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Johannes BRAHMS (1833-1897)
Wach auf, meins Herzens Schöne
From 14 Deutsche Volkslieder for mixed choir WoO 34 (1864)
From 12 Deutsche Volkslieder for mixed choir WoO posth. 35
(c.1864)
Drei Quartette op.31 (1859-63)
From Drei Quartette op.64 (1862-74)
From Lieder und Romanzen Op. 93a (c.1890)
From 6 Klavierstücke op.118: No.1 and No.6 (1893)
Ballade, Op. 10 No. 4
Anne Le Bozec (piano), Vocalensemble Rastatt/Holger Speck
rec. September 2009, Hans-Rosbaud-Studio, Baden-Baden. DDD
Texts in German included, with English translation.
See full track-listing and timings after the review.
CARUS 83.448 [63:52] 
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Brahms must have had some kind of Midas touch. Whatever he
touched turned to a treasury of … well, Brahms … and in a good
sense. And so when he arranged a collection of folk-songs, they
all turned into siblings of his Liebeslieder and lullabies.
The folk-songs, arranged for mixed chorus, occupy about half
of the program on this disc. The rest drawn from his vocal Quartets
for mixed choir and piano, and, as a surprise, there are three
pieces for solo piano that separate substantial stretches of
choral music.
Most of these songs inhabit the lands far distant from the Romantic
kingdom of drama and melancholy. The overall impression is of
warm and calm. The singing of the Vocalensemble Rastatt is smooth
and stylish. Even in the most difficult passages it sounds feather-light
and effortless. The singers are clearly enjoying what they are
doing. The faster numbers are cheerful and bouncy, the slower
ones atmospheric and soulful. Everywhere subtle nuances are
in place. The diction is perfect, and the hissing s-s
and z-s, which can be a plague for German choral singing,
are compact and accurate. For each song the conductor Holger
Speck chooses just the right tempo.
Brahms, as always, is torn between two poles: the old and the
new, the “Rome-antique” and the Romantic. But he also had a
gift for locating a satisfying equilibrium. The result, as it
often came from his hands, looks like a wedding gown sewn out
of quilted blankets. On the other hand it is so invitingly comfortable
and many of the melodies are instantly memorable.
The idea of inserting three pure instrumental pieces was ingenious.
In other circumstances it could look artificial; here it really
works. It refreshes the feelings, and allows us to continue
and enjoy the singing without getting bored. Anne Le Bozec plays
with a delicate and soft touch. She is expressive, yet with
perfect Brahmsian restraint. She is also a sensitive accompanist
in the Quartets.
The recording is as clear as the morning air, and captures well
all levels of the choir. The liner-note is in German, English
and French, and contains an essay on the songs, by Jakob Hauschildt.
The full texts of the songs are included, along with their English
translations. Listening to this disc gave me a lot of pleasure,
and I am sure that this warm and elegant performance will delight
many lovers of choral singing.
Oleg Ledeniov
Track-listing
Des Abends, WoO posth.35 No.6 [1:29]
Bei nächtlicher Weil, WoO 34 No.3 [2:15]
Die Wollust in den Maien, WoO 34 No.11 [1:26]
Erlaube mir, fein's Mädchen, WoO posth.35 No.3 [1:32]
Da unten im Tale, WoO posth.35 No.5 [1:40]
Intermezzo in A minor, Op.118 No. 1 [2:13]
Wach auf meins Herzens Schöne, WoO posth.35 No.2 [2:24]
Der tote Knabe, WoO 34 No.10 [1:44]
Dort in den Weiden, WoO posth.35 No.8 [1:01]
In stiller Nacht, WoO 34 No.8 [2:21]
Wechsellied zum Tanze, Op.31 No.1 [6:04]
Neckereien, Op.31 No.2 [2:24]
Der Gang Zum Liebchen, Op.31 No.3 [2:47]
Intermezzo in E flat minor, Op.118 No. 6 [4:56]
Der bucklichte Fiedler, Op.93a No.1 [1:49]
Mit Lust tät ich ausreiten, WoO 34 No.2 [1:48]
Sankt Raphael, WoO 34 No.7 [2:13]
Schnitter Tod, WoO 34 No.13 [2:05]
Abschiedslied, WoO 34 No.9 [2:57]
Ballade, Op. 10 No. 4
An die Heimat, Op.64 No.1 [5:21]
Der Abend, Op.64 No.2 [4:37]
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