That Jean Langlais is one of France’s finest composers of church
music few would deny but that a very great and significant composer
tries to emerge from the liturgical texts may be a more controversial
statement. I’m not saying that I can be certain yet, but the more
acquaintance I have with his music the more impressed I become.
This CD, so lovingly and passionately compiled is an excellent
place to start in understanding this remarkable, blind composer
and organist. A quick look at one of the Langlais websites seems
to confirm that he concentrated on vocal, piano and organ music.
Does this make him a second division rather un-versatile composer?
There is some fine writing for brass on these two CDs, not least
in the four brief movements of Ceremony as well as the
writing in other works like Psaume Solennel.
The
booklet notes by David Chalmers are rather evangelical but very
helpful taking us through the music in the order in which it
is presented. There are also attractive black and white photos
of the magnificent Gothic pile which is Saint Clotilde in Paris,
where Langlais was organist and of the organ itself. These notes
will be my own guide as I comment on several of the fourteen
pieces recorded.
The
Psaume Solennel is the opening work and is a setting
of that most joyous of psalms: Number 150. It makes an impressive
sound - voices, brass and timpani - the slow sections especially
so. Even so, the irregular rhythms which attempt to give the
piece an air of rejoicing, are somewhat awkward and the melodic
line is lacking in anything too memorable. However that one
of the characteristics of the Langlais style is the somewhat
angular melodic line. This comes to fruition brilliantly in
the musical struggles encapsulated in the settings of the Kyrie
Eleison, (Lord have mercy upon us). This is especially the
case in the famous wartime Messe Solennelle, where in
the final Kyrie the words are passionately and painfully
repeated over and over again. Similarly the Kyrie to
the Mass ‘Grant us thy peace’, written for the ‘Three
Choirs Festival’, turns out to be the longest movement of the
entire work, a very unusual occurrence. These Kyries
represent the cry of mankind (Lord have mercy) in trying to
understand the pain and suffering in the world. Langlais, as
I have already intimated, seems to me to be less good in the
Gloria movements, where he likes to get through the text quickly
and in which his melodies lack a memorable ‘hook’.
Angular
lines can be heard also in the organ parts as in the Agnus
Dei of the Messe Solennelle. Langlais insisted that
the organ should be considered an equal partner with the choir
and that it should make a strong impact and statement of its
own.
Another
characteristic of the Langlais language is the use of plainchant
which is part of his life-blood. It is there even in one of
his last works. Try the somewhat curious setting of Ubi Caritas
set so memorably by Duruflé several years before. The plainchant
appears and vanishes as if in a sad dream, sometimes in organum,
sometimes harmonised. Plainchant is a more subtle presence in
the beautifully poised Messe en style ancien. Curiously
this short mass does not sound especially ‘old’ despite the
fact that that there is much contrapuntal writing. That said,
plainchant, whilst not quoted directly, seems to be the stimulant
which lies behind the conjunct melodic lines which therefore
make a happy contrast with those in the Messe Solennelle.
Langlais
was a close friend and confederate of his exact contemporary
Olivier Messiaen. Although they are so different the latter’s
influence can occasionally be discerned - not surprisingly in
the organ works. Messiaen can be heard in the faster sections
of La Nativité, in the lively Fête with its irregular
rhythms and in the slower movements of the more meditative Venite
et audite.
We
also hear some short and charming introits in the shape of the
Tantum Ergo and the Three short anthems. Their
simple and elegant melodies will be pleasing to choirs of all
abilities.
The
organ used on this recording at the church is not particularly
French-sounding but it is a fine instrument. James Jordan is
acutely aware of its potential and uses the full instrument
gloriously. Its specification is not given but it is of hybrid
construction made especially for the church which was opened
as recently as 2000. I find the reed stops especially effective
in the delightful Pastoral and Rondo.
The
choir Gloriae dei Cantores is excellent with fine diction and
intonation and a clear and precise ensemble. They achieve an ideal
balance aided by the upfront but not overpowering recording. I
have reviewed this choir before - a disc of Rubbra (GDCD
024). They seem now to be an even finer instrument. Perhaps
this repertoire suits them a little better.
Gary Higginson
