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CHAN 10214
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CHAN 10214

Saint-Seans: Messe de Requiem/ Partsongs

The Classical Shop
release date: June 2004

Originally recorded in 2003

Artists:

Orchestra della Svizzera Italiana


Diego Fasolis


Nicolas Teste

bass

Guillemette Laurens

mezzo-soprano

Marie-Paule Dotti

soprano

Luca Lombardo

tenor

Coro della Radio Svizzera, Lugano & Coro calicantus



Venue:

Auditorio Stelio Molo, Lugano, Switzerland


Cattedrale di San Lorenzo



Producer:

Carlo Piccardi


Gian Andrea Lodovici



Engineer:

Gabriele Robotti


Matteo Costa



Record Label
Chandos

Genre:

Orchestral & Concertos


Choir

Total Time - 72:36
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CAMILLE SAINT-SAENS

(1835-1921)
Select Complete Single Disc for
   
 

Messe de Requiem, Op. 54

35:18  
  For soloists, choir, organ and orchestra  
1 1 Kyrie 5:37
2 2 Dies irae 6:59
3 3 Rex tremendae 4:45
4 4 Oro supplex 4:24
5 5 Hostias 2:39
6 6 Sanctus 1:32
7 7 Benedictus 1:52
8 8 Agnus dei 7:30
  Francesco Cera organ  
9 

Romance du soir, Op. 118

2:55
   
10 

Les Fleurs et les arbres, Op. 68 No. 2

1:48
   
11 

Des pas dans l'allée, Op. 141 No. 1

4:43
   
12 

Calme des nuits, Op. 68 No. 1

4:21
   
13 

Salut au Chevalier Printemps, Op. 151 No. 2

3:59
  Mario Patuzzi piano  
14 

Les Guerriers, Op. 84

4:36
   
15 

Pastorale

2:45
  Mario Patuzzi piano  
16 

Les Marins de Kermor, Op. 71 No. 1

7:22
   
17 

Aux conquérants de l'air, Op. 164

3:04
  Mario Patuzzi piano  
18 

Chanson de grand-père, Op. 53 No. 1

1:45
The acclaimed combination of Diego Fasolis and Swiss Radio present Camille Saint-Saëns’s Partsongs and Requiem Mass.

This is the only available recording of the Requiem Mass.

Saint-Saëns’s Requiem is a highly appealing work with beautiful and complex harmonies. There is plenty of colour, too – as one would expect from this inexhaustibly inventive opera composer – but also sincerity and gravitas.

Previous releases from this team have been warmly received by critics and public alike.


For many years Saint-Saëns earned a living as organist of the Church of the Madeleine in Paris. He was not a religious man, and indeed spoke of his ‘repugnance for religious ceremonial’. In the spring of 1877 he finally felt able to escape the appointment and support himself independently. At the same time, the lease on his flat expired and he was helped to find a new apartment by a wealthy friend and admirer, Albert Libon.

At the end of May, Saint-Saëns returned from a concert tour to find that Libon had died and left him 100,000 francs. The will, dated several years before, stated that the bequest was intended to free Saint-Saëns from his appointment at Madeleine. Libon had also included the condition that Saint-Saëns should compose a Requiem to be performed on the anniversary of his death. Although Libon had later deleted this condition, Saint-Saëns felt such a keen debt of gratitude that he nevertheless composed such a piece. He conducted the first performance of his Requiem on the morning of 22 May, just two days after the anniversary of Libon’s death, with Charles Widor as the organist and vocal soloists from the Paris opera.

One cannot help but wonder if Saint-Saëns came to regret his Requiem. He must surely have thought of Mozart (whose Requiem had presaged his own death) when, six days later, his two-year old son fell to his death out of the window of their new apartment. His other son, a baby of only six months, died just a few weeks later through illness. Saint-Saëns’s marriage did not survive the devastation. He parted from his wife who retreated to the country and only returned decades later, shrouded in black, at Saint-Saëns’s own grandiose funeral – once again back at the Madeleine.


''the performances are excellent, with choral singing delicate and full-bloodied as required, polished orchestral work, and firm yet supple direction from Diego Fasolis.'
The Telegraph

'Fasolis opts for some even rarer partsongs' a disc which no collectors of rarish Saint-Saëns will want to forgo. The Chandos sound and documentation are, as usual, exemplary.'
International Record Review



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