SearchsearchUseruser

Cherubini: Requiem in C minor - Bernius

Cherubini: Requiem in C minor - Bernius

Carus  83.227

Stereo/Multichannel Hybrid

Classical - Vocal


Luigi Cherubini: Requiem in C minor

Hofkapelle Stuttgart
Kammerchor Stuttgart
Frieder Bernius

Support this site by purchasing from these vendors using the paid links below.
As an Amazon Associate HRAudio.net earns from qualifying purchases.

bol.com
 
jpc
Presto

Add to your wish list | library

 

7 of 7 recommend this, would you recommend it?  yes | no

All
show
Reviews (1)
show
hide

Review by John Broggio - October 26, 2010

Another triumph from Carus and their house conductor Frieder Bernius.

This Requiem was highly regarded by no lesser figures than Schumann, Brahms and Beethoven - who even had it performed at his own funeral. Opening with a dolorous Introitus, an effect achieved by omitting any bright sounding instruments (i.e. no violins) and muffling the timpani, there is a seamless transition into the much shorter Kyrie whose material is very closely related but much more impassioned. Cherubini then presents a Graduale that is imitative but brief. Some plainchant is inserted at this point to mirror the structure of the service for which this was written (Louis XVI's somewhat understandably belated funeral in 1817).

After a brief fanfare from the brass, a huge thwack of the tam-tam grabs ones attention entirely before tremolando strings form the basis for the dramatic Dies Irae that incorporates the brass fanfares in the climaxes - one can see many later compositions borrowing freely from this moment. The short conclusion of the Sequence with the customary Lacrimosa is clearly well differentiated even though it is through-composed by Cherubini and the soulful words are almost constantly punctuated by stabbing brass chords.

Cherubini's Offertorium is the longest section of the piece, taking up a third of the compositions length of performing time. Domine Jesu Christe at first seems like a peaceful section but it is kept in a state of tension by the chromatic writing, tremolandos in the strings and march-like figurations. The fugal Quam olim Abrahae promisisti is altogether more celebratory in mood and gives all sections of the choir a chance to shine. The Offertorium's concluding Hostias et preces tibi is much more meditative and consoling in mood and in these hands, the listener needs some welcome respite! Before the movement is out, the fugal section returns to end the movement in triumphant mood.

The Sanctus et Benedictus starts where the Offertorium left off with jubilant invocations accompanied by upwards arpeggiated figures in the violins. A more sombre mood returns with the Pie Jesu and clarinets sobbing alongside the choral contributions. The concluding Agnus Dei et Communio start somewhat abruptly, with fragmented figurations from the strings attempting to throw the deceased heaven-ward! It soon changes to the more sombre moods experienced earlier to which some pulsating bass and timpani parts are added; it does not end quietly or consolingly but with a angry air of resignation.

Bernius' superb Kammerchor Stuttgart and Hofkapelle Stuttgart (on period instruments that sound aeons from the first attempts to present "authentic" performances in the public arena) are fully attuned to the stylistic demands and present the music compellingly and with an air of tragedy. For the Tractus, Schola Gregoriana Tubingen under Wilifred Rombach provide the chants and responses. Somewhat unusually, there are no vocal soloists in this work and so the role of the chorus is evermore important - the Kammerchor Stuttgart are more than equal in this respect and fully match the excellence of the playing. Bernius as ever draws superbly dramatic and eloquent readings from all concerned and is another triumph of his conducting style.

The sound is as good as we have come to expect from Carus; from the accompanying photography it looks as though this was recorded in concert but there is little if any noise from any audience; the electricity generated does suggest the provenance though!

Highly recommended for a shamefully neglected work.

Copyright © 2010 John Broggio and HRAudio.net

Performance:

Sonics:

stars stars