{"product_id":"ansermet-faure-requiem-orchestral-suites-stereo-19551961-pasc728","title":"ANSERMET Fauré Requiem, Orchestral Suites (stereo, 1955\/1961) - PASC728","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFAURÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eRequiem\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFAURÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePelléas et Mélisande - Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFAURÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eMasques et Bergamasques Suite\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFAURÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePénélope - Prelude\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eStereo studio recordings, 1955 \u0026amp; 1961\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 76:38\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eSuzanne Danco\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, soprano\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eGérard Souzay\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003e, baritone\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eL’Union Chorale de la Tour de Peilz \u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre de la Suisse Romande\u003c\/span\u003e\u003c\/b\u003e    \u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003econducted by \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eErnest Ansermet\u003c\/span\u003e\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReview578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fAdmirers of Fauré, Ansermet, and the Suisse Romande need not hesitate. Recommended.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eA new release from Pristine Audio (PA) features Decca stereo recordings of music by Gabriel Fauré, performed by the Orchestre de la Suisse Romande and conductor Ernest Ansermet. The Requiem was recorded in 1955. All the other pieces on the disc were recorded in 1961. This same collection of recordings was previously issued on the Decca Eloquence label (480 4763), and reviewed by James Miller in the May\/June 2012 Fanfare (35:5). Miller praised the disc as “an excellent collection.” Miller found Ansermet’s interpretation of the Requiem “plainspoken, even on the austere side, and all the more effective for it. His two soloists, close to their vocal primes, live up to their reputation.” The Suite from Fauré’s incidental music to Pelléas et Mélisande receives a “straightforward performance,” while the Masques et Bergamasques Suite “is right up Ansermet’s alley and he delivers a performance combining energy and refinement.”\u003c\/p\u003e\u003cp\u003eI agree with James Miller that this is a splendid collection of Fauré recordings. To the extent that one might find sentimentality in Fauré’s music, such elements are absent here. Ansermet draws a refined, transparent, and marvelously blended sonority from his orchestra. The brooding Prélude from the opera Pénélope maintains a controlled tension throughout. Fauré described his Requiem as “a happy deliverance, as a yearning for joy that lies beyond, rather than as a sorrowful passing.” Ansermet fashions a rendition that maintains a lightness of touch. The sonority favors the middle and upper registers of both chorus and orchestra. Tempos never flag, and the application of rubato is subtle and elegant. Both soprano Suzanne Danco and baritone Gérard Souzay are marvelous in their solos, and very much in accord with Ansermet’s overall concept. The L’Union Chorale de la Tour de Peilz is likewise both restrained in approach and pleasing in sonority. Both the Pelléas et Mélisande and Masques et Bergamasques orchestral suites are performed with precision, elegance, and gratifyingly focused wind and brass. All told, these are excellent performances by an orchestra and conductor celebrated for their mastery of French repertoire.\u003c\/p\u003e\u003cp\u003eI have not heard the Eloquence reissue of these Decca stereo recordings. In PA’s XR remastering by Andrew Rose, they sound fresh, lifelike, and of a far more recent vintage than 1955 and 1961. The acoustic has ample dynamic range, color, detail, and attractive depth of perspective. Tape hiss is minimal. PA inserts ample runoff between each of the pieces, so that the CD’s total time is 76:38, compared with 76:14 for the Eloquence release. PA includes early Gramophone reviews of the featured recordings and brief comments by Andrew Rose, but not texts or translations for the Requiem . Admirers of Fauré, Ansermet, and the Suisse Romande need not hesitate. Recommended.