BERLIOZ: Requiem, Op.5; Symphonie funebre et triomphale, Op. 15 – Ronald Dowd, tenor/Wandsworth School Boys’ Choir/ London Symphony Orchestra & Chorus/Sir Colin Davis; (also in Symphonie: Dennis Wicks, trombone/John Aldis Choir – Philips (2 CDs)

by | Apr 21, 2007 | Classical Reissue Reviews | 0 comments

BERLIOZ: Requiem, Op.5; Symphonie funebre et triomphale, Op. 15 – Ronald Dowd, tenor/Wandsworth School Boys’ Choir/ London Symphony Orchestra & Chorus/Sir Colin Davis; (also in Symphonie: Dennis Wicks, trombone/John Aldis Choir – Philips (2 CDs) 475 7765, 126:26 total *****:

Recorded originally in 1970, this version of the Requiem seems to be agreed upon by many critics as the definitive one. Now with enhancements in remastering at 96K it sounds better than ever. Comparison with the reissue of the also acclaimed Charles Munch/BSO recording on RCA showed the Philips to have the edge in both performance and cleaner sonics. It doesn’t benefit from surround sound, as with the thrilling SACD version on Vanguard from Abravanel and the Utah Symphony forces, and that does make a difference because this is the most famous use of spatial sound in music. However, Davis has a higher level of performers at his disposal. Interestingly, I found ProLogic II brought out some of the spatiality of the four brass choirs in the thrilling Last Judgment sections, and in the Sanctus placed the women’s choir behind with the tenor soloist up front.

The Funeral and Triumphant Symphony is a fascinating work, although nowhere near the high quality of the Requiem. It was written to celebrate the tenth anniversary of the 1839 July Revolution.  Berlioz wanted to write a “bleak but awe-inspiring march” for a procession bringing the ashes of the July dead thru the streets to a memorial column. And he did just that. The three-movement work pulls out all of Berlioz’ tricks: rapidly changing orchestration and moods, irregularities, austere coloration, simple rhythms and huge orchestral/choral forces. There is even an additional choir added to those used in the recording of the Requiem. The dark solemnity of the first movement’s march is overpowering. It sounds like a huge military band and even has in it a Turkish crescent percussion instrument. The huge chorus doesn’t come in until 60 bars from the end of the whole work, sounding at first like a distant roar over the orchestra.  The lyrics have to do with the quintessentially French concept of “La Gloire.”

 – John Sunier

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