TAKE ONE MEETING THE ARTISTS AS TH EY RECORD
JEREMY BACKHOUSE cond uctor
including organ alone, and organ
SLEEVENOTES
times and although I was in
Work Maurice Duruflé: Requiem
two minds whether the market
and orchestra. Which did you use?
really needs another version,
We did the organ solo version.
I think we’ve got something
Jeremy Filsell is a brilliant player
pretty special here.
and makes the organ sound quite
Artists Vasari Singers, Sarah
Connolly, Christopher Maltman,
Robert Cohen/Jeremy Backhouse
Label Signum
orchestral. He manages to conjure
Recorded Tonbridge School chapel
How do keep spontaneity alive
up extraordinary sounds out of
in repetitive recording sessions?
the instrument. There are passages
Why have you recorded the disc
The Vasaris always enjoy
which you don’t normally hear
in Tonbridge School chapel?
recording. There is, of course,
that he manages to bring out.
We've done a couple of CDs
an element of repetition, but each
there and we find it very suitable
time the red light goes on, we
But does not having an orchestra
for choral singing. It also has a
strive for something better than
mean you miss a vital element?
wonderful Marcussen organ, a
the previous take. Our producer
Both versions are equally valid. An
very bright, brilliant instrument
Adrian Peacock knew when to
orchestra would add additional
with a lot of colour. Jeremy Filsell
put the pressure on and when
colours, but Duruflé was so much
does wonderful things with it.
to encourage Uus.
an organist that the organ part
has enough tonal and harmonic
So the two combined make it
an ideal place to record in.
What'’s do you find appealing
interest to hold the ear.
about the Duruflé Requiem?
How have the sessions gone?
The way the composer brings
What other pieces are appearing
It was a fantastic occasion — we've
been working with some fantastic
life to the plainsong is magical,
and its harmonic language is,
We're not going down the
soloists: mezzo-soprano Sarah
[ think, very appealing. The
traditional route of coupling
Connolly, baritone Christopher
melodic lines suit the choir very
the Missa cum jubilo with the
Maltman and cellist Robert
well — we try and attain a very
Requiem. We're doing the
Cohen. We recorded them on
De profundis by Jean-Jacques
the Friday night and spent the
pure sound by restricting overuse
of vibrato. We're more in the
rest of the weekend recording
Anglican tradition than the looser
organist who was at St Suplice
the choir. In the past we've
French tradition! We're looking
after Dupré. It’s a remarkable
used soloists from the choir, but
for purity, but expressive purity.
piece — angular and ascerbic and
having the likes of Sarah and
Blend is absolutely key.
very much influenced by Dupré.
utmost. The Duruflé Requiem is
There are a few versions of the
Interview by Oliver Condy
a piece we’ve done many, many
Requiem’s accompaniment
Disc reviewed in the June issue
on this recording?
Grunewald, a less well-known
Chris makes us do our absolute