Although Maurice Duruflé’s Requiem is mostly consoling rather than confronting, there are nevertheless some magnificent fortississimo moments – the Domine Jesu Christe and Libera me sections especially – when the 400 voices of Sydney Philharmonia Choirs, the large orchestra and David Drury pulling out the stops of the Opera House organ pin the audience back in their seats.

Duruflé’s Requiem & Poulenc’s Gloria (Sydney Philharmonia Choirs). Photo © Keith Saunders

The Vichy government commissioned the French organist-composer in 1941 to write a symphonic poem. What they got instead was his first choral work, incorporating some of the Gregorian chants from his earlier organ works. He used Fauré as his model, dropping the Dies Irae and incorporating Libera me and In Paradisium from the Burial Service.

His score for orchestra and organ combines Debussyan harmony with plainsong influences most effectively, with solos for mezzo-soprano and baritone in some sections. Australian Helen Sherman’s rich mezzo is perfect for the Pie Jesu, nestling on a bed of the...