Duruflé: Requiem; Fauré: Requiem
Blegen, Morris, Shaw, Atlanta SO and Chorus.
Telarc 80135 (CD). Robert Woods, prod.; Jack Renner, eng. DDD. TT: 74:23

To have two Requiems by French composers on the same disc certainly invites comparisons. Superficially similar, the works are actually quite different: both are conceived for small-scale performance, both rely on the organ, and neither places any great demands on chorus or orchestra. The differences concern mood and even intent. Fauré's Requiem, composed between 1887 and 1890, has survived all kinds of performances, both amateur and professional, without losing its ability to move hearers with its gentle hymn for the dead. The Duruflé, composed in 1947, has not achieved this kind of public appeal. A commissioned work, and not unified in style, this requiem is enjoyed by those who sing it; audiences tend to find it bland.

In our September issue, I wrote about Pioneer’s excellent SP-BS22-LR loudspeaker. At just $129.99/pair (and often discounted), the SP-BS22-LR represents extraordinary value and may very well attract a wider and younger audience to true high-fidelity sound. The only thing I don’t really like about the speaker is its tongue-twister of a name. (But that’s easy to forgive. Most people can’t pronounce my name, either.)

While preparing the review, I took the opportunity to ask Andrew Jones, Pioneer’s chief engineer, a few questions about hi-fi, music, and loudspeaker design. As always, Jones was forthright and charming; his answers to my questions were often enlightening.

Volti Audio's Vittora, a borrowed pair of which now sit at the far end of my listening room, is a great loudspeaker and, at $17,500/pair, a seriously great value. After a few weeks with the Vittora, I find myself convinced by the naturalness, momentum, and force that it found in every record I played: This is surely one of the finest horn-loaded speakers made in the US.