RECORDING OF THE MONTH
Luigi CHERUBINI (1760–1842)
Requiem in C minor (1816)
Schola Gregoriana Tübingen/Wilfried Rombach (tr. 4 Tractus only)
Kammerchor Stuttgart; Hofkapelle Stuttgart/Frieder Bernius
rec. 13-15 May 2010, Evangelischen Kirche, Reutlingen-Gönningen, Germany.
DDD
English translations of text and essay provided.
Hybrid SACD: plays on all SACD and CD players.
CARUS 83.227 [42:12]
Born in Ludwigshafen, Germany the conductor Frieder Bernius founded both the
Stuttgart vocal and instrumental ensembles featured on this Carus release.
The Kammerchor Stuttgart was founded in 1968 and more recently the period
instrument ensemble Hofkapelle Stuttgart in 2006. For many years Bernius has
been prolific in the recording studio, specialising in sacred choral works.
A couple of years ago I reviewed
the twelve volume set of Mendelssohn’s Complete Sacred Choral Music that
Frieder Bernius had recorded for Carus. With that impressive Mendelssohn survey
Bernius proved himself a remarkable conductor in the field of sacred choral
works of the classical era.
Cherubini, although Italian-born, spent the majority of his career in Paris.
There he wrote a large number of operas mainly in the Neapolitan style but
they soon began to seem out of step with the Parisian craze for Italian grand
opera. Consequently Cherubini withdrew from composing for a while. From being
a virtually forgotten figure Cherubini’s star began to shine after the Bourbon
restoration to the French throne and in 1816 he was appointed as Surintendant
de la musique for the Royal family. Cherubini became arguably the most
influential man in French music with his appointment as director of the Paris
Conservatoire in 1822; a post he held until his death twenty years later.
In 1809 Cherubini had been buoyed by the success of his Mass in F which
was an unexpected commission by the Prince of Chimay. Cherubini commenced
composing a significant amount of sacred choral works including a large number
of motets; several masses and two remarkable requiems. The earlier of the
two is a Requiem in C minor for mixed chorus; completed in 1816. A
second Requiem in D minor for male voices was written in 1836 with
the intention of being performed at Cherubini’s own funeral.
This Carus release is a 2010 recording of the Requiem in C minor for
SATB chorus, orchestra and basso continuo. The score was composed in 1816
for a memorial service for the former king of France, Louis XVI and his wife
Marie Antoinette; who had both been executed in 1793 during the French Revolution.
The Abbey Church of Saint Denis was the established resting place of the kings
of France for several centuries. During the Revolution the royal tombs in
Saint Denis suffered considerable desecration. In 1815 the partial remains
of Louis XVI and Marie Antoinette were recovered from a public cemetery and
brought to Saint Denis for reburial in the crypt. Cherubini’s Requiem in
C minor was premiered in 1817 at a memorial concert in the Saint Denis
crypt to commemorate the anniversary of the guillotining of Louis XVI and
Marie Antoinette. The Requiem in C minor was a great success and soon
established a wide circulation in Europe; it was even played at Beethoven’s
funeral in 1827. The Requiem in C minor does not employ soloists. It
is scored for four-part chorus, orchestra and basso continuo. In the manner
of Beethoven with his Mass in C major (1807) Cherubini avoids
breaking the various sections of the mass down into individual movements.
In addition many people have remarked on the musical debt that Cherubini here
owes to the style of Mozart. In this version Frieder Bernius in-between the
Graduale and Sequence includes a Tract with the text
Absolve, Domine, animas omnium fidelium defunct rum (Forgive,
O Lord, the souls of all the faithful departed). Strangely the booklet notes
say nothing of its inclusion. The Tract is sung by Schola Gregoriana
Tübingen who are specialists in Gregorian chant, under the direction of their
chorus-master Wilfried Rombach.
In the opening Introit and Kyrie the singing of the Kammerchor
is reverential with significant poignancy. At 4:54 (track 1) in the Kyrie
eleison one notices the gathering tension. Glorious if rather melancholic
music in the Gradual is sung with the greatest of respect for the text.
There is impeccable and sensitive singing of the Tract - ‘Absolve,
Domine’ by Schola Gregoriana in the manner of a Gregorian chant.
Commencing with a brass fanfare and a fearsome strike of the tam-tam, a highlight
of the score is the wonderful and exciting performance of the magnificent
Sequence. In the line Confutatis maledictis, Flammis acribus addictis’(When
the damned are cast away and consigned to the searing flames) I marvelled
at the explosive climax at the word ‘maledictis’ (point 5:14, track
4). From 6:36 (track 4), performed with vigour, the Lacrimosa dies illa
(On this day full of tears) is moving and expressively sung by the Stuttgart
choir.
The Offertorium contains much of real merit. I especially enjoyed the
passage Quam olim Abrahae promisisti et semini ejus (As thou didst
promise Abraham and his seed) for its voluble and stirring climax (from point
4:23, track 4). By contrast from 7:31 (track 5) the text Hostias et preces
tibi, Domine, laudis officious; (O Lord, we offer You sacrifices
and praise) is given a gentle and serene performance by the Kammerchor. Following
closely on and increasing in intensity and weight comes the reprise of the
passage Quam olim Abrahae at 11:35 (track 5). The Sanctus and
Benedictus is a very brief yet imposing movement and sacred restraint
imbues the attractively sung Pie Jesu Domine. The final section
is the Agnus Dei, qui tollis peccata mundi (Lamb of God, who take away
the sins of the world) depicting pain and suffering before gradually fading
away to lie at eternal rest.
Throughout the score the Kammerchor display splendid diction and impressive
unity with first class playing from the Hofkapelle on period instruments.
Frieder Bernius controls his Stuttgart forces with sensitivity and assurance.
Recorded in May 2010 at the Evangelischen Kirche, Gönningen the recording
is warm and generally clear with a degree of blurring in the louder passages.
This well presented Carus release has full Latin texts and an essay with English
translations provided. The recording is played on period instruments and is
a superb achievement for Frieder Bernius and the Carus label.
Michael Cookson
A superb achievement for Frieder Bernius and Carus.