Stravinsky: Symphony of Psalms - Herreweghe
PentaTone Classics PTC 5186349
Stereo/Multichannel Hybrid
Classical - Vocal
Stravinsky: Symphony of Psalms, Monumentum pro Gesualdo di Venoza, Choral variations on "Von Himmel Hoch", Mass
Collegium Vocale Gent
Royal Flemish Philharmonic
Philippe Herreweghe (conductor)
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Review by John Broggio - August 30, 2010
A masterly coupling of a cross-section of Stravinsky's choral output.
The first work on this disc is Monumentum (1960; Pro Gesualdo di Venosa ad CD Annum), written in honour of Gesualdo's 400th birthday. It is a re-composition that starts faithfully re-imagining the score but gradually expands into the neo-classical C20 harmonic thought so beloved of Stravinsky. Immediately following is the appropriate coupling of his Mass (1948; for mixed chorus and double wind quintet) in which his contemporary restoration of the Renaissance language is made complete. The admirable solo quartet (Nathalie Siebert, Cecile Pilorger, Tom Philips, Matthias Lutze) are drawn from within the chorus and, as one might expect, make a very pleasing blend with each other and their colleagues. The playing of the Royal Flemish Philharmonic has a pleasingly neo-Renaissance flavour in both works and is directed with the style one would expect from a pioneer in the HIP movement.
Next up is Bach's Choral Variations on the German Christmas carol "Vom Himmel hoch" as re-composed by Stravinsky. Including a harp amongst other instruments, this is not Bach as we would normally hear these days! Herreweghe opts, as in the Mass, for a small chorus (6, 6, 6, 6) and entreats his instrumentalists to play with a sparse tone that would have seemed very unusual for the time of Stravinsky's re-imagining of this masterpiece (1956). The cumulative result is much more convincing than most, if not all, of the larger-scale readings to be found on disc. One can readily believe both master composers raising a smile at the musicianship on display here.
Concluding the disc is a seminal work in both Stravinsky's oeuvre and that of the choral repertoire and it is fair to say that the Collegium Vocale Gent here come into their own, now numbering 12, 10, 11, 12 they may be smaller in number than one might be used to hearing in this work but the clarity of diction and unanimity of attack more than allays any preconceived fears one might have held. Again, Herreweghe draws mock HIP playing from his orchestra so that dynamic contrasts are greater than one is used to in the Symphony of Psalms, to thrilling effect. The tempo choices are also near ideal and one is in total admiration of the dedication of the performances and clearly reflects that these are concert performances (with an impressively silent audience).
The sound however, is a little sub-par for Pentatone; this probably stems from the actual hall (deSingel, Antwerp) rather than this being a concert performance. At times during the Symphony, the bass drum worryingly approaches a Telarc style of sonic reproduction. That aside, the clarity is a joy to behold for each section of the orchestra and chorus is clearly identifiable.
Recommended unhesitatingly musically but with reservation sonically.
Copyright © 2010 John Broggio and HRAudio.net
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