On Friday afternoon, July 4th, a concert unfolded in the Jezuïetenkerk in Heverlee – well-attended despite the fine weather – that the listener did not regard as a mere chance occurrence, but rather as a profound experience, a spiritual journey of transcendence. Under the inspiring direction of chief conductor Bart Van Reyn, the Vlaams Radio Koor (VRK) presented two of the most beautiful masterworks of 20th-century choral music: Frank Martin's Messe pour double choeur and Maurice Duruflé's Requiem.
Vlaams Radio Koor lays bare the soul of Martin's Mass for Double Choir
In the world of a cappella music, Frank Martin's Messe pour double choeur ranks among the most intriguing and profound compositions ever written. This mass setting continues to surprise listeners with its unprecedented beauty and spiritual power, which in no way shrinks from the depths of the human soul. The VRK proved once again today why it belongs to the absolute top of international choirs. What we heard was not a simple performance, but a spiritual journey that took us to the most remote corners of human existence.
Frank Martin (1890-1974), a composer who wrestled throughout his life with the relationship between his music and his deeply rooted Christian convictions, kept his Messe pour double choeur hidden for years. It was a work that represented something intimate for him, something sacred – an expression of his faith not intended to be shown to the general public. It was not until 1963 that this work was first made public, and its impact was immediately felt. In this Messe, human vulnerability and the longing for the divine come together in an unprecedented way.
Under the direction of Bart Van Reyn, we received an interpretation that fully emphasized the subtlety and profundity of Martin's music. The two choirs, with their complementary roles, interwove in a harmonic interplay that perfectly conveyed the serene power and intense emotions of the work.
The Kyrie, which opened with a serene alto melody, was sublimely carried by the voices of the choir. The VRK succeeded in finding the delicate balance in this spiritual prayer that at times resonated as a vehement plea, then again awakened intense longings.
In the Gloria, a dynamic palette of sounds unfolded, in which the wonders of faith were reflected. The choir played with rich expression and complex rhythms, with the tension between calm and exuberance beautifully expressed. The VRK fully engaged with the rhythmic complexity, yet remained always in control, so that the listener never lost the thread.
The Credo, the beating heart of the composition, was performed with unmistakable spiritual intensity. It remains remarkable that a Calvinist like Martin composed this Catholic profession of faith. The words "et incarnatus est" were sung with a tenderness that reflected the mystery of the incarnation, but also Martin's own deep connection with this moment of faith. The poignant passages with "crucifixus" and "passus" were delivered by the choir with great power; the "et resurrexit" sounded like an echo of Easter bells reminding us of the power of resurrection.
The Sanctus revealed a soundscape of restrained devotion, in which the polyphonic lines wove together like meditative prayers into a transparent, almost otherworldly fabric. The double choir structure was not employed here for effect, but for an inner dialogue that sublimely underscored the festive character of the work. For a moment, we felt as if we were dwelling in another, better world.
Initially, Martin concluded his Messe with the lush spiritual jubilant sounds of the Sanctus, but four years later, in 1926, he added a performance of the Agnus Dei, which ended the work with a more ambiguous, questioning note. For this reason, this piece is for me the emotional climax of the Messe. The two choirs, first separately, but later together, created that sublime harmony that, as it were, leaves the longing for peace and redemption hanging in the air. The closing "Dona nobis pacem" sounded extremely fragile, as if Martin knew when composing it that mankind does not learn from its mistakes…
Frank Martin cherished the conviction that the true artist fulfills his highest calling by bestowing beauty upon his fellow man. He saw it as his task not to capture the prevailing spirit of the time, but rather to embody the eternal, the imperishable. In his Messe, a work that does not submit to the whims of fashion or transience, he has masterfully fulfilled this self-imposed requirement.
This afternoon we heard no ordinary performance. The VRK not only delivered a technical tour de force (what basses!), but above all also laid bare the heart of the work. It was an interpretation that, through its refinement and purity, captured the spirit of Martin's music in all its complexity and beauty. The performance was a true feast for the ears, a moment of transcendence in which the music, as it were, transcended time and space.
Between the two masterworks of Martin and Duruflé, a hint of organ music sounded: the "Scherzo" (Fiat Lux) by Theodore Dubois (1837-1924). The playful work provided a moment of respite between the profound emotions.
Requiem Maurice Duruflé Vlaams Radio Koor: rare enchantment
The performance of the Requiem by Maurice Duruflé (1902-1986) by the Vlaams Radio Koor, conducted by Bart Van Reyn, was not merely a musical interpretation – it was a spiritual experience that touched the listener in their deepest being. This work, composed in 1947, is known for its subtle blending of liturgical serenity in the tones of Gregorian chant and intense drama. The VRK succeeded in striking that delicate balance with unprecedented sensitivity and control.
In this performance, the choice was made for the intimate version with organ and cello solo (by Amy Norrington), which further reinforced the sacred character of Duruflé's music, without compromising the grandeur that is inherent to the composition. As an organist himself, Duruflé had deep roots in the church tradition, and his musical past was present throughout this work.
The choir brought the music with sensitive lightness, which honored the liturgical character without diminishing the emotional power. The subtle and deeply felt organ playing of Ignace Michiels filled the space of the Leuven Jesuit church with a warm, yet never excessive sound, which provided the singers with perfect support without overshadowing them.
The choir's performance was a model of refinement. The dynamic shifts between the whispered silence and the great dramatic outbursts, such as in the Kyrie and the fiery Sanctus, were perfectly timed and stood out in unmistakable harmony. Particularly the slow, stately Pie Jesu, one of the most moving moments of the work, received an almost ethereal radiance thanks to mezzo-soprano Eva Zaïck, who performed the piece with serene depth. With her voice, full of depth and warmth, she reminded me of the Laughing Angel as you see it in the portal of the cathedral of Reims.
The baritone solo by James Newby added an element of gravitas to the performance, and his voice brought the emotional weight of the work to life.
Bart Van Reyn gave the choir the space to explore the deepest nuances of Duruflé's composition. His interpretation was not merely technical, but a search for the soul of the music itself. Van Reyn proved once again that he was able to effortlessly steer the choir's flexibility: his hands gave the choir space to breathe in the more restrained moments, while they knew how to increase the tension at the right moments. The balance between the sacred serenity and the dramatic intensity of the work was perfectly struck by Van Reyn.
With this performance, the VRK has not only interpreted the Requiem, but brought it to life. The choice for an intimate performance with organ and the powerful sound of the cello solo, the use of the architectural space in the Leuven Jesuit Church, and the control of the musical dynamics made this performance a true enchantment.
As an encore, a completely different work was performed: The Dying Soldier, a traditional piece in an arrangement by Nigel Short (Tenebrae). James Newby shone as a soloist, while the choir framed it atmospherically. It was a perfect conclusion, a critical reflection on the celebration of the 4th of July, which invited the listener once again to contemplate.
In a time when technical perfection often takes precedence, the VRK succeeded in capturing not only the technique, but especially the emotional essence of these works. The performance was not merely a moment of musical beauty, but a spiritual journey, an invitation to dwell on the deeper questions of life. It was a moment of transcendence, in which the listener asked themselves within the Ignatian tradition a number of essential questions: Who am I? Where do I come from? And where am I going?