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    Hindemith: Messe, Apparebit Repentina Dies - Creed, Swr Vokalensemble Stuttgart (2013)

    Posted By: peotuvave
    Hindemith: Messe, Apparebit Repentina Dies - Creed, Swr Vokalensemble Stuttgart (2013)

    Hindemith: Messe, Apparebit Repentina Dies - Creed, Swr Vokalensemble Stuttgart (2013)
    EAC Rip | Flac (Tracks + cue + log) | 1 CD | Full Scans | 249 MB
    Genre: Classical | Label: Hanssler Classic | Catalog Number: 93295

    December 2013 will mark the 50th anniversary of Paul Hindemith's death, but this is not the only reason for the SWR Vokalensemble Stuttgart to turn Hindemith's choral works. His works continue to impress with diverse expressions and moods that utilize a variety of different compositional techniques and musical forms.

    In the works on this program, the SWR Vokalensemble Stuttgart realizes this idea quite beautifully. With this latest recording of the choral works of Hindemith, the elite Stuttgart team under the direction of Marcus Creed continues its award-winning series of recordings together with the choral works by Kurtág, Carter, Schnittke and Villa-Lobos.

    Composer: Paul Hindemith
    Conductor: Marcus Creed
    Orchestra/Ensemble: Stuttgart Southwest German Radio Vocal Ensemble

    Reviews: Hindemith’s compositions for unaccompanied choir remain among his least performed works. Part of it may be due to the composer’s somewhat undeserved reputation for emotional austerity (whereas in truth he is an instance of still waters that run deep). Part of it likely is owed to the long-running hostility of an academic musical establishment, dominated by acolytes of dodecaphony, against a composer who doggedly insisted upon tonality as a fundamental necessity for musical composition. Finally, part of it surely stems from the sheer technical difficulty of the larger-scale choral works, such as the Apparebit and the Mass presented here. Fortunately, between the collapse of the once regnant academic orthodoxy on the one hand, and the emergence of an increasing number of top-notch choral ensembles on the other, recordings such as this now provide opportunities for these works to obtain the hearings they deserve. For anyone who has heard them, there can be no doubt that these are neglected masterpieces. Among his manifold talents, Hindemith was a musicologist with a deep interest in Renaissance choral literature; he conducted the Yale Collegium Musicum as a member of the university’s faculty, and with that group made LPs (very scarce) of works by Byrd, de Monte, Dufay, Andrea and Giovanni Gabrieli, Gesualdo, Jacobus Handl, Lassus, Le Jeune, Palestrina, and Perotin. The contrapuntal techniques of pre-baroque choral compositions are a distinguishing characteristic of all of Hindemith’s works for choral ensembles.


    The Apparebit repentina dies dates from1947, when the composer was at the peak of his reputation and creative powers. It was commissioned by Harvard University, and premiered by members of that institution’s Collegiate Chorale and members of the Boston Symphony brass section. The Latin text, by an anonymous seventh-century author, consists of 23 couplets constructed as an abecedarium—a poem in which each couplet begins with a successive letter of the alphabet. Drawing upon imagery in the gospels and the Book of Revelation, it creates a portrait of the Day of Judgment similar to that in the later and better-known Dies irae. The brass choir, consisting of two trumpets, four horns, three trombones, and tuba, opens the work with a fugal fanfare and reappears periodically throughout. Hindemith divides the poem into four parts: The first depicts the overall nature of the apocalyptic hour of doom; the second features a dialogue between God as judge and the two groups of human souls to appear before him, the blessed and the damned; the third describes the respective fates of the two groups; and the brief concluding fourth section admonishes sinners to flee evil and embrace righteousness. Throughout the composer makes imaginative use of his forces. For example, in the second section the declarations of God are sung by bass male voices, and the responses of mankind by the female sections of the choir; in the third section, the music for the damned consists of shorter, abrupt phrases punctuated with discords, whereas that for the blessed is comprised of more lyrical, flowing lines.


    The Six Chansons from 1939 and the six Lieder nach alten Texten (Songs on Old Texts) from 1923–25 both represent Hindemith in a lighter vein. Both works are sets of madrigals; the chansons set poems of Rainer Maria Rilke (also the source of the composer’s Das Marienleben song cycle), whereas the Lieder draw upon texts from medieval and 16th-century sources. Even though they fall on either side of Hindemith’s major stylistic shift from Die neue Sachlichkeit (The New Objectivity) and Gebrauchsmusik (Utilitarian Music) to his modern neoclassical and neobaroque idioms, they share many stylistic similarities. Each of these 12 miniatures captures its respective subject matter with delicacy and wit, ranging in mood from the contemplative and pensive to the satirical and boisterous. Both sets are written at a level of ability within the technical compass of well-trained amateur choirs.


    The Mass from 1963 was Hindemith’s last completed work; he conducted the premiere at a church in Vienna on November 12, 1963, only six weeks before his death from pancreatitis. Raised as a nominal Protestant, he never formally embraced any particular religious creed as an adult. Nonetheless, he made clear his continual preoccupation with musical composition as a profoundly spiritual and ethical enterprise that seeks to shape rightly human minds and hearts. Also, his wife, Gertrude, was a devout Roman Catholic, and is believed to have exercised a substantial influence upon him in such matters in his later years. This is an extremely complex score, dominated by various forms of counterpoint (both free and imitative), including sections of quadruple counterpoint. Those such as myself who love and collect Renaissance Mass settings will find in this work a masterfully updated realization of that musical tradition.


    Conductor Marcus Creed is a byword for superb choral performances, and his work here with the SWR Vocal Ensemble of Stuttgart that he has led for the last decade is no exception. These are sterling performances of masterworks that demand inclusion in the standard choral repertoire; the choral singing is exemplary in every way, and the brass section of the Stuttgart Radio Symphony performs with power and precision. This release is all the more important because there are so few alternatives for these works. There is only one other version of the Apparebit currently in print, and it is not competitive with this one. For the other works, the major recordings at present are:


    (1) A 1994 Globe CD by the Netherlands Chamber Choir under Uwe Gronostay, which couples the Six Chansons and the Mass with six of the 12 Madrigals from 1958 and the Four Male Choruses (see the positive review by James H. North in 18:4);


    (2) A 1996 Chandos release of the Lieder, the Mass, and six of the 12 Madrigals, by the Danish National Radio Choir under Uwe Gronostay (see the negative review by James H. North in 19:5);


    (3) A 1996 Wergo disc by the Berlin Radio Choir under Stefan Parkman, on which the Six Chansons and Lieder are paired with the complete set of the 12 Madrigals and nine brief vocal canons. This issue has no review in the Fanfare Archive; the choir sings very well, but it has a very different sound, using the pure or “straight” tone favored by ecclesiastical choirs.


    Hänssler provides clear, spacious recorded sound, complete German-English texts, and substantial program notes. In short, this magnificent release has “Want List 2013 Candidate” stamped all over it, and is urgently and enthusiastically recommended.

    Tracklisting:

    1. Mass by Paul Hindemith
    Conductor: Marcus Creed
    Orchestra/Ensemble: Stuttgart Southwest German Radio Vocal Ensemble
    Period: 20th Century
    Written: 1963; USA

    2. Chansons (6) by Paul Hindemith
    Conductor: Marcus Creed
    Orchestra/Ensemble: Stuttgart Southwest German Radio Vocal Ensemble
    Period: 20th Century
    Written: 1939; Germany

    3. Apparebit repentina dies by Paul Hindemith
    Conductor: Marcus Creed
    Orchestra/Ensemble: Stuttgart Southwest German Radio Vocal Ensemble
    Period: 20th Century
    Written: 1947

    4. Lieder nach alten Texten, Op. 33 by Paul Hindemith
    Conductor: Marcus Creed
    Orchestra/Ensemble: Stuttgart Southwest German Radio Vocal Ensemble
    Period: 20th Century
    Written: 1923; USA

    Exact Audio Copy V1.0 beta 3 from 29. August 2011

    EAC extraction logfile from 17. April 2014, 21:33

    SWR Vokalensemble Stuttgart, Mitglieder des Radio-Sinfonieorchester Stuttgart des SWR, Marcus Creed / Messe, Apparebit repentina dies, Lieder nach alten Texten Op. 33, Six chansons

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    All tracks accurately ripped

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    Thanks to the original releaser