
Rutter