This is a very fine account of the Duruflé Requiem in every respect. The chosen venue is ideal, I believe. The Church of Saint-Eustache, located in the Les Halles district of Paris, was constructed between 1532 and 1632. From photographs I’ve seen online it looks to be a very substantial building and that impression is conformed by a photo in the booklet which shows the choir dwarfed by the massive internal pillars on either side of them. The choir numbers 41 (12/9/9/11) and it would have been easy for them to be swamped in what I’m sure is a huge, reverberant acoustic. However, engineer David Hinitt and producer Adrian Peacock have ensured that this doesn’t happen; the acoustic is skilfully used to impart an aura to the sound, but the singers can still be heard with clarity. A very good balance between choir and organ has also been achieved.

The Poulenc motets were recorded in the smaller acoustic of Trinity College Chapel; that was the right thing to do because this music is on a smaller scale and ideally needs a more immediate yet resonant acoustic. The choir was slightly smaller than the group used for the Duruflé; there are 31 singers (9/6/7/9). These Lenten motets are masterly pieces; Poulenc responds to the texts with great acuity and the music often switches from biting drama to bittersweet lyrical harmonies within the space of a few bars. One such instance is 'Vinea mea electa', the second motet. The opening line—and its reprise—is a choice example of Poulenc’s trademark achingly sweet, expressive harmony, but elsewhere in the same piece there are some arresting dissonances. The third motet, 'Tenebrae factae sunt' is the darkest of the lot and the strong emotions in the music are really well conveyed here. Throughout these four short pieces, the expertly-prepared singers are alive to every change of emphasis and to all the nuances in the music. These motets are a fine complement to the Duruflé Requiem. My only regret is that Duruflé’s Four Motets could not have been included as well; they would have been the icing on the cake.

The documentation includes a very useful essay by Roger Nichols.

There is wonderful French choral music here and it’s expertly performed.