The liner-notes
by John Warrack point out that Dvořák’s Requiem
is not a liturgical work; it is rather an oratorio for concert
performance. It certainly has the same melodic appeal as so
much of the composer’s orchestral music. Although permeated
by Czech folk tone it remains a setting of the traditional
Latin texts both devotional and reverent, but also with grandiose
climaxes. It has something of the character of Verdi’s Requiem,
but it is not operatic. The melodious quality and the inventive
use of chorus and orchestra should warrant it popular appeal.
I am not so sure that it is performed that often; at least
I have never had an opportunity to hear it live. I suppose
that many readers have the same experience and have had to
be satisfied with recordings. The one under consideration
is a classic and is probably the best version available in
a not too competitive field. There is an old Decca with Istvan
Kertesz and Vaclav Neumann has also recorded it but I have
heard neither of these.
This 47-year-old
version, originally made as a collaboration between DG and
Artia, Prague, offers a recording that is surprisingly full
and lifelike with well-defined stereo sound and pleasant acoustics;
no wonder when it was set down in the famous Rudolfinum. Even
the most powerful moments are well controlled and there was
only once a vague suspicion of slight distortion in the Rex
tremendae, where the two female soloists sing a thrilling
forte together. But I’m not even sure it was “real” distortion;
it may just be some interference between the voices themselves.
The Czech Chorus sing with conviction, immensely beautifully
in for example Quid sum miser (CD1 track 5) where the
female voices are really lovely against the dark undertones
in the orchestra, and there is impressive heft at the end
of Lacrymosa (CD1 track 8). Maybe the most impressive
moment in the whole work is in the Offertorium with
the concluding fugue after the Domine, Jesu Christe,
which is repeated after the serene Hostias (CD1 tracks
9 and 10). Here Ancerl presses his forces to the limit, ensuring
an almost ecstatic climax. He draws marvellous playing from
the orchestra he knew so well, silvery strings, woodwind.
Just listen to the ethereal flutes in the Pie Jesu movement
(CD2 track 2) and the brass rasp impressively in the Sanctus
(CD2 track 1). There have been a number of Ancerl recordings
re-issued lately and this Requiem should definitely
be counted among his most important.
The four soloists
were very much in demand in DG’s studios during this period,
not least on many Fricsay recordings. I have long had a soft
spot for Maria Stader, once one gets used to her flutter which
of course can be an irritant, but she sings beautifully here,
not least in Quid sum miser, where she soars in her
highest register. The versatile Sieglinde Wagner can be heard
to good advantage in Domine, Jesu Christe, where also
Kim Borg’s warm rounded bass impresses. He is noble in Juste
judex in the Recordare movement (CD1 track 6) and
shows his dramatic potential in Mors stupebit
in the Tuba mirum section (CD1 track 4). Ernst Haefliger,
whom I heard just a few years ago as the Speaker in Schoenberg’s
Gurre-Lieder, was an important Bach and Mozart singer
during the 1950s and 1960s and later became one of the most
sought after Lieder singers. Here his mellifluous tenor is
ideally attuned for Dvořák’s music and he opens the Recordare
(CD1 track 6) – after the orchestral introduction – singing
with great feeling.
Nobody can avoid
being moved by this performance and the value of this issue
is further enhanced by the inclusion of Dietrich Fischer-Dieskau
singing six of Dvořák’s Biblical Songs, sensitively
accompanied by Jörg Demus. All the songs, except the very
last, Singet ein neues Lied, are slow, but Fischer-Dieskau’s
characteristically involved declamation, pointing his words
with the utmost exactness, keeps the music alive. Occasionally
he can be over-emphatic, almost barking, but there is no denying
the intensity and honesty in his readings. He also has plentiful
opportunities to demonstrate his magical legato singing on
the softest of pianissimos. Just try Gott ist mein Hirte
(The Lord is my shepherd) (CD2 track 6) with impressive breath
control. Dvořák set the texts from the Kralice Bible
(1579 – 94) in Czech but Fischer-Dieskau sings them in German.
The booklet includes
the sung texts with English translations, making this issue
a model of sensible production. The rosette with which the
Penguin Guide garnished this recording, and the reason for
being included in this re-issue series, is indeed well deserved.
I would gladly add another.
Göran Forsling
see also Review
by John Quinn September BARGAIN
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Op. 89: Maria Stader (soprano),
Siegliende Wagner (contralto), Ernst Haefliger (tenor), Kim Borg (bass),
