Piet Swerts’ output includes several large-scale choral-orchestral
works such as his
Passio Domini Nostri Jesu Christi Secundum
Marcum (1988) and his
Second Symphony “Morgenrot” (2000).
The latter was reviewed here some time ago. There’s also
a full-length opera
Les Liaisons dangereuses (1994/6).
I should also mention an occasional, though substantial score
composed to accompany an exhibition on the origins of life
Leven
in Steen (2004).
On the present disc is one of his latest works. It is - again
- large-scale and fairly substantial. The specification is for
soprano, tenor, female chorus, male chorus, children’s
chorus, two alto recorders, two harps, two pianos, string orchestra
and wind ensemble. This imposing work sets sections of
The
Song of Songs and words by Angelus Silesius (1624 - 1677).
It falls into two parts of broadly equal length.
The first opens with a cumulative introduction from the depths
of the orchestra leading into the first entry of the mixed chorus
(
Jesu, meine Freud und Lust - A. Silesius). This rousing
music is followed by various settings from
The Song of Songs.
These are remarkably varied throughout - both vocally and instrumentally.
Komm
doch und küss mich (No.2) is delicately scored
for soprano, alto recorder and harp whereas the next section
Schwarz
gebrannt is for female voice, orchestra I & II and two
harps. No.5 is another intimate duet for soprano, tenor, two
recorders and two harps. This is in full contrast to the next
section
Mein Freund kommt zu mir - choirs, children’s
voices and orchestra - that sings a happy song with a somewhat
rustic flavour. The seventh section
Nachts lieg ich auf dem
Bett is a beautiful Nocturne, in all but name, for soprano,
wordless choirs, two recorders and two pianos. In turn it is
answered by a love song in which the lover sings of the beauty
of his beloved (tenor, children’s chorus, recorders and
harps). Part I ends with a gloriously contrapuntal setting of
O q
uam
suavis freely based on William Byrd’s
Gradualia
II.
Part II opens with a lively setting (
Komm, meine Braut)
in which the lover appeals to his beloved to leave everything
behind her and come and live with him. The eleventh section somewhat
recalls the eighth in that it too is a love song. This is followed
by a new section (No.12) for tenor, strings and horn cast as
a slow dance. In the next section the bride appeals to the winds
- this short section is imaginatively scored for soprano and
three flutes. The fourteenth section - again a duet for soprano
and tenor - recalls material from the twelfth section. After
a short episode for choirs and orchestra, soprano, tenor, choruses
and orchestras join forces for the second Silesius section. The
children’s voices then have a short Interlude - actually
a new setting of
O quam suavis leading into the most extended
part: the Finale which deploys some of the most celebrated words
from
The Song of Songs :
Lege dich (“Set
me as a seal”). Here everyone except the recorders joins
in for the only time in the course of the entire work. I find
the Finale a bit too long and something of an anti-climax to
a piece described by the composer as a festive work. I had expected
a grand exalted Finale yet what we have instead is a sort of
peaceful fulfilment. This said, however,
Heilige Seelenlust is
an imposing work that never fails to impress through sheer vitality,
variety and invention.
This recording was made during the first performances of the
work and one can certainly sense the excitement of all concerned
in taking part in a special occasion. On the whole everyone sings
and plays with commitment and conviction. The immaculate singing
of Ann De Renais may certainly be singled-out whereas Jan Caals,
though quite good, seems a bit strained at times. The recorded
sound is quite nice although there is a good deal of coughing
and extraneous noise; nothing serious enough to deter anyone
from listening to this superbly crafted and sincere piece.
This substantial work should appeal to anyone with a liking for
accessible, though by no means condescending contemporary music.
Hubert Culot
Ann De Renais (soprano);
Jan Caals (tenor) 
