The academicism of Saint-Saëns the Sacred service: an occasional Requiem and a charming Christmas Psalm

Camille Saint-Saëns officiated as organist at the Church of the Madeleine 1858 to 1877 when he was released from this burden thanks to a legacy left by one of his friends, who had asked him to write an exchange Requiem posthumously .
Although the composer was early declared unbeliever, he performed in eight days of this circumstantial work, which was performed in May 1878 in Saint Sulpice, a year after the death of his partner.
From the outset, the anguished violins ad complaint serious and afflicted climate, which exacerbates the tension in the Dies Irae punctuated by interjections of the organ. Despite some academic expression of this score, the final Agnus Dei does not absolve themselves of emotion, highlighted by delicate melodies and a subtle harmony.

In a more serene atmosphere evoked from the melismatic introduction, Psalm XVIII combines formal purity with a warm feeling, probably linked to the liturgical context of the Nativity.
Soliciting, different configurations of singers, instrumental soloists (harp), choir and orchestra, this work was created at the Madeleine for the Midnight Mass of Christmas 1865.

Captured in Paris at Notre Dame of Labour in July 1989, this CD has deservedly filled a gap before discographic versions D. Fasolis (Chandos) and G. Simon (Cala) will enrich the catalog.
Interpretations here show remarkable, despite lack of commitment passengers in the Requiem. Note that Jacques Mercier and the National d'Ile-de-France Orchestra also engraved an interesting program of vocal works ("The Flood", "The Bride of timpanist", "Night" and various songs) reissued in a double album at RCA.