Langlais: Messe Solennelle - 1. Kyrie · Choir Of St. John's College, Cambridge · Stephen Cleobury · George Guest

FROM GUEST CURATOR MALCOLM J. MERRIWEATHER

As a 10-year-old, I was first captivated by Jean Langlais’ Messe solennelle as a boy chorister at St. Paul’s Cathedral, Buffalo, New York. Scored for two organs (but most often realized on one organ), the piece is one of the most dramatic and passionate masses written for liturgical use. Harmonic color, dialogue between organ and choir, and flamboyant motifs contribute to a thrilling experience for singer, organist, and worshiper. The hallmarks of the opening Kyrie are chant-like motives that move melismatically until punctuated by the grand orgue. The impact of these outbursts is often surprising and thrilling. These interruptions evoke a sense of struggle and melancholy that is only resolved at the final cadence.

I’ve selected an English choir of men and boys singing French music because George Guest collaborated with Langlais and was renowned for his continental approach to choral timbre and aesthetic. He rejected the ethereal, lofty tones commonly typified by British choirs and opted for a more resonate, sometimes aggressive sound characterized by vibrato in the boys’ voices. After Guest released his recording of Messe solennelle, the composer wrote with the following accolade:

"I admire everything - the style, the tempi, the voices, the organist, and the conductor. Let me tell you of my deepest gratitude and admiration."

– Malcolm J. Merriweather