RECORDING OF THE MONTH
Walter BRAUNFELS (1882-1954)
Te Deum for soprano, tenor, chorus, orchestra and organ Op.
32 (1921-22):-
1. Te Deum laudamus: Feierlich, breit [20:42]
2. Judex crederis: Gemessen [8:07]
3. Aeterna fac: Langsam [14:06]
4. Dignare Domine: Sehr langsam [13:31]
Leonie Rysanek (soprano), Helmut Melchert (tenor), Hermann Werner (organ),
Gürzenich-Chor, Cologne Radio Symphony Orchestra/Günter Wand
rec. 1952 (no venue given) ADD
ACANTA 233670 [56:28]
The ancient religious text of the Te Deum is usually set to music for
a joyous or celebratory occasion such as a coronation or a great victory.
The Te Deum of Walter Braunfels is neither liturgical nor celebratory.
Rather, it is the reaction of a German nationalist and disciple of Pfitzner
to first-hand experience of the trenches of the First World War. This experience
transformed patriotism and martial ardor into love of humanity and of God.
Braunfels’ setting is a journey “from darkness to light”
as the composer comes to terms with his wartime experiences. It was premiered
in Köln in 1920 under Hermann Abendroth.
The composer divides the text into four sections united by a descending motif
first heard in the work’s orchestral introduction and a more consolatory
variant of this original theme. The latter is usually sung by the soprano
and tenor soloists. The tempo marking of the first section is “feierlich,
breit” (festive, broad), but the tone speaks of supplication, rather
than victory. The succeeding Sanctus is more reassuring, but the chorus
Te Martyrum which follows is explicit in its warlike terror before
the entire section ends with imploring prayer.
The Judex crederis section shares rhythmic and even thematic material
with its counterpart in the Berlioz Te Deum (cf. Braunfels’ Phantastiche
Erscheinungen eines Themas von Hector Berlioz). Where the Judex
of the Berlioz is a solemn and impressive march, the Braunfels is a dance
of death. The Te ergo quaesumus feels more positive, but this mood
quickly vanishes with a return of the Judex material. The orchestral
introduction to the Aeterna fac section is based on the work’s
original descending motif combined with the rhythm of the previous Judex
episode. Gradually, the music broadens to become more reassuring with the
soprano and tenor singing the Benedicamus, laudamus, te to a triumphant
variant of the Judex material before the music again dies away.
The Dignare domine music returns to the mournful mood of the work’s
opening with the chorus also commenting on what has gone before. This features
excellent writing for the chorus. The woodwind writing that follows in the
In te Domine speravi is equally fine. The music gradually becomes confident
and serene, leading to the final, reassuring, In aeternam, sung by
all.
This recording is a re-mastered version of a radio broadcast in honor of Braunfels’
70th birthday. It was previously available in the Gunter Wand Edition on Profil
PH06002, but even with the re-mastering on Acanta the text is frequently unintelligible
and the distortion and background noise quite pronounced. On the plus side
we have the young Leonie Rysanek in full glory and a very committed performance
by the Gürzenich Choir. Presiding overall is Günter Wand, a major
advocate for Braunfels, in one of his most stirring performances on disc.
Manfred Honeck recorded the Te Deum in 2008 on Orfeo C679071A and this
is a very fine performance, as well as having up-to-date sound, but the 1952
recording is a stand-out, if only for the roles played by Rysanek and Wand.
William Kreindler
An overwhelming historical recording. A composer finally coming into his own.
One of Wand’s finest performances.
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