FAURE. Requiem, Op. 48. Pavane, Op. 50. Robert Chilcott (treble t), John Carol Case (baritone, t). Choir of King's College, Cambridge, New Philharrnonia Orchestra conducted by David Willcocks with John Wells (organ, j). HMV Q ASD2358 (12 in., 32s. 3d. plus 5s. 9d. PT). Recorded in Trinity College Chapel, Cambridge.

Requiem:

De Los Angeles, Fischer-Dieskau,

Paris Cons, Cluytens (6/63) Q AN107 0 SAN107 Danco, Souzay, Suisse, Ansermet (7/60) (4/67) (R) Q ADD154 0 SDD154

It is a very rare experience indeed to be able to describe a recording as near as can be to absolute perfection from start to finish, but this new issue of Faure's Requiem truly provides this experience. For the happy result the highest praise must go to all concerned in the venture. First and foremost to David Willcocks's inspiring and most sensitive direction of the exquisite work and then to soloists, choir, organist, orchestra and engineers. It must of course be allowed that Faure makes no large demands on his forces such as would have excluded the use of the treble voices which add an unforgettable radiance and serenity to their part, impossible to sopranos, however good; but equally outstanding is the contribution of all the rest, with the boys, to the spiritual fervour and perception that inform every bar.

The recordings listed above do not approach this perfection. On the Cluytens disc the soprano line of the Elisabeth Brasseur Choir sounded undernourished, the violin part too faint in the Sanctus, and on the Ansermet disc the organ pedal part was too obtrusive in In Paradisum. These faults, and others, are wholly excluded here. Victoria de los Angeles's purity of tone and prayerful approach were very appealing in "Pie Jesu" but Robert Chilcott's singing has an ethereal beauty that no words can describe. Fanciful as it may seem I can imagine all Heaven stilled listening entranced to this prayer for the souls of the departed. Gerard Souzay and FischerDieskau were both admirable in the baritone solo part and John Carol Case is equally good, making his words perhaps even more meaningful, and phrasing with notable artistry.

The New Philharmonia Orchestra's playing, greatly superior to that in the other two issues, is most beautiful and John Wells's sensitive treatment of the important organ part, especially in "Pie Jcsu", puts him, too, in a class apart. It is a joy to hear such a fine balance throughout and such a well judged dynamic range; a forte, and once, in Libera me, a double-forte, never too loud, a pianissimo always audible. The recording, it will be seen, was made in Trinity College Chapel, Cambridge and so the famous 'echo' of King's College Chapel is lacking but the acoustic is excellent. The tenors of this splendid choir sound delightfully fresh and youthful.

It was necessary to provide a fill-up for the second side—the charming little Pavane without its choral part—but no one will want to play that as the visionary In Paradisum comes to its heavenly close. One just wants to sit on in silence. A.R.