Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: TUESDAY, May 8, 1990 TAG: 9005080146
SECTION: EXTRA PAGE: E-3 EDITION: METRO
SOURCE: SETH WILLIAMSON SPECIAL TO THE ROANOKE TIMES & WORLD-NEWS
DATELINE: LENGTH: Medium
This was the fastest "German Requiem" I have ever heard. The really brisk tempi were confined mainly to the first two segments, though Bond was not exactly a tortoise in the other five movements. Though one might become accustomed to the clip the RSO's conductor chose early in this great