Reviewed by Steven Whitehead

Even those who do not take a great deal of interest in current affairs might have noticed that on 8th December 2024 the Cathedral of Notre-Dame de Paris re-opened, five and a half years or so after the catastrophic fire of 2019. Even non-religious citizens of Paris rejoiced at the rebuilding, and one can hardly begin to imagine the emotions of those for whom this magnificent structure is central to their regular worship, which would include those musicians based at the cathedral. Marking this 'rebirth' is this recording of a new choral setting of the Magnificat by the organist-composer Yves Castagnet. Since 1988 Castagnet has held the post of choir organist at Notre-Dame, a role that also encompasses interpretative coaching for the cathedral's choir school, La Maîtrise Notre-Dame de Paris. The Maîtrise embraces five different choral ensembles that offer training and performance opportunities to talented children, teenagers, and adults. In his liner notes Castagnet tells us that he had long wanted to write his own setting for the Magnificat but felt that Johann Sebastian Bach had got there first. In the end he decided not to worry about it and while taking inspiration from Bach was able to chart his own course into the inspiring words of Mary as recorded in Luke's Gospel. Perhaps I am responding to the written notes rather than the musical notes but, to this reviewer, there is an echo of Bach - no bad thing - but through a distinctively French filter. Imagine, if you will, Poulenc and Messiaen trying to write under the influence of Bach and this might be the result and if this illustration does not illuminate then take my word for this being a remarkably vibrant and musical new Magnificat, sung supremely well by the Maîtrise's adult choir and four soloists: soprano Thaïs Raï-Westphal, mezzo-soprano Anouk Defontenay, tenor Jordan Mouaïssia, and bass Carlos Builes Velez and with an appropriate organ accompaniment from the composer. For obvious reasons, the recording could not be made at Notre-Dame but the acoustic of the chosen venue, the Basilica of Saint-Clotilde, is more than adequate. The music is powerful, vibrant and emotionally satisfying and must have been wonderful to hear when it was eventually sung at the re-opening of Notre-Dame itself. In addition to the Magnificat are three Psalm settings by Castagnet: Psalms 18 and 26, composed in 1996, and Psalm 115, first performed in 2011. The three supplement the main course very well although, on their own, none could be considered essential. However, any listener with any interest in contemporary choral music will thoroughly enjoy this new setting of an ancient text.

The opinions expressed in this article are not necessarily those held by Cross Rhythms. Any expressed views were accurate at the time of publishing but may or may not reflect the views of the individuals concerned at a later date.

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