Composer: Théodore Gouvy
Works: Requiem Op. 70, Cantate le printemps Op. 73
Performers: Sheri Greenwald (soprano), Elsa Maurus (mezzo-soprano), Gerard Garino (tenor), Manfred Hemm (bass), Schola Cantorum Wien, Choeur de l’Hommes de Hombourg-Haut, La Philharmonie de Lorraine / Jacques Houtmann
Recording: Salle de Metz, 6-9 June 1994
Label: K617
The music of Théodore Gouvy, a composer whose works languished in obscurity for far too long, offers a fascinating window into the late Romantic era’s stylistic dichotomies. Gouvy (1819-1898) was a product of his time, straddling the line between the modernist fervor of Wagner and Liszt and the more traditional approaches of Mendelssohn, Schumann, and Brahms. His Requiem, composed in 1874, coincides with Verdi’s own monumental setting, yet Gouvy’s offering stands apart for its melodic charm and harmonic restraint, characteristics that define much of his oeuvre. This recording presents both the Requiem and the Cantate le printemps, showcasing Gouvy’s lyrical approach amidst the shadows of his more famous contemporaries.
The performances capture the essence of Gouvy’s style, with the Schola Cantorum Wien and the Choeur de l’Hommes de Hombourg-Haut exhibiting a commendable blend of warmth and precision, although the choral sound can at times feel distant due to the acoustics of the Salle de Metz, which lends an unintended cathedral-like reverb. Sheri Greenwald’s soprano emerges as a standout, particularly in the tender “Parce Deus,” where her lyricism underscores the intimate dialogue between the soloists and chorus. The tenor Gerard Garino and bass Manfred Hemm contribute solid performances, though they occasionally lack the dramatic weight that Gouvy’s music can evoke. The orchestral accompaniment, while adept, occasionally falters in clarity, particularly within the more complex passages, suggesting a need for a more focused ensemble sound to fully realize Gouvy’s intricate textures.
Technically, the recording presents challenges, as the over-resonant hall can obscure the finer points of orchestration. The brass fanfare that introduces the Sanctus, leading into the lyrical lines for soprano, demonstrates Gouvy’s creative interplay between voices and instruments but suffers from a lack of clarity in execution. Noteworthy is the Tuba mirum, which showcases the chorus in a strikingly effective manner, bringing forth a strong choral resonance that invites the listener into the emotional core of the work. While Gouvy’s Requiem may lack certain traditional elements—such as the “In Paradisum” or “Libera me”—its seven-movement structure allows for a unique exploration of themes surrounding death and consolation.
The Cantate le printemps, while perhaps less ambitious than the Requiem, offers a delightful insight into Gouvy’s lighter stylistic inclinations. Its final movement, combining all vocal forces, serves as a jubilant celebration of spring, showcasing Gouvy’s ability to evoke vivid imagery through music. The choice of a soprano soloist instead of a contralto in this piece may seem a tactical misstep, as a lower voice could have provided an enriching contrast, reminiscent of Brahms’s Alto Rhapsody.
The recording stands as an important addition to Gouvy’s discography, marking the first recordings of both works and filling a significant gap in the choral repertoire of the late Romantic period. Despite its technical flaws, the performances reflect a sincere engagement with Gouvy’s music, revealing a composer whose charm and lyrical prowess deserve greater recognition. The juxtaposition of Gouvy’s melodic inventiveness against the backdrop of his contemporaries offers a rich listening experience, one that invites both exploration and appreciation of a unique voice in classical music.
