Once a year the MUMS Symphony Orchestra join forces with The University of Manchester Chorus and present an evening of large scale choral works in the splendour of the baronial Whitworth Hall, a part of the original university building standing proudly on Oxford Road.
Their showpiece this evening was Brahms' 'Ein Deutsches Requiem', which is usually translated as 'A German Requiem', but might better be thought of as 'A Requiem For Germany'. The work is a very personal one for Brahms, and one which he felt very dearly about. Written only one year after the death of his own mother and his deep-rooted love for his native land which he could see or at least sense altering. The time was right for him to write a large scale work, not so much about death, but about the death of living. Rather than using the conventional Latin texts for his requiem, he chose instead to use the German Lutheran bible as his lyrics. Thus not only making it quite clear that his patriotism was unwavering, but also, as a consolation for those alive more than a mourning for those dead.
The work is in 7 movements, and requires not only orchestra and choir but two soloists; a baritone and a soprano. James Berry was our baritone soloist this evening, with a hugely pleasing vocal resonance and his articulation was excellent. It's a wonderful experience being in the Whitworth Hall for these concerts since they are one of the few remaining venues which don't use microphones and so we are able to listen to the voices - and the music in general - perfectly without artificial amplification, and these days, that is a real pleasure. The soprano solo this evening was Charlotte Trespass, who was, for me, just a little too harsh. Her obvious talent and honed voice were, for me, being pushed just a little too much and were not blending quite as well as perhaps it ought to have been with the orchestra and chorus; sounding somewhat piercing on the higher notes.
Under the direction of Robert Guy, the orchestra and chorus sounded, for the most part, sublime. I do think the chorus though needed to learn a little more about enunciation and the correct German pronunciations. Some of what I heard sounded distinctly un-German. The sound quality however was superb, and Guy's work on dynamics throughout the piece was astounding. The finale of the 6th movement especially. I always think that that is where this work really ought to end. However the requiem takes us back to peace and quiet and reflection again with its final 7th movement.
After the interval, and we came back to listen to two completely contrasting pieces. First, a contemporary choral work by John Casken. Written, using snippets of archive text, and for his own chamber choir in Northumberland, this work's full title is 'Memorial For The Fallen And Lost 1914-18'. and uses a chamber choir and percussion. This evening it was sung by The Cosmo Singers, a small choir formed from the Manchester University Music Society, and they sang it superbly. It calls for, once again a male and female solo, and these were taken by two members of the choir. The piece is haunting and emotive and striking in both it's difficulty and simplicity. The harmonies and rhythm patterns difficult, but the message it conveys and its overall 'feel', simple. My companion this evening was really quite moved by this piece, and even though I am not a huge advocate of modern classical music, I have to admit that this was a very emotional performance.
The idea behind the programming of this evening's concert was not especially to commemorate the centenary of the First World War, but rather perhaps to bring together both German and British music into the same concert and celebrate our similarities rather than deride our differences through music.
To this end the concert finished with one of the best-loved works in the choral repertoire, Vaughan-Williams' epic 'Toward the Unknown Region'. The work is a journey from darkness into light and starts softly in pianissimo and the entire piece is one long and slow crescendo to a glorious and fortissimo sound wall to end. Given the remit of the concert's programme, this was a beautiful vocal metaphor for our relationship with Germany since 1945. This was a superb rendition of this piece, and Guy once again knew exactly how to tease both orchestra and choir in the subtlest of dynamic changes bringing the work to it's joyous and rousing conclusion.
All in all, this was a lovely concert, and the extended applause at the end was utterly deserved. I did enjoy the second half better personally, but that's a completely subjective opinion.
Reviewer - Matthew Dougall
on - 2/12/18
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