CPO
Bruch: Das Lied Von Der Glocke / Van Steen, Marguerre, Et Al
$36.99
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Details
- Composer
- BRUCH
- Artist
- Mario Hoff, Philharmonischer Chor Prag
- Format
- CD
- Label
- CPO
- Released
- Jul 19, 2005
- Catalog #
- 777130-2
- UPC
- 761203713028
About
Not too many years ago Max Bruch was close to being a "one-hit wonder" in the classical music lists, that hit being his G minor violin concerto. There were a couple of shorter pieces, notably the Kol Nidrei, but there was little available evidence to judge the opinion of some familiar observers that Bruch was as great a composer as his contemporary Johannes Brahms.
With the CD era came an expansion of recorded repertoire, and now Bruch's three symphonies, more concertos, and several other large-scale works are available. None I've heard shows that he was near Brahms' equal, but they have solid workmanship, good melodies, considerable imagination, and other virtues that result in worthwhile music. However, what likely kept Bruch from the highest compositional magnitude is his music's pervasive comfortable Victorian bourgeois outlook.
A look at Bruch's catalog reveals an emphasis on choral music, including that form so beloved of Victorians, the oratorio. Lay of the Bell (as its title is rendered in the flowery English translation of Edward Bulwer Lytton used in CPO's detailed program book) is not religious, but it is moralistic. Schiller's text was a mainstay of German sentiment during the 19th century. Casting a bell in a foundry is an allegory for raising a child to be a good person, presumed to be the path to ensuring personal prosperity and a well-ordered society. This sentiment foundered on the shoals of World War I and went under entirely during the Nazi era.
So this 100-minute-long choral and orchestral piece comes with a strike against it: It's a bit hard to read the text (particularly in the overheated language of Bulwer Lytton, he most famed for "It was a dark and stormy night...") without sniggering, the while Bruch's music plows on with undiminished earnestness. However, heard without first reading program notes or text, it becomes a very interesting, entertaining work, and it remains so on subsequent listening. There is some stodginess in the music, but it doesn't drag despite the pompous text. The large form is shaped well, so that the unexpected presence of the Christmas tune "Silent Night" at the work's end (unexplained by the notes or the text) evokes a satisfying frisson.
The performers approach the work as worthy of admiration, and they prove that it is. Fine melodies, along with an intriguing harmonic language marrying Brahmsian solidity with Wagnerian love of suspensions and other devices to keep harmonies unpredictable, make the music interesting. The four soloists are a fine group, singing with lyrical tones rather than the barking sound often heard in middle-European oratorio performances. Jac van Steen and his orchestra and chorus work well together, and the live audience is well behaved. The sound is a bit opaque, but not to a troublesome degree.
This is a big piece, obviously intended by the composer to be an Important Work. Ein Deutsches Requiem it ain't, but in this recording it provides a welcome insight into a composer who evidently has a lot of good unknown music still mouldering on library shelves.
--Joseph Stevenson, ClassicsToday.com
With the CD era came an expansion of recorded repertoire, and now Bruch's three symphonies, more concertos, and several other large-scale works are available. None I've heard shows that he was near Brahms' equal, but they have solid workmanship, good melodies, considerable imagination, and other virtues that result in worthwhile music. However, what likely kept Bruch from the highest compositional magnitude is his music's pervasive comfortable Victorian bourgeois outlook.
A look at Bruch's catalog reveals an emphasis on choral music, including that form so beloved of Victorians, the oratorio. Lay of the Bell (as its title is rendered in the flowery English translation of Edward Bulwer Lytton used in CPO's detailed program book) is not religious, but it is moralistic. Schiller's text was a mainstay of German sentiment during the 19th century. Casting a bell in a foundry is an allegory for raising a child to be a good person, presumed to be the path to ensuring personal prosperity and a well-ordered society. This sentiment foundered on the shoals of World War I and went under entirely during the Nazi era.
So this 100-minute-long choral and orchestral piece comes with a strike against it: It's a bit hard to read the text (particularly in the overheated language of Bulwer Lytton, he most famed for "It was a dark and stormy night...") without sniggering, the while Bruch's music plows on with undiminished earnestness. However, heard without first reading program notes or text, it becomes a very interesting, entertaining work, and it remains so on subsequent listening. There is some stodginess in the music, but it doesn't drag despite the pompous text. The large form is shaped well, so that the unexpected presence of the Christmas tune "Silent Night" at the work's end (unexplained by the notes or the text) evokes a satisfying frisson.
