This is a deeply moving, infinitely rewarding disc, the combination of Herald's evocative recording of the great Notre-Dame organ, Philippe Lefebvre's wonderfully illuminating playing and Dupre's intensely spiritual music creating an unusually profound effect. Dating from 1919, Versets sur les Vepres de la Vierge is a relatively early work written before Dupre had begun to establish a name for himself on the international stage as a virtuoso player and composer of flamboyant organ show-pieces. There is nothing remotely showy about this music, its short movements are each inspired by the plainchant proper for the sections of the Vespers. Perhaps the fact that it consists of 15 brief, musically unconnected movements explains why it has remained largely overlooked in the recorded oeuvre of Dupre's music; only two of its movements have previously found their way on to CD (from Daniel Roth on Motette and Carlo Curley on Argo). Yet it contains some of Dupre's most hauntingly beautiful and deeply felt music; the third section, ''Nigra sum'', is unparalleled in its tranquillity and serenity, the misterioso e adagissimo which closes the Magnificat is unforgettably atmospheric, while the ''Amen'' of the ''Ave Maris stella'' is as thrilling and spectacular a toccata movement as Dupre was to write in the following half century of creativity: and do I detect both here and elsewhere in the piece ideas which he more famously worked into the Variations sur un vieux Noel three years later?
What an inspired move to record the organ work within the context of a sung service of Vespers. True, it is hardly an original idea, but there can be no denying the impact of hearing each movement as it reflects upon or builds up from the original plainchant. Mary Berry's matchless Schola Gregoriana (supported by David Hill's discreet improvised accompaniments on Notre-Dame's choir organ) transform what could so easily have become intrusions into a purely organ work into an integral, not to say essential, part of a truly memorable recording. High praise must go to the nimble-fingered editing which has inconspicuously dovetailed the sung chants and organ solos. Dupre's organ work ends with a powerful allegro con fuoco finale, but the sung collects and final prayers which properly end the service of Vespers provide a far more fitting close to a disc of real beauty.'