Search - Gabriel Faure, Charles Koechlin, Maurice Ravel :: Fauré: Requiem, Op.48; Pavane; Koechlin: Choral Sur Le Nom De Fauré; Schmitt: In Memoriam, Op. 72; Ravel: Pavane

Captivating, enticing, overlooked

P. Copps | Austin, TX | 03/10/2000

(5 out of 5 stars)

"Faure's entrancing melodies cannot be appreciated in a limited clips. They are soothing, enticing and allows the listener to mentally transcend to another level. Another listener described it as haunting - which is correct. Requiem and especially Pavane may be the most under appreciated works in classical music. This CD (with the exception of song 10 - In memoriam) will never lose intrigue with repeated listenings. Clearly, the best CD in my collection and the only one for which I would write a review."

Exquisite balance of forces

David Robinson | Oakland, CA United States | 07/02/2000

(5 out of 5 stars)

"Faure's requiem is famous for its gentle vision of death ("more of a lullaby" according to some.) The score exists in a number of versions but this recording can be taken as definitive. Sir Neville, not best known for choral work, balances the forces beautifully, especially the difficult integration of organ and full orchestra. Quotations from this requiem were used to great effect in "The Thin Red Line". As a bonus, you get Ravel's over-played "Pavane.""

A Lovely Reading

B. R. Merrick | 01/24/2008

(4 out of 5 stars)

"With the immense popularity of Fauré's Requiem, you would think it would be easier to find a great recording of it. Sadly, that is not the case. However, this is a good recording to own, so if you're tired of looking, you'll want to look at this one.



With all of their practice over the years playing light, sophisticated music à la Mozart, The Academy of St. Martin-in-the-Fields under Marriner are poised to play this pastoral work with the right touch, and they do. The choir knows how to blend, and the orchestra knows how to keep it light and airy.



I'm not sure what the reasoning was behind placing the soprano further from the front (as it sounds here, anyway), and I disagree with the faster tempo during the In Paradisum at the end, but then again, the soprano sings the Pie Jesu beautifully, and no matter the tempo, the ending is beautiful as well. To entice the listener further, this recording includes a very pretty playing of Fauré's Pavane, as well as Ravel's.



At long last, my search for a fine recording of this piece is over, and I too can rest. Finally."