The performers approach the work as worthy of admiration, and they prove that it is. Fine melodies, along with an intriguing harmonic language marrying Brahmsian solidity with Wagnerian love of suspensions and other devices to keep harmonies unpredictable, make the music interesting. The four soloists are a fine group, singing with lyrical tones rather than the barking sound often heard in middle-European oratorio performances. Jac van Steen and his orchestra and chorus work well together, and the live audience is well behaved. The sound is a bit opaque, but not to a troublesome degree.
This is a big piece, obviously intended by the composer to be an Important Work. Ein Deutsches Requiem it ain't, but in this recording it provides a welcome insight into a composer who evidently has a lot of good unknown music still mouldering on library shelves.
--Joseph Stevenson, ClassicsToday.com
Tracklist 28 tracks
- Disc 1
-
1 Introduction 04:49
- Track
- 1
- Title
- Introduction
- Duration
- 04:49
- Composer
- Max Bruch
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
2 Part I: Festgemauert in der Erden (Bass, Chorus) 08:34
- Track
- 2
- Title
- Part I: Festgemauert in der Erden (Bass, Chorus)
- Duration
- 08:34
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
3 Part I: Praeludium 01:06
- Track
- 3
- Title
- Part I: Praeludium
- Duration
- 01:06
- Composer
- Max Bruch
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
4 Part I: Denn mit der Freude Feierklange (Chorus) 05:30
- Track
- 4
- Title
- Part I: Denn mit der Freude Feierklange (Chorus)
- Duration
- 05:30
- Composer
- Max Bruch
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
5 Part I: Recitative: Die Jahre fliegen pfeilgeschwind (Tenor) 02:55
- Track
- 5
- Title
- Part I: Recitative: Die Jahre fliegen pfeilgeschwind (Tenor)
- Duration
- 02:55
- Composer
- Max Bruch
- Performer
- Klaus Florian Vogt
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
6 Part I: O zarte Sehnsucht, susses Hoffen 06:15
- Track
- 6
- Title
- Part I: O zarte Sehnsucht, susses Hoffen
- Duration
- 06:15
- Composer
- Max Bruch
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
7 Part I: Wie sich schon die Pfeifen braunen (Bass) 01:18
- Track
- 7
- Title
- Part I: Wie sich schon die Pfeifen braunen (Bass)
- Duration
- 01:18
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
8 Part I: Quartet: Denn wo das Strenge mit dem Zarten (Alto, Bass, Tenor, Soprano) 04:16
- Track
- 8
- Title
- Part I: Quartet: Denn wo das Strenge mit dem Zarten (Alto, Bass, Tenor, Soprano)
- Duration
- 04:16
- Composer
- Max Bruch
- Performer
- Annette Markert, Mario Hoff, Klaus Florian Vogt, Eleonore Marguerre
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
9 Part I: Der Mann muss hinaus ins ins feindliche Leben (Chorus) 03:43
- Track
- 9
- Title
- Part I: Der Mann muss hinaus ins ins feindliche Leben (Chorus)
- Duration
- 03:43
- Composer
- Max Bruch
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
10 Part I: Recitative: Und der Vater mit frohem Blick (Tenor, Chorus) 02:56
- Track
- 10
- Title
- Part I: Recitative: Und der Vater mit frohem Blick (Tenor, Chorus)
- Duration
- 02:56
- Composer
- Max Bruch
- Performer
- Klaus Florian Vogt
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
11 Part I: Recitative: Woh! nun kann der Guss beginnen (Bass) 01:35
- Track
- 11
- Title
- Part I: Recitative: Woh! nun kann der Guss beginnen (Bass)
- Duration
- 01:35
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
12 Part I: Recitative: Wohltatig ist des Feuers macht (Alto, Soprano) 02:46
- Track
- 12
- Title
- Part I: Recitative: Wohltatig ist des Feuers macht (Alto, Soprano)
- Duration
- 02:46
- Composer
- Max Bruch
- Performer
- Annette Markert, Eleonore Marguerre
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
13 Part I: Hort ihr's wimmern (Chorus) 06:23
- Track
- 13
- Title
- Part I: Hort ihr's wimmern (Chorus)
- Duration
- 06:23
- Composer
- Max Bruch
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
14 Part I: Recitative: Einen Blick nach dem Grabe (Soprano, Alto, Tenor, Bass, Chorus) 03:50
- Track
- 14
- Title
- Part I: Recitative: Einen Blick nach dem Grabe (Soprano, Alto, Tenor, Bass, Chorus)
- Duration
- 03:50
- Composer
- Max Bruch
- Performer
- Eleonore Marguerre, Annette Markert, Klaus Florian Vogt, Mario Hoff
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
- Disc 2
-
1 Part II: In die Erd' ist's aufgenommen (Bass) 02:02
- Track
- 1
- Title
- Part II: In die Erd' ist's aufgenommen (Bass)
- Duration
- 02:02
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
2 Part II: Recitative: Dem dunklen Schoss der heil'gen Erde (Bass) 02:35
- Track
- 2
- Title
- Part II: Recitative: Dem dunklen Schoss der heil'gen Erde (Bass)
- Duration
- 02:35
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
3 Part II: Von dem Dome schwer und bang (Chorus) 02:52
- Track
- 3
- Title
- Part II: Von dem Dome schwer und bang (Chorus)
- Duration
- 02:52
- Composer
- Max Bruch
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
4 Part II: Aria: Ach! die Gattin ist's, die teure (Alto) 05:01
- Track
- 4
- Title
- Part II: Aria: Ach! die Gattin ist's, die teure (Alto)
- Duration
- 05:01
- Composer
- Max Bruch
- Performer
- Annette Markert
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
5 Part II: Bis die Glocke sich verkuhlet (Bass) 01:24
- Track
- 5
- Title
- Part II: Bis die Glocke sich verkuhlet (Bass)
- Duration
- 01:24
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
6 Part II: Intermezzo - Munter fordert seine Schritte (Alto, Tenor, Bass) 03:38
- Track
- 6
- Title
- Part II: Intermezzo - Munter fordert seine Schritte (Alto, Tenor, Bass)
- Duration
- 03:38
- Composer
- Max Bruch
- Performer
- Annette Markert, Klaus Florian Vogt, Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
7 Part II: Recitative: Heil'ge Ordnung (Soprano) 01:19
- Track
- 7
- Title
- Part II: Recitative: Heil'ge Ordnung (Soprano)
- Duration
- 01:19
- Composer
- Max Bruch
- Performer
- Eleonore Marguerre
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
8 Part II: Heil'ge Ordnung (Chorus) 06:46
- Track
- 8
- Title
- Part II: Heil'ge Ordnung (Chorus)
- Duration
- 06:46
- Composer
- Max Bruch
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
9 Part II: Trio: Holder Friede, susse Einatracht (Soprano, Alto, Tenor) 06:19
- Track
- 9
- Title
- Part II: Trio: Holder Friede, susse Einatracht (Soprano, Alto, Tenor)
- Duration
- 06:19
- Composer
- Max Bruch
- Performer
- Eleonore Marguerre, Annette Markert, Klaus Florian Vogt
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
10 Part II: Recitative: Nun zerbrecht mir das Gebaude (Bass) 01:12
- Track
- 10
- Title
- Part II: Recitative: Nun zerbrecht mir das Gebaude (Bass)
- Duration
- 01:12
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
11 Part II: Der Meister kann die Form zerbrechen (Bass, Tenor, Alto, Chorus) 07:21
- Track
- 11
- Title
- Part II: Der Meister kann die Form zerbrechen (Bass, Tenor, Alto, Chorus)
- Duration
- 07:21
- Composer
- Max Bruch
- Performer
- Mario Hoff, Klaus Florian Vogt, Annette Markert
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
12 Part II: Recitative: Freude hat mir Gott geggeben (Bass) 02:56
- Track
- 12
- Title
- Part II: Recitative: Freude hat mir Gott geggeben (Bass)
- Duration
- 02:56
- Composer
- Max Bruch
- Performer
- Mario Hoff
- Ensemble
- Staatskapelle Weimar
- Conductor
- Jac van Steen
-
13 Part II: Quartet: Und dies sei fortan ihr Beruf (Soprano, Alto, Tenor, Bass, Chorus) 04:52
- Track
- 13
- Title
- Part II: Quartet: Und dies sei fortan ihr Beruf (Soprano, Alto, Tenor, Bass, Chorus)
- Duration
- 04:52
- Composer
- Max Bruch
- Performer
- Eleonore Marguerre, Annette Markert, Klaus Florian Vogt, Mario Hoff
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen
-
14 Part II: Quartet: Jetzo mit der Kraft des Stranges (Soprano, Alto, Tenor, Bass, Chorus) 05:11
- Track
- 14
- Title
- Part II: Quartet: Jetzo mit der Kraft des Stranges (Soprano, Alto, Tenor, Bass, Chorus)
- Duration
- 05:11
- Composer
- Max Bruch
- Performer
- Eleonore Marguerre, Annette Markert, Klaus Florian Vogt, Mario Hoff
- Ensemble
- Philharmonischer Chor Prag, Staatskapelle Weimar
- Conductor
- Jac van Steen