Duruflé’s Requiem has never quite achieved the widespread recognition of Fauré’s masterpiece, on which it was modelled, but last Saturday night the choir of The Queen’s College made a case for a more frequent airing of this evocative and richly-textured work, in which the composer’s passion for Gregorian-style themes and rhythms is very much in evidence. This was a powerful, stirring and committed performance, with director Owen Rees ensuring good, clean entries, tidy endings and crisp diction. The choir consistently produced a rounded, well-balanced sound, with beautifully-shaped phrasing and keenly-observed dynamics.

Occasionally, it has to be said, the sopranos sounded a little strident on their top notes, particularly in the more dramatic moments in the Offertory and Libera Me; even in these declamatory numbers a little softening of the sound was needed. But there were some sublime moments, too, suffused with tenderness and sensitivity, such as the opening Requiem aeternum and the final, exquisite In paradisum.

Mezzo-soprano Tara Mansfield gave a beautiful account of Pie Jesu Domine — as with the Fauré, the only solo in the work — while Dominic Oldfield provided a proficient and sensitive cello accompaniment.

The Requiem was complemented by pieces by three of Duruflé’s compatriots. First up was Fauré’s En prière, published in 1890 as part of a collection of settings of poems by Stéphan Bordère, and performed here with a lovely clarity and simplicity. Poulenc’s Salve regina and Litanies à la Vierge Noire provided a contrast in style, to which the choir adapted seamlessly. The latter piece, poignantly, was composed after Poulenc lost a close friend in a car accident, and marked the beginning of his sacred choral work output. Pierre Villette, Duruflé’s pupil, was a neat choice to round off this selection, as he was influenced by both Fauré and Poulenc; his Hymne à la Vierge, his best-known piece, is exquisite, and was performed here with appropriate tenderness and warmth.