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
