Boris BLACHER (1903-1975)
Der Grossinquisitor, Op.21 [59.32]
Siegmund Nimsgern (baritone)
Leipzig Radio Choir, Dresden Philharmonic Orchestra/Herbert Kegel
rec. Lukaskirche, Dresden, May 1986
BRILLIANT CLASSICS 9437 [59.32]
Let me begin by conveying heartfelt congratulations to Brilliant Classics
on the presentation of this release. In the past the label has often shown
admirable enterprise in rescuing and reissuing recordings of rare material,
only to spoil the package by a failure to provide essential texts for vocal
music. Their recent releases of Borodin songs and Rimsky-Korsakov cantatas,
both of which I have reviewed for this site, suffered from this defect, which
seriously damaged the value of these reissues of unfamiliar works. Not here.
We not only have an informative note on the genesis of the music, but we are
given the complete text of Blacher’s oratorio Der Grossinquisitor,
extended over seven pages. No translation alas, but the German is not hard
to follow when you have the words in front of you. I do not know whether the
original issue on Berlin Classics in 1998 similarly lacked translations, but
although this remains available in the current catalogue it is at full price,
which may be a deterrent to potential listeners who will be totally unfamiliar
with the music.
Boris Blacher’s music has fallen on hard times since his death in 1975,
with only his Paganini Variations maintaining a very precarious hold.
However during his lifetime he had quite a formidable reputation in Germany,
and his pupils included such well-known figures as Gottfried von Einem, Kalevi
Aho and Aribert Reimann. He was included by the Nazis in their prohibitions
of ‘degenerate music’ and only emerged from obscurity after 1945;
Der Grossinquisitor was written in the dark days of the Second World
War with no immediate hope of performance, and at a time when understandable
depression had driven the composer close to suicide. The idiom of the music
in the first part is not that far from Hindemith’s Whitman setting When
lilacs last in the dooryard bloom’d, bursting out into violence
only at the beginning of the third movement Aus der Menge. One can
imagine more full-blooded playing during this passage from the strings in
their heartfelt lament which underpins the more agitated music; otherwise
the performance is strong and gripping.
The baritone soloist does not enter until the ninth movement, and has the
lion’s share of the vocal writing thereafter. The music for this section
was written some years after the first part. By that date Blacher’s
music had moved from the realm of Hindemithian neo-classicism into a more
expressionist mode with elements of Berg in the vocal line - although Blacher
avoids the use of Sprechstimme even in the most dramatic passages.
Siegmund Nimsgern is firm of voice and hits every note dead centre, even managing
to inject some melodic impulse into the wide-ranging and not always elegant
vocal lines. He is placed rather forward in the balance, which means that
his full-throated delivery is not wholly free of the suspicion of hectoring.
One finds oneself wishing that he would sing quietly once or twice, even if
only to allow some respite from the feeling that he is just too much in the
listener’s face and ear. A line like “Man does not live by bread
alone” goes for too little in this performance, especially at Kegel’s
rather hurried speed during this passage (from track 10, 2.05 onwards). The
publishers’ website indicates that the total duration of the oratorio
should be 65 minutes, and Kegel knocks over five minutes off that estimate.
There is however no other recording of this work in the catalogue - although
as noted the original Berlin Classics issue remains available. Those interested
in the progress of German music in the period immediately following the Second
World War - before the influence of the Darmstadt school began to make itself
felt - should make every effort to hear this work. It’s one of the most
impressive of Blacher’s serious pieces which deserves to be at least
as well-known as his more popular Paganini Variations. The composer
himself assembled the text, using not only Dostoyevsky but also passages from
the Bible: the temptation of Christ in the wilderness. He clearly felt every
word. In the crucial eleventh movement Drei Mächte sind es allein
Nimsgern at last allows himself to sing quietly, and the sinister motion of
the woodwind accompaniment is chilling. In the passages that follow the chorus
whip up a real storm, and Kegel’s headlong driving of the music begins
to pay real dividends. The baritone solo which begins Du rühmst Dich
Deiner Auserwählten sounds as beautiful as similar passages in Busoni’s
Doktor Faust. One finds oneself wondering wistfully what a singer like
Dietrich Fischer-Dieskau would have made of this section. The closing movement,
on the other hand, is rather unsatisfactory as a conclusion to the work -
the final message of hope “Der Gefangene geht” is not a positive
affirmation, but rather a wistful thought which tails away into nothingness.
Obviously this expresses what Blacher felt at the time, but one is left feeling
somewhat frustrated.
Never mind; this is generally a great and stirring work which commands the
attention of the listener throughout. Brilliant Classics are to be congratulated
in making it available at such a reasonable price - and so well presented,
too. One hopes that the reissue will tempt potential audiences to investigate
the work, and one might also hope that further performances and recordings
will follow in due course. As a response to the despair engendered by the
Second World War, Der Grossinquisitor should stand in the repertoire
alongside such works as Hindemith’s Requiem and Tippett’s
A child of our time.
Paul Corfield Godfrey
A great and stirring work commanding attention throughout. Brilliant Classics
are to be congratulated in making it available at such a reasonable price
- and so well presented, too.
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