\u003c\/p\u003e\u003cp\u003e\u003cb\u003eKen Meltzer\u003c\/b\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC728.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"margin-left: 25px;\"\u003e\nThe faults noted in the three other recordings of Fauré’s beautiful work,\nfoggy choral tone in soft passages, dynamics out of perspective, and so\nforth, are all avoided here and in almost every respect this is an ideal\nperformance.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nThis chorus is superior to those used in the previous recordings and the\nchoice of Gérard Souzay gives special distinction to the baritone solo. He\nsings most beautifully throughout.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\u003cb\u003eAlec Robertson\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, April 1956 (\u003cb\u003e\u003ci\u003eRequiem\u003c\/i\u003e\u003c\/b\u003e, original mono-only\nissue)\n\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nI wrote of this recording of Fauré’s \u003cem\u003eRequiem Mass\u003c\/em\u003e, when it was\nissued four years ago, as in almost every respect an ideal performance. The\nqualification was called for by some minor faults of balance and by the\nrather too vibrant singing, as I felt it to be, of that fine artist Suzanne\nDanco in “Pie Jesu”. Gérard Souzay sings most beautifully throughout and\nstereo gives a better perspective to the recording, softening also the\nsomewhat obtrusive bass figure for the organ in “In Paradisum”, and\naltogether providing more musical sound, good though the mono disc was.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\u003cb\u003eAlec Robertson\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, July 1960 (\u003cb\u003e\u003ci\u003eRequiem\u003c\/i\u003e\u003c\/b\u003e, stereo issue)\n\u003c\/p\u003e\u003cp style=\"margin-left: 25px;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\nConnoisseurs of record collecting will pounce on the unfamiliar item\nhere—the prelude to Fauré’s opera \u003cem\u003ePénélope\u003c\/em\u003e, never before available\non record in this country and scarcely ever heard in the concert-hall, but\nlauded by all writers on Fauré for its nobility of thought. It is indeed a\nmoving and intensely emotional piece, suggesting Penelope’s long agonised\nwaiting, the thoughts which fill her mind, and her steadfast faith in\nUlysses’ eventual return. Ansermet and his orchestra play it eloquently, as\nthey do the \u003cem\u003ePelléas et Mélisande\u003c\/em\u003e music (the \u003cem\u003eFileuses\u003c\/em\u003e is\ncharmingly done, and the \u003cem\u003eSicilienne\u003c\/em\u003e is neither too fast nor\nsenti­mentalised); and the recording is excellent. The performance of\n\u003cem\u003e\nMasques et Bergamasques\n\u003c\/em\u003e\n(which does not often show up in its complete form) is lively enough but a\nshade matter-of-fact in total effect—not that this is very profound music,\nin any case.\n\u003c\/p\u003e\n\u003cp style=\"margin-left: 25px;\"\u003e\n\u003cb\u003eLionel Salter\u003c\/b\u003e, \u003ci\u003eThe Gramophone\u003c\/i\u003e, March 1962 (Other works)\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\nThese recordings, made six years apart, find Ansermet as a master of the\norchestral music of Gabriel Fauré, in commemoration of whose 100\n\u003csup\u003e\nth\n\u003c\/sup\u003e\nanniversary this album is released. The \u003cem\u003eRequiem\u003c\/em\u003e comes relatively\nearly in the history of Decca’s pioneering foray into the world of stereo\nmusic recordings – and yet for their Swiss production team stereo would\nhave already been business as usual. Decca had made their first stereo\nrecordings with Ansermet and the Suisse Romande Orchestra at Geneva’s\nVictoria Hall some seventeen months earlier, and in the intervening months,\nof twenty-six recordings made there, all but one were recorded both in mono\nand stereo. It would be several years before Decca dispensed with two teams\nof engineers and recording equipment for both formats, at around the time\nthat the second set of recordings presented here: of the four Geneva\nrecording sessions held in February and March of 1961, only the Fauré (and\nDebussy) session was a stereo-only affair, though by June separate mono\ntaping had ceased. This would suggest that the Fauré session may have\nserved to convince the company that it no longer needed a specially-made\nmono tape recording as a distinct entity in the recording process.\n\u003c\/p\u003e\n\u003cp\u003e\nNaturally, this being Decca, both recording sessions resulted in excellent\nrecordings for their day. As can been seen in the two Gramophone reviews,\nthe advent of stereo was heard to improve the already highly lauded\nproduction of the Requiem. The further sonic advances brought to bear on\nthese recordings by Pristine’s XR remastering only serves to further\nenhance the listener’s experience and get ever closer to the sound that\nwould have been heard in Geneva’s Victoria Hall all those years ago.\n\u003c\/p\u003e\n\u003cp\u003e\n\u003cb\u003e\u003ci\u003eAndrew Rose\n\u003c\/i\u003e\u003c\/b\u003e\u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: 24px;\"\u003eANSERMET \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 24px;\"\u003econducts Fauré\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e1. \u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eFAURÉ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePénélope - Prélude\u003c\/span\u003e  (8:07)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFAURÉ \u003c\/b\u003eRequiem, Op. 48\u003c\/span\u003e\u003cbr\u003e2. Introitus Requiem aeternam - Kyrie  (7:02)\u003cbr\u003e3. Offertorium Domine Jesu Christe  (9:11)\u003cbr\u003e4. Sanctus  (3:16)\u003cbr\u003e5. Pie Jesu  (3:12)\u003cbr\u003e6. Agnus Dei  (5:17)\u003cbr\u003e7. Libera me  (5:24)\u003cbr\u003e8. In paradisum  (4:20)\u003cbr\u003e\u003cb\u003eSuzanne Danco\u003c\/b\u003e (soprano)\u003cbr\u003e\u003cb\u003eGérard Souzay\u003c\/b\u003e (baritone)\u003cbr\u003e\u003cb\u003eL’Union Chorale de la Tour de Peilz \u003c\/b\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003e(chorus master: \u003c\/span\u003e\u003cb\u003e\u003cspan style=\"font-size: 12px;\"\u003eRobert Mermoud\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 12px;\"\u003e)\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFAURÉ \u003c\/b\u003ePelléas et Mélisande, Op. 80: Suite\u003c\/span\u003e\u003cbr\u003e9. Prélude  (5:51)\u003cbr\u003e10. La Fileuse (Andantino quasi Allegretto)  (3:09)\u003cbr\u003e11. Mort de Mélisande (Molto Adagio)  (4:11)\u003cbr\u003e12. Sicilienne  (4:02)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003e\u003cb\u003eFAURÉ \u003c\/b\u003eMasques et Bergamasques, Op. 112: Suite\u003c\/span\u003e\u003cbr\u003e13. Ouverture  (3:30)\u003cbr\u003e14. Menuet  (2:42)\u003cbr\u003e15. Gavotte  (3:12)\u003cbr\u003e16. Pastorale  (4:12)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003e\u003cb\u003eOrchestre de la Suisse Romande    \u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 20px;\"\u003econducted by \u003cb\u003eErnest Ansermet\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eXR remastering by: Andrew Rose\u003cbr\u003eCover artwork based on a photograph of Fauré\u003cbr\u003e\u003cbr\u003e\u003cb\u003eRequiem\u003c\/b\u003e\u003cbr\u003eRecorded 16 October 1955\u003cbr\u003eProducer: James Walker\u003cbr\u003e\u003cbr\u003e\u003cb\u003eOther works\u003c\/b\u003e\u003cbr\u003eRecorded 22-24 February 1961\u003cbr\u003eProducer: Michael Brenner\u003cbr\u003e\u003cbr\u003eRecorded at Victoria Hall, Geneva\u003cbr\u003eEngineered by Roy Wallace\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eTotal duration:  76:38\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC728.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC728.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":44064723697754,"sku":"sjj1789304050907","price":11.51,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":44064723730522,"sku":"oea1789304050908","price":8.55,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":44064723763290,"sku":"wbp1789304050909","price":6.68,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0726\/3807\/0874\/files\/ansermet-faure-requiem-orchestral-suites-stereo-19551961---pasc728_1.jpg?v=1789304057","url":"https:\/\/vestorawear.shop\/products\/ansermet-faure-requiem-orchestral-suites-stereo-19551961-pasc728","provider":"My Store","version":"1.0","type":"link"}