Detlev GLANERT (b. 1960)
Requiem for Hieronymus Bosch
(version 2016)
David Wilson-Johnson (voice)
Aga Mikolaj (soprano)
Ursula Hesse von den Steinen (mezzo)
Gerhard Siegel (tenor)
Christof Fischesser (bass)
Netherlands Radio Choir/Edward Caswell (chorus master)
Leo van Doeselaar (organ)
Royal Concertgebouw Orchestra/Markus Stenz
rec. live, Concertgebouw Amsterdam, 5 November 2016 (world premiere recording)
Reviewed as a stereo DSD128 download from
NativeDSD
Pdf booklet includes sung texts in Latin, English, French and German
RCO LIVE RCO17005 SACD
[83:09]
What an intriguing conceit, a requiem for an artist well known for his
harrowing depiction of last things; the third panel of his triptych, The Garden of Earthly Delights, springs to mind. The German composer
Detlev Glanert, who’s also the Concertgebouw’s composer in residence, was
commissioned by the orchestra to write a piece to mark the 500th
anniversary of the death of Hieronymus Bosch, the Brabantian artist who
died in 1515. In his booklet essay, which includes conversations with the
composer, Mark van de Voort points out that Glanert is always up for a
challenge, as demonstrated by two of his most celebrated operas, Joseph Süß (1999) and Caligula (2006).
That said, there’s mischief afoot, the liturgical setting spiced up with
medieval texts devoted to the seven deadly sins; the latter are derived
from the same source as the bawdy lyrics that Carl Orff used in his
(in)famous cantata, Carmina Burana. This is a preliminary grilling,
before the great judgement itself, in which the archangel Michael – played
by the baritone David Wilson-Johnson – attempts to gauge just how tarnished
the artist’s soul really is. A strange hybrid, perhaps, but the composer is
clear about one thing: this is not an opera by another name, but
more of an oratorio, ‘an inner spectacle, like the St Matthew Passion’. Then there’s the burning question: does this
soul make it into heaven? All in good time, dear reader, all in good time.
The piece is built on a large scale, a small choir and organ to one side,
the main choir, soloists and orchestra centre stage. As the helm is Markus
Stenz, whose well-received recordings of Mahler and Schoenberg show he’s
also not one to shirk a challenge. That said, I’ve been disappointed by his
work to date, so this could be a chance for him to make amends. As for the
Netherlands Radio Choir, they are a fine ensemble, and I fully expect them
to shine here. I’ve also been less than complimentary about some of
Polyhymnia’s recent recordings, but I’m hoping that engineers Everett
Porter and Anne Taegert will pull out all the stops with this one.
Proceedings in this heavenly ante-chamber get off to a bowel-loosening
start, with the archangel’s terrifying summons to Bosch’s waiting soul, the
vocal quartet and main choir warning of the demons that lurk within us all.
The style is Orffian, but the ostinati are not quite so blatant, the
punctuating orchestral effects more refined. Indeed, the contrast between
that and the Requiem aeternam, for small choir and organ, couldn’t
be greater; ethereal voices rise above sustained, sometimes floor-shaking
pedals, the effect both simple and affecting. Goodness, this is splendid
singing, and there’s a marvellous sense of being there, of an attentive
audience in thrall to the unfolding drama.
Wilson-Johnson does well to convey authority without sounding too much like
a drill sergeant. Gluttony, with the characterful bass Christof Fischesser,
has distinct echoes of Orff’s overfed abbot but, as before, Glanert’s
colouristic touches are far subtler. That said, the Absolve Domine
has real heft, the combined choirs weighty and passionate, the orchestra
just as transported. Even here, one senses that the composer is being
judicious, the spectacle all the more powerful for being so well
controlled. As for Stenz, he’s very much in control, and the Concertgebouw
– an orchestra that chooses when to play well – are clearly at their best.
And I have no quarrels with the recording, which is one of the finest I’ve
heard from this venue in ages.
All too often requiem settings are let down by uneven or indifferent
soloists, but this well-matched quartet are firm and fearless from start
to finish. (I’d love to hear them in the Verdi.) Glanert holds back in
Wrath – after all, the main event is still to come – tenor Gerhard Siegel
is both strong and steady at this point. One might expect a pate- and
plaster-cracking Dies irae – Berlioz, Verdi and Britten come to mind
– but Glanert, perhaps mindful of these mighty antecedents, seems
determined to play down the potential vulgarity of these climactic moments.
Indeed, good taste, agility and a telling use of vocal/orchestral resources
are key to the work’s success. Also, this music defies expectations, the Dies irae longer and more varied than one might expect.
Next up is Envy, soprano Aga Mikolaj lean and lissom throughout; then it’s
the turn of the full quartet, which excels in the hushed Juste judex that follows. Leo van Doeselaar’s organ solo makes for a
pleasing interlude, slipping quietly into Sloth, for soprano, mezzo and
orchestra. (It seems the archangel has mellowed, for now at least.) The
singing here is ravishing, Hesse von den Steinen soft velvet to Mikolaj’s
spun-silk. And those Mahlerian harp figures are certainly ear-pricking.
Well, we’re more than halfway through, and pace/inspiration show no sign of
flagging. If anything, the sense of commitment, of fierce concentration, is
stronger than ever,
The soloists take a well-deserved rest in the Domine, Jesu Christe,
which has real bounce and brio, while Hesse von den Steinen is satisfyingly
secure in Pride. Spare the orchestration may be at times, but there’s
always an underlying warmth – a harmonic richness – that will surely appeal
to those for whom contemporary music is a step too far. There’s shape and
momentum too, a genuine ebb and flow, which contributes to a sense of
development, of ongoing interest; that should please them even more. And
contrary to expectations, the Sanctus is a speedy little number, the
chorus and orchestra neat and nimble throughout.
Wilson-Johnson is back in stern voice at the start of Lust, in which the
male soloists – naturally – duet above a burbling orchestra base and
emphatic men’s choir. Yet another example of how Glanert appears to
reanimate the score, even though it really doesn’t need to be helped along.
And, to my ears at least, the Agnus Dei has an Eastern cast, its
rich tapestry glowing with threads of vocal gold. The subdued organ part is
sensitive and beautifully balanced.
Avarice is both garish and gripping, the varied refrains of the Libera me & Peccatum [Sin] bundled and bounced about the stage.
As for the finale, it defies easy description or categorisation; suffice to
say, inspiration and commitment persist to the very end, these forces
performing at their collective peak. The applause has been edited out, but
I hope the audience brought the house down. Oh, and does the artist’s
waiting soul get past God’s burly bouncer? Now that would be
telling….
A garden of earthly – and heavenly - delights; superb singing, playing and
sound.
Dan Morgan
Track-list
Demonibus [6:15]
Requiem aeternam [6:00]
Gula (Gluttony) [3:30]
Absolve Domine [3:29]
Ira (Wrath) [2:41]
Dies irae [7:35]
Invidia (Envy) [2:40]
Juste judex [5:20]
Organ solo [3:14]
Acedia (Sloth) [4:23]
Domine, Jesu Christe [3:34]
Superbia (Pride) [3:39]
Sanctus [3:14]
Luxuria (Lust) [2:13]
Agnus Dei [7:54]
Avaritia (Avarice) [1:57]
Libera me & Peccatum [6:24]
In Paradisum [8:58]
