Hopeless, but not serious

Detlev Glanert, Requiem for Hieronymus Bosch

The celebrations for the 500th anniversary of the death of the great painter Hieronymus Bosch in 2016 were a very big deal in the Netherlands. First was the amazing exhibition of nearly all of his works, in what has been called "one of the most important exhibitions of our century," at the Noordbrabants Museum in Den Bosch. I've just finished reviewing the film of that exhibit, which is enjoyed a great deal.  Secondly there was this striking 80-minute oratorio by Detlev Glanert, Requiem for Hieronymus Bosch, presented in November 2016 at the Concertgebouw. This CD was recorded live at that event, and is beautifully presented on RCO Live, the Concertgebouw's own label.

My one gripe about the film of the Noordbrabants Museum exhibit was a curious overlooking of humour in Bosch's art. Certainly the stakes in Bosch's world were high; it's clear that judgement to Bosch was real and eternal damnation a very real possibility. But I believe he would have agreed with the great Yip Harburg, who once said "While life is hopeless, hopeless–it’s not serious." This, I think, is one of the keys to Bosch's eccentric take on the the question of judgement.

Detlev Glanert brings a light touch to his project, which presents the trial of Hieronymus Bosch after his death. "The key question," says Glanert, "is whether our Bosch will go to paradise or be destined for hell." Using this device to add drama, Glanert builds a complex mosaic of themes and images, basing his text on the Requiem Mass along with excerpts from the medieval anthology Carmina Burana. Glanert's musical style is eclectic, with echoes of Mahler and Weill, and Glanert's own version of the great music from the Low Countries from Bosch's own period. This is an illuminating project, but fun as well.

A special live German Requiem

From October 1, 2015:

The RCO Live label once again delivers an outstanding Super Audio CD, this time with Mariss Jansons conducting the best of two live performances of the Brahms German Requiem in September 2012. The multi-channel audio is outstanding, recreating the life-like sound and atmosphere of an eventful evening in the great Amsterdam hall. There’s a special feeling in these performances, dedicated to the great conductor Kurt Sanderling, who had died the previous September, and whose centennial was only a few days past. Every requiem performance gains from personal remembrances of those who are gone, especially Brahms’, which is especially concerned with consolation. There is a special focus that comes with all the participants remembering a well-loved conductor who many would have worked with. Mariss Jansons provides the necessary forward movement and pulse, which keeps the music from straying into the maudlin. The chorus and soloists are exemplary, as, of course, are the players of this great orchestra.

Vital Smetana and Dvorak

From October 3, 2011:

Newton Classics has been re-releasing some outstanding classic recordings recently; this time last year I was very impressed with their repackaged Decca disc of Spanish music played by Alicia de Larocha Falla: Suites from El Sombrero de tres picos; El amor brujo; Fantasia Baetica; Cuatro piezas espanolas. Here comes another: two discs from Antal Dorati recorded at the Concertgebouw by Decca in 1986.

Smetana's Ma vlast (My country) includes six movements, but most music lovers know only The Moldau, with its famous river theme. That theme was featured in Terrence Malick's film The Tree of Life; look for the movie's trailer on YouTube to see how Malick uses The Moldau theme to represent life itself. The movement, and the entire tone poem, is perfectly framed by Dorati, beautifully played by the Dutch musicians, and presented in sparkling, clear, lifelike sound by the Decca engineers. By the way, the version used in Malick's film is by Vaclav Smetacek and the Czech Philharmonic Orchestra, on Supraphon, which is a classic recording as well, and, of course, completely authentic. But there is no lack of authenticity in this performance as well, as Dorati brings out the best of Bohemian music with a middle-European flavour and world-class musicians. Make sure you take the time to listen to all 80 minutes of Ma vlast; these are castles, woods and fields worth visiting with Smetana as your guide.

The Overture: In Nature's Realm by Antonin Dvorak is another work I recommend highly, especially to those of you who only know his Symphonies (and perhaps only his best-known, From the New World). Dvorak's tone poems contain some of his best music, with lovely and lively themes and rich orchestral colour. Dorati is once again a more than reliable interpreter; his Dvorak is as vital and alive as his Smetana.