Herzogenberg was a lifelong friend of Brahms and, with a
colleague, Philipp Spitta, founded the Bach Society. His compositions include
choral works, vocal works, orchestral works, chamber works, piano music and
organ works.
It is his choral
works that feature on a new 2 SACD release on CPO https://www.jpc.de/jpcng/cpo/home from
the Monteverdichor Würzburg www.monteverdichor.com
and
the Thüringen Philharmonie Gotha www.thphil.de
conducted
by Matthias Beckert www.matthias-beckert.de
with
soloists Franziska Bobe (soprano) www.franziskabobe.de
, Barbara Brackelmann (alto) www.barbara-braeckelmann.de Maximilian Argmann (tenor) www.hochschulchor.uni-wuerzburg.de/ie and
Jens Hamann (bass) www.jens-hamann.de
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| 2 SACD 777 755-2 |
The first disc brings us Herzogenberg’s Totenfeier, Op.80 for soloists, choir, orchestra and organ. A
cantata using biblical texts and hymn strophes, it was written in 1892 and
moves from a condition of despair to an ultimate acceptance. It was written whilst
the composer was dealing with his own grief following the death of his wife.
The Introduction and
Funeral March with Choir brings a
weighty orchestral opening followed by a directness of utterance as the choir
sings ‘Man, born of woman, lives only a short time and is very troubled.’ There
is often a funereal measured tread, pointed up by timpani, that contrasts with dramatic
outbursts An extended orchestral passage, full of drama, leads the music into A
Recitative and Aria with bass, Jens
Hamann entering in this pleading section, ‘Lord! Why do you stand so far away?’
Hamann weaves the text, delivering finely
controlled emotion.
We are immediately led into an Alto solo and Chorale where the lovely voice of boy alto, Jaro
Kirchgessner, opens with just organ, before the orchestra and choir enter,
slowly and gently lifting the music. The choir and orchestra alternate with
alto and organ to terrific effect. Franziska Bobe, arrives, in terrific voice,
for the Soprano Solo and Choir, ‘I am the
resurrection and the life’ soon joined by the choir and orchestra bringing
an upbeat joy to the text. When Bobe returns she brings a clear voice, full of
light before the chorus and orchestra return who, with soprano and orchestra
lead to the end. Bass, Jens Hamann returns heavy with emotion for the Recitative and Aria, ‘When I sought the
Lord.’ with the Thuringen Philharnonie Gotha adding fine orchestral drama,
passion and weight.
Pizzicato strings quietly open the Solo Quartet section before the quartet of soloists enters with
brass, adding light to the texture of this slightly Bachian chorale. The chorus
and orchestra gently and smoothly open the Chorus,
‘When the Lord redeems the captives of Zion’ bringing a feeling of comfort to
the words. This is a beautifully subdued and mellifluously sung section which,
centrally, rises in passion before speeding forward at the words ‘Then our
mouths shall be filled with laughter’ before being led back to the opening tempo.
There is an attractive instrumental opening to the Soprano Aria, ‘How lovely are your dwelling places’ before the soprano enters in this distinctive and lovely setting where the soloist and instruments weave around each other with Herzogenberg’s orchestration so transparent and light. This lovely section, a kind of pastoral section, is beautifully sung.
Bass, Jens Hamann returns for the Bass Solo and Concluding Chorale with an impassioned ‘The Lord has
given, the Lord has taken away’ before the choir and orchestra enter to bring a
resolute conclusion. The weighty orchestra of the opening returns but this time
to affirm ‘The King’s Glory shines’ –with, again, hints of a Bach chorale.
This is a particularly distinctive and attractive work, well
worth getting to know. It is beautifully orchestrated, with Herzogenberg
bringing drama and poetry to his distinctive style.
Begräbnisgesang,
Op.88 for tenor, male voice choir and wind ensemble was written in 1895 following
the death of his good friend Philipp Spitta and sets the composer’s own texts.
It is a short work, lasting only around five minutes but delivers much passion
and feeling.
The wind ensemble open, followed by tenor, Maximilian
Argmann then the male voices of the choir in another distinctive work that for
all its debt to Bach is distinctively Herzogenberg’s own style such is the beautiful
way he layers the tenor over the choir and brass.
The second disc contains Herzogenberg’s Requiem, Op.72 was written in 1890 and first performed, with the
composer conducting, in St. Thomas’ Church, Leipzig – Bach’s old church.
The orchestral opening of Requiem is more symphonic than ecclesiastical. When the Monteverdichor
quietly enter, they reinforce just how good a choir they are. There are gentle
surges of dynamics, finely controlled, beautifully blended and with a lovely tone
right across their range. There is a feeling of controlled tension, pointed up
by occasional timpani.
The Dies Irae, the
longest section part, opens in a fairly subdued manner with timpani rhythms and
a slow building of dynamics. When the music drops back it leads to a quickening
of tempo with a kind of scurrying nature. The choir and orchestra provide much
drama and tension but there is none of the violence found in other Requiems. At
times the choir really soar over the dynamic orchestra. There are occasional vibrant
string passages reminiscent of Mozart in his Requiem. Later the male voices
lead to a more dramatic section but it is, nevertheless, more an intense drama
than an out and out ‘Day of Wrath.’ This is a pleading Dies Irae not a
frightening premonition. The end is hushed.
It is lovely the way Herzogenberg divides female and male
voices in Offertorium. There is a
beautiful flow in this glorious section and a particularly affecting Hostias, exquisite and distinctive in
its writing.
In the Sanctus the
orchestra leads the music, rising up, with the choir joining in this joyful section.
There are some lovely moments as the music swirls around, full of joy and
light, with the orchestra underpinning the choir magnificently.
The Agnus Dei has
a quiet, tentative orchestral opening leading to a slow plodding orchestral
theme before the male voices of the choir enter just as tentatively. The female
voices then enter over the male choir, adding a spiritual feeling. Midway the
orchestra raises the dynamics a little but the choir then continue their gentle,
rather mystical way.
6The orchestra opens Communio
with an upward theme soon joined by the whole choir, flowing beautifully
forward with a rich orchestral contribution. There is a particularly lovely
section at ‘…for you are merciful’ and a lovely feeling of peace when they sing
‘Grant them eternal rest, O Lord.’
On the evidence of these discs Herzogenberg is a composer
worth exploring. I will certainly return to these works again.
The Thüringen Philharmonie Gotha conducted by Matthias
Beckert provide fine, taut playing, great dynamics and sensitivity and the
Monteverdichor Würzburg prove themselves to be a first rate choir. All of the
soloists are excellent as is the recording from Neubaukirche, Würzburg.
There are excellent booklet notes and full Latin, German and
English texts.
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