Philippe Jaroussky, Matthias Goerne, Orchestre de Paris, Paavo Järvi - Fauré: Requiem (2011) Hi-Res

The Fauré Requiem is a work that has withstood variety of interpretation in the several guises in which it has been rendered. It almost always emerges unscathed, and one always seems to find a good reason why any given interpretation gives much pleasure. It is the genius of Fauré that created a work of such beauty which hides its knowing sophistication under a humble cloak of utter simplicity. Paavo Järvi's interpretation is quite remarkable, and for me, ranks among the best combining deep feeling, sumptuous execution with adequate degree of elegant reserve. Textual issues: some years ago, John Rutter unearthed and recorded a temporary version Faure devised for its initial performance at La Madeleine in which accompaniment was minimized by using only violas, cellos, basses, a solo violin in the Sanctus, harp, tympani, and organ/harmonium. It is a lovely version which gained some popularity after Rutter recorded it, but it was a version never intended by Fauré to be anything other than a stop-gap measure: he had a committment but ran out of time. Thus this so-called "chamber" version, never intended by the composer to be his final word. Fauré always intended a full orchestral complement which he finally completed years later, probably with assistance from students, but under his strict supervision; he fully approved of the score as subsequently published. If legitimacy is an issue, the fully orchestrated version is the true one; all the others are exercises, albeit of good merit, along the way. The fully orchestrated final published version is what Paavo Järvi provides us with here, and he excels. Indeed the whole recording is a sumptuous affair, bringing out luxurious sounds from soloists, chorus and orchestra. No, this is not bloated: there is clarity to the musical lines, subtlety in the phrasing and a remarkable dynamic range. Matthias Goerne excels in his solos. The soft-grain inherent in his voice provides this music with the reverence it requires; the unison passages in the Libera Me thus emerge as indeed a humble plea rather than a baritone showing-off his golden tones (which Goerne has to spare). His experience with lieder shows in his respect for this music and its text. A special treat is Philippe Jaroussky assuming the treble part. This is a unique experience. He is one of the top counter-tenors in the world today, indeed one could say that together with Max Emanuel Cencic, there are none better. His soprano voice brings a spiritual intensity to the Pie Jesu which blends the ascetic quality of a boy treble with the solid support of a fully developed adult singer. It is a marvelous experience. All told this is superb rendition of the Fauré Requiem to which I will return a few times in the future. The companion pieces, all by Fauré, are also very well executed. Of special interest is the previously unrecorded, youthful Super Flumina Babylonis. The Pavane is given its choral component and one realizes how much one misses when, as usual, one does not get it. The Elégie is suitably intense. And the beloved Cantique de Jean Racine has never sounded more mellifluous than here, perhaps its only rival being the Orfeon Donostiarra with Michel Plasson and the Toulouse orchestra. In short, this is a cd to treasure and which through the years will yield many satisfactory hearings. On the technical side, Virgin's recording is flawless.