Customer Reviews

Bruckner: Te Deum, Motets, Psalm 150 / Jochum, Berlin Philharmonic Orchestra

5 star:		(5)
4 star:		(3)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The mystical and original sacred music of Anton Bruckner is best conveyed by bruckner authority Eugen Jochum. While the Te deum and 150.psalm are almost as good as his three masses (available as an outstanding two CD in DG's series the originals - legendary recordings, again conducted by Jochum), the motets are much less powerful and less imaginative. I omitted the star for the quality of the music and not the performance. If you want to listen to Bruckner's sacred works, start with the mentioned CD of masses which like this CD features the great soprano Maria Stader.

Jochum was a prominent advocate of Bruckner, and whether or not there are other available versions of this sacred music I imagine he and his Berlin choir and orchestra will be the first port of call both for committed Brucknerians and for the rest of us. 7 of the 15 pieces here were recorded between 1966 and 1971. The dates of the others, including the final Psalm 150 in which the recording shows a few signs of strain, we are not told.

I found this a fascinating selection. The Te Deum is, I suppose, fairly familiar, the remaining pieces may be familiar to some. If you have good enough French, I recommend strongly reading the original text of the liner-note in that language. What startled me sufficiently to read it for myself was the statement in the English version regarding the motets that 'Their very structure places them all firmly in the tradition of Palestrina'. In fact all that the author says is that they tend towards the Palestrina model, which is a perfectly reasonable thing to say. He emphatically does not say 'all', he does not place anything firmly anywhere, and he does not commit himself to the belief that Palestrina wrote for the trombone. His point is simply that these motets are traditional rather than contemporary and romantic in inspiration, looking back to the unaccompanied polyphonic style of the 16th and 15th centuries via the ecclesiastical style of a later generation in which the voices were accompanied by trombones and by the organ. Bruckner's motets have little or nothing in common with Brahms's. In Bruckner's motets the Catholic in him gets the better of the German in him, whereas in his symphonies he is as exclusively German in manner as Brahms himself is, the Bach-inspired motets very much included. Bruckner's are smaller efforts, intended for actual performance in church I would feel sure, although I wish the liner had had something to say about this. The Berlin Phil is there in all its magnificence in the 150th Psalm (although the recorded sound here is rather less magnificent) and in the Te Deum itself. This is not a large-scale setting like Berlioz's or like Handel's terrific Dettingen Te Deum. It is about as long as Verdi's, although not in my opinion anywhere near as good. The parts for the vocal soloists are fairly small, and they acquit themselves perfectly, the choir is predictably first class, and my only real complaint is about a rather meagre-sounding solo violin in the Psalm, this being of course quite possibly the fault of the recording.

I did not check the translations systematically, and the only misprint I noticed in the Latin was 'et' for 'est' in the fourth line of the Vexilla Regis. Bruckner does not set the full text of the Pange lingua, but he does set the final two stanzas, the dreaded Tantum ergo familiar from some of our schooldays, set at times to some of the worst music in the entire cosmos. What I don't understand is what is wrong with a literal translation of 'cernui'. This is not 'on our knees' nor is it 'le front courbe', but literally 'prostrate'. Nor do I understand why the poet's metaphor of 'patibulo' in the Vexilla Regis has to be given as 'Cross' in English. That is what is referred to of course, but why not keep the metaphor in the English translation as in the German and French?

This sort of music appeals to me, partly from curiosity of course. It doesn't tempt the composer to excessive length, and I have to say that that appeals to me too. I recommend it to enthusiasts for his symphonies who may not know it, because it shows a side of him that is as true a part of his personality as those are. The recording is in general very good, despite some reservations about the last item, and the performances are authenticity itself.

These choral works are, in my opinion, some of the most beautiful pieces ever written. Bar none. They represent, to me, all that a choir can ever hope to be, magnificently displayed.

I have only two criticisms:

First, the trombones which accompany two of the motets are truly pitiful. They are inconsistent in their entrances, use WAY too much, and too wide, vibrato, and (under the circumstances, fortunately) are usually either drowned out by the organ or the choir.

Second, the orchestra is a little bit bombastic. I would prefer a more subtle and graceful interpretation. This may be in conflict with current accepted Bruckneran performance conventions, but I would remind those who set, agree with, or practice these conventions that Bruckner was a deeply religious, thoughtful, and subtle man. His Ave Maria (which I firmly believe to be the single most beautiful, holy, and perfect piece of choral music in existence, and which is proof of God's existence if anything is [however, that's a big if]) proves that much.

The Choir is GREAT, the soloists are great, the music's great. Great Disc, but not perfect. (What is?)

Go on. Get it. You know you want to.

Bruckner's sacred music is some of the music I hold closest to my heart, including the grandiose TE DEUM and the gorgeous motes. Jochum's interpretations are among the best- the TE DEUM is especially extraordinary, as is...well, everything on this CD. Every true Bruckner fan MUST own this CD...Marvelous!

In addition to the above comments, I would like to add that the choral singing in the Motets have amazing range, including basso profundo. I don't find the trombone writing very convincing or effective, but the organ parts are beautiful. The other works sounded glorious to me, especially the Psalm 150, 9 minutes of sheer jubilation. While complaints have been expressed about the violin playing in the Te Deum, I liked it, and in some ways the writing is very reminiscent of the Benedictus of the Missa Solemnis.

For those who may be reluctant to try this album because of its very devotional nature, I would respond that it can be enjoyed by anyone regardless of religious convictions, or lack thereof, for the sake of the beauty of the music and the commitment of the performances. It is a very worthy companion issue, overall, to the set of the 3 Masses. Admirers of Eugen Jochum will not be dissapointed.

This is a superb companion disc to Deutsche Grammophon's reissue of the three masses under the most masterly of Bruckner conductors, Eugen Jochum. While it may not be Bruckner's very best work (probably because it is somewhat too short for those enormous epic journeys Bruckner usually takes us on), his Te Deum is a wonderful creation with an intense jubilatory tone quite unlike anything else - and I have not heard a more glorious performance like this. One thing is Jochum's unerring pacing of the work, but more obviously, few choirs match The Chor des Bayerischen Rundfunks or the Chor der Deutschen Oper Berlin for sheer intensity and brilliance of sound (that is not to decry the soloists, who do stellar work). The reflective, contemplative motets make an effective contrast and are splendidly sung, and the disc culminates in the radiating glory of Bruckner's setting of Psalm 150. A marvelous and well-filled release, with good sound - strongly recommended.

I must have heard all existent recordings of Bruckner's Te Deum (which is one of my very favorite pieces) and keep coming back to the Jochum on DG.

It is so intense, so beautiful, so grand and noble, not to mention so commited...that even Karajan's mid '70's recording doesn't beat it (although it comes awfully close).

But friends, this is one of the greatest recordings of a choral piece ever laid down in stereo!

As a bonus you get very fine and full readings of the motets and an inspired Psalm 150.

If you love Bruckner, his Te Deum or choral music in general, you will benefit greatly for adding this amazing disc to your collection!

An excellent set of performannces of Bruckner sacred music. The Te Deum is a tremendous set piece. The motets are probably not as interesting as the Masses but contain much lovely music.