Whether through pragmatism, perfectionism or a combination of both, Maurice Duruflé produced three different versions of his Requiem. The 1947 original was followed in 1948 by an arrangement for organ and choir, and finally in 1961 by one for soloists, choir, small orchestra and organ. The composer himself may have favoured his thicker original scoring but the recording industry has largely disagreed. Two new releases follow the trend, exploring the two latter versions with contrasting results.

The Choir of King’s College, Cambridge and Stephen Cleobury opt for the 1961 edition, joining forces with the Orchestra of the Age of Enlightenment and soloist Patricia Bardon (the baritone solos are performed by unison basses). The effect is often hazily beautiful, chords suspended in the air of King’s Chapel, but also less than clear. The additional instrumental textures pick out colours lost in the organ arrangement – strings melt into plainsong in the Domine Jesu Christe, trumpets blaze out the climax of the Sanctus – but also clutter the musical surface. With organ and orchestra placed so forward in the balance the trebles struggle to keep pace, and phrasing on the top line becomes a little choppy. Chorally this just isn’t a patch on the vintage Philip Ledger King’s recording (EMI, 1/82), with its meticulously shaped and blended phrases.

Next door at Clare College, Graham Ross and his choir make something rather special of the 1948 scoring, relocating to Lincoln Cathedral to use the mighty Father Willis organ. Choral unisons ring with warmth, sopranos maintain absolute evenness from top to bottom of their register, and chords decay to reveal a perfect pyramid of sound, firmly rooted on some excellent basses. Neal Davies is a luxurious casting for the cameo bass solo, while Jennifer Johnston’s Pie Jesu is a model of emotive austerity, keeping vibrato to a minimum and letting Duruflé’s melody do the work.

While Cleobury pairs the Requiem with Duruflé’s curious all-baritone Messe Cum jubilo and the Quatre Motets sur des thèmes grégoriens, Ross opts for a broader programme of Remembrance music from Tomkins, Harris, Elgar and Weelkes – a juxtaposition where the Renaissance works especially offer a welcome lucidity after the fragrant expansiveness of the Requiem.