Poulenc: Litanies à la Vierge noire

Francis Poulenc is now considered to be among the most important composers of choral music of the 20th Century. Yet his early career reveals no trace of the dazzling and idiosyncratic unaccompanied choral textures so abundantly produced in the second half of his life. This new collection of Poulenc’s choral works, virtually a ‘best of’, is centered on his masterwork, Figure Humaine. Even though it is only 20 minutes in length, the work is a supreme test of stamina, technical agility, range, aural skill and musicianship. The professional chamber choir Tenebrae (directed by former King’s Singer Nigel Short) are more than capable of tackling this repertoire and this disc promises to provide a new benchmark in interpretations of the work.

“Widely regarded as one of the world’s finest small professional choirs” (musicweb- international.com), “one of the best professional choruses on the international scene” (klassik-heute.com), “moments, which in their musical culture make the ensemble truly unique” (Münchner Merkur) – these comments and similar ones show that the Chor des Bayerischen Rundfunks is a leading figure in the world of choral music.

Frank Martin was on the program of Peter Dijkstra’s inaugural concert in October of 2005, when he – an authentic shooting star on the choral scene – assumed the direction of the Chor des Bayerischen Rundfunks at the sensationally young age of 0nly 26. The same composer is now also featured at the beginning of a-cappella production for the BR-KLASSIK label, on which the chorus presents itself under its director Peter Dijkstra. Frank Martin’s Mass for Double Chorus, which was not given its world première until 40 years after it was composed, has nevertheless ranked since then as one of the Swiss composer’s major works. Zoltán Kodály’s Missa brevis is directly marked by powerless despair over the horrors of World War II. Francis Poulenc’s Litanies à la Vierge Noire was prompted by a far more personal motivation. He composed the work on the death of his composer friend Pierre-Octave Ferroud in 1936, a short time after Poulenc had found his own way to religion on a pilgrimage.

Here are dynamic modern performances of some of the most popular of all sacred vocal works written in the second half of the last century, expertly done by chamber choirs soaked in the tradition which the works themselves draw upon.

The Gloria is perhaps the best-known of the extended compositions by John Rutter, composer of such choral evergreens as A Gaelic Blessing and Shepherds’ Pipe Carol. Rutter’s setting fully captures the exuberance of the text, with sparkling orchestral colours and fullbodied choral parts.

Like the Gloria, Bernstein’s Chichester Psalms (socalled because of the nature of their original commission, made in 1964 by the Dean of Chichester Cathedral, Walter Hussey) may be musically sophisticated in technical terms, but never at the expense of creating an instant impression or of serving the texts. The poignant treble solo in the second movement is still, along with ‘Maria’, one of Bernstein’s most imperishable melodies.

Poulenc, too, had melodies pouring out of him, though his settings of ancient liturgical texts (and rustic peasant prayers) in Litanies à la Vierge Noire, Quatre Petites Prières de Saint François d’Assise, Exsultate Deo and Salve Regina are in the more austere tradition of French sacred works.

Recordings date from 1995

Two of the finest chamber choirs in the English choral tradition, expertly directed and recorded

Booklet notes in English, with sung texts in the original language and English translation

In 2006, Edward Higginbottom celebrated 30 years as Director of Music at New College Oxford. During his time there the New College Choir has achieved international recognition and produced over 70 recordings, many of them worldwide best sellers. This release is the first in a trio of CDs exploring 20th-century choral music, grouped thematically by country. The journey begins in France, where we find Poulenc exploring his religious side, not something often associated with the rebellious and often cheeky Parisian. But he did maintain a strong spiritual streak, remarking once that “he’s not as religious as he’d like to be.” His liturgical writing is deeply contemplative and affecting in its simplicity, yet now and again his witty side will emerge. He shares the disc with his contemporaries Messiaen – represented by his only motet O sacrum convivium – and Pierre Villette who had strong links with the English choral tradition. His ambitious six-part piece Attende Domine was dedicated to the choir of Worcester Cathedral.