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SEEN AND HEARD UK CONCERT REVIEW
Schubert : Suleika II, D.717; Du
bist die Ruh, D.776; Alinde, D.901
Brahms : Wir wandelten, Op.96/2;
Sommerabend, Op.85/1; Geheimnis, Op.71/3;
Wie Melodien zieht es, Op.105/1; Wiegenlied, Op.49/4 Inger Dam-Jensen (soprano), Ulrich Staerk (piano)
Brahms : A German Requiem for soprano and baritone soloists, chorus and orchestra, Op.45
We have all heard of the saying 'a game of two halves'. This concert
at Preston Guild Hall had two halves but what a stark contrast each
half was for the audience. The curtain raiser was a Lieder
recital of Schubert and Brahms. Then came a performance of A
German Requiem, Brahms' most renowned choral work for large
forces.
The well chosen Lieder recital comprised of three Schubert
songs followed by five from Brahms. Settings from various sources
included Rückert, Heine and folk poetry from Des Knaben
Wunderhorn. Soloist Dam-Jensen is a Danish soprano who has
carved out an impressive international career for herself since
winning the Cardiff Singer of the World Competition in 1993. The
Guild Hall could never be described as an intimate recital room and
not surprisingly the voice of Dam-Jensen took a couple of songs to
reach optimum. Initially accompanist Ulrich Staerk was having
trouble keeping to the same path as Dam-Jensen but the situation
soon improved delivering a satisfying partnership.
A delightful Lieder performer, Dam-Jensen was in fine voice
producing fresh and appealing tones with an august diction. Most
comfortable in her mid-high range the soprano has a moderate vibrato
that never intrudes. I enjoyed Dam-Jensen's storytelling and her
characterisation in the Schubert song Alinde abundant with
lyricism over a mildly rocking piano accompaniment. Dam-Jensen was
able to offer plenty of expression ranging from the euphoric in
Brahms's Wir wandelten (We wandered together) to
the tender and soothing relaxation of the well known Wiegenlied
more commonly known as Brahms' Lullaby or Cradle Song.
With the soprano performing at her peak I was rather disappointed
that the Lieder recital had to end.
It was like attending a completely different concert after the
interval with the Guild Hall stage now full to bursting with
Liverpool Philharmonic players and the seventy plus strong Preston
Cecilian Choral Society. Brahms' longest composition in performance,
A German Requiem is generally acknowledged as his greatest
choral work. Work on the Requiem occupied Brahms for
several years. Whether it was the demise, whilst incarcerated in an
asylum, of his friend and mentor Robert Schumann in 1856, or the
death of his mother in 1865 or a combination of both that provided
the inspiration for this masterwork is uncertain. The first
performance of the completed Requiem was given at the
Leipzig Gewandhaus in 1869. Instead of setting the customary Latin
Catholic text Brahms arranged his own text mainly from the Lutheran
Bible. Rather than a solemn requiem mass for the dead this is a mass
to comfort the living that the dead have left behind.
It was easy to feel compassion for the two soloists who spent the
majority of their time sitting waiting their turn rather than
singing in the Requiem. Clear and reliable singing from
soprano Inger Dam-Jensen in Ihr habt nun Traurigkeit (Ye
now are sorrowful) was sweet toned and reverential. German
baritone Gerd Grochowski had involvement in two movements. In the
darkly hued Herr, lehre doch mich (Lord, make me to
know mine end) his voice lacked heft and impact at times
overpowered by the orchestra. Against the initial lighter orchestral
weight in Denn wir haben hie keine bleibende Statt (Here
on earth we have we no lasting home) Grochowski was able to
rise to the challenge singing with devotional respect.
An inspiring group able to sustain prolonged phrases with resolute
vigour, the Preston Cecilian Choral Society have an appealing tone
and admirable unity. Well drilled by their Italian musical director
Marco Fanti, it was hard to quibble about the choir's committed
performances of the two best known movements of the Requiem
both for chorus and orchestra: Denn alles Fleisch, es ist wie
Gras (For all flesh is as grass) and Wie lieblich sind
deine Wohnungen (How lovely is thy dwelling place).
Keeping his forces tightly clasped together conductor Claus Peter
Flor blessed Brahms's score with a sincere and warm hearted
performance. The Liverpool Phil continues to impress with typically
crisp playing that balanced the score's required ingredients of
strength and pathos. Overall the string sound was as warm and
comforting as glowing coals in a brazier. Especially striking were
the rich and resonant double basses and cellos providing deep and
voluminous bedrock for the orchestra. The high strings playing
hurriedly in movement three Herr, lehre doch mich sounded a
touch disorganised, but there was dedicated playing from the
wholesome brass section who sensibly eschewed any tendency for
overindulgence. The woodwind would pass the most rigorous
inspection, which is no surprise when playing alongside the
sovereign talents of the principal oboe and clarinet.
Michael Cookson