Search - Berlioz, George Jouatte, Chorale Emile Passani :: Requiem Op 5

The first recording of this huge composition!

12/05/2000

(5 out of 5 stars)

"This recording was the first one made of this large-scale composition by Berlioz, but then again, what was there by Berlioz that was not small-scale? Gigantism aside, it was a miracle that this recording was made in the first place. It is generally under adversity that the human species arises to the occasion to produce its best possible efforts, and this recording can in many ways, fall into that category. I have had this recording for years; in the LP era, it appeared only on early blue-label Columbia Masterworks disks and never again until issued on CD by French label Dante-Lys in 1997-98.To begin with, this work was recorded in Nazi-occupied France in 1943, by a conductor (Jean Fournet), ensemble (Emile Passani Choir and Orchestra), and soloist (great tenor Georges Jouatte), that most everyone have never heard of. In listening to this recording, you can hear the effect that the war has had on the choirs; there are in particular, few men, and considering the circumstances, older and not-so-good-sounding ones at that. The sound is not all that bad, considering that less-than-the-best materials likely were used for the 78-rpm master matrix disks used to make these transfers, because of scarcity of materials due to war.But on to the performance at hand. The attrition rate of male casualties due to war is evident in this recording. It was made in St. Eustache, one of the better-known houses of worship in Paris. Of particular note is the "Tuba Mirum" of the Dies Irae. The score specifically states that the Tuba Mirum is to be taken at half the tempo as that in the earlier part of the movement. Virtually all conductors in subsequent recordings of the Requiem neglect this direction by Berlioz. Fournet follows the score's directions, and despite the age of the recording, the impact left by doing it at half the tempo is something that must be heard to be believed! The only present-day recording that almost comes close to doing it this way is that by Andre Previn. Interesting also, is the timbre of the brass in this recording. I've been told by brass players that brass instruments of French construction tend to have a thinner, wiry sound, and the trombones in this recording take on that sound, quite evident in the "Hostias." The "Quaerens Me" movement sounds as if it were recorded in a totally different location than in St. Eustache. There is a cut in the "Sanctus"; what a shame it was to do that and not to hear tenor Georges Jouatte hit his high "A" for a second time!It is hard for me to give this recording five stars. If circumstances were normal, I would give only four. But considering the extenuating circumstances, I give five. This recording is historic and worth buying for the way the tempo of the "Tuba Mirum" in the Dies Irae of the "Requiem" is taken and for Georges Jouatte's singing."