Duruflé Requiem, Vaughan Williams and Stanford

21 March 2026

This SMS performance of the Duruflé Requiem was absolutely spell-binding in every respect. Lovers of religious choral music will probably have heard movements from the Requiem in the version for choir and organ alone, but to hear the complete work with instrumental accompaniment was a rare and wonderful experience. Duruflé actually published three versions of the Requiem in 1947, after a long gestation. One was accompanied by organ alone, one by small chamber orchestra, and the third by full symphony orchestra including brass and percussion. All versions include the organ, Duruflé’s principal instrument. For Salisbury, the SMS invited the Chelsea Opera Group Orchestra to accompany the Requiem. The result was astounding and unforgettable.

Taking the whole performance in general terms, it was clear that the choir had been extremely well prepared by their conductor, David Halls. They sang with great expression and exceptionally clear diction, so that the Latin text could be followed even far back in the nave. The dynamic range was vast, from a huge terrifying Dies irae, calamitatis et misereriae (Day of Wrath, Disaster and Misery) to an almost whispered final sentence at the very end of the Requiem (Mayest thou have Eternal Rest). One of the marvels of Duruflé’s composing is that the plainchant is always present, sometimes quietly settling on a single note with light organ accompaniment, other times soaring to the heights of the vocal range with fortissimo orchestra plus organ. Almost the whole time the dynamics and harmonies flow and change, and it was remarkable how well the balance between singers and orchestra was maintained in this kaleidoscope.

The Chelsea Opera Group Orchestra was also on brilliant form. Naturally it is the huge crescendos in the Kyrie, Sanctus and Libera Me which stick in the memory, with high trumpets blazing away above full orchestra. But there were also many exquisite quiet effects, specially involving the low strings and woodwind, sometimes backed by quiet deep organ tone. Several beautiful Cor Anglais passages remain in the memory. In the last movement (In Paradisum) the Harp added its gentle voice. Nearly every one of the nine movements ended with a beautiful quiet cadence.

Two soloists joined the SMS for the concert. Naomi Boot sang the Pie Jesu with lovely rich tone and amazing breath control for the long low final notes. It is a shame that Duruflé only included one solo for this voice. The Baritone soloist was Jolyon Loy, who sang two solos in the Duruflé (and a lot more in the Stanford earlier in the concert). His splendidly commanding rich voice and very clear diction carried effortlessly above the orchestra.

For the first half of the concert we heard works by two English composers, Ralph Vaughan Williams and Charles Villiers Stanford. Both pieces were settings of poetry. It was interesting to have excellent programme notes (written by Jon Hampton) to guide us through the origins of these works. It was also useful to have the words of the poems, because it was difficult or sometimes impossible to hear where we were. The Vaughan Williams Toward the Unknown Region demonstrated the composer’s typical mastery of word painting, working gently but inexorably toward a glorious final climax.

The Stanford Songs of the Sea were interesting. All are sung by baritone soloist, joined by men’s voices towards the end of each song. The first (Drake’s Drum) is well known, and was sung with panache by Jolyon Loy, joined by the men of the SMS choir for the last stanza. The last of the five songs (The Old Superb) also went with a terrific swing, the SMS men sounding as though a tot or two had been shared. But the middle three pieces are less well-known. Homeward Bound was strikingly beautiful, with low wind instruments evoking a shadowy dawn.

Last, but not least, tremendous gratitude must go to David Halls for his absolutely clear conducting, always getting the best from his performers – whether they are a new member of the choir or a seasoned professional in a visiting orchestra. David’s extensive contacts and reputation must make the SMS currently one of the best musical societies in the country.

Richard Godfrey
Reviewer