In 19th century Germany, choral music held much the same position in the cultural life as it does currently in Minnesota. There were an abundance of choirs, professional and amateur, and all the major composers wrote for the genre. Johannes Brahms was famous as a choral composer long before he developed a reputation as a symphonist.
As part of its "Bravo Brahms!" festival, the Minnesota Orchestra joined forces with the Minnesota Chorale, Friday night at Orchestra Hall, for sublime performances of two of Brahms' choral masterworks as centerpieces of an all-Brahms program.
Brahms wrote "Nänie" ("an ancient lament") on hearing of the death of his friend, the artist Anselm Feuerbach. His setting of the poem by Schiller is not despairing, but more consoling, much like his "German Requiem." The chorale and its artistic director, Kathy Saltzman Romey, gave an exemplary reading of the requiem last winter, and this performance was no less masterful.
From the long orchestral introduction to the polyphonic choral opening to the gentle middle section, Romey maintained firm control of the massed forces. This was a deeply felt reading that used technical proficiency to create real emotional impact.
Romey was equally adept at the more dramatic "Schicksalslied" ("Song of Destiny"). The poem by Friedrich Hölderlin contrasts the blissful, idyllic life of the gods with the bleak, tortured existence of humanity. The clarity of the chorus' sound was demonstrated in the soft dynamics.
Brahms refused to give in to Hölderlin's grim worldview. In the postlude, Romey well handled the orchestra, capturing the gentle spirit of healing with which Brahms' work concludes.
The concert opened with lush, hyperromantic performances of five of the Hungarian Dances. Brahms originally transcribed these gypsy melodies (and composed a couple of his own) for piano four-hands. Music director Osmo Vänskä led readings full of wit and high spirits, but he created a fat orchestra sound that occasionally felt overly bloated.
He was more successful with the Serenade No. 2. The lack of violins and trumpets gave the work a uniquely dark orchestral timbre. The winds were featured prominently and were shown off to strong effect. Vänskä conducted a performance of effectively understated delicacy.
