Thus, Saint-Saëns, virtuoso organist, the titular organist of Saint Sulpice in Paris, wrote religious music that is not necessarily an expression of personal devotion; we will not try to compare it to that of Mozart requiem. This is not to celebrate a national hero: it is no more the Verdi Requiem. It is simply an order to receive a hundred thousand francs in gold heritage. And that the composer completed the work in a week does not mean that the work is sloppy.
In fact, this requiem an evident mastery of choral forces for effective orchestration, far grandiose effects of a Berlioz or Verdi. A worried introit a dies irae threatening, proclaimed a sanctus do not prevent much deeper or internalized times as hostias or agnus dei. Without being a masterpiece, here is a beautiful requiem whose serenity sometimes foreshadows that of the Fauré Requiem.
Psalm XVIII compound to midnight mass in 1865 is also a work of circumstance. Yet it is a superb exercise in style, both in the use of different soloists (soprano duet, followed by a baritone quartet and a quintet and finally a vocal sextet!) Or the agreement between the orchestra and the singers (in the last air, cellos dialogue with the mezzo), without ignoring the fugal choruses and even a soprano duet accompaniment on the harp. This eclecticism seems representative of the style "second empire" seeking to impose a certain size through a neoclassical academicism compiling a heritage and a little pompous exuberance. We can already see the talent of Saint-Saëns to implement choral masses.
This disc therefore has a very beautiful music, far from being devoid of qualities. He listens with interest and replay with pleasure. It allows to rediscover a French repertoire still neglected, especially to hear French artists. Certainly, we can tax this academic style or firefighter, but he should be misunderstood or precursor to be worthwhile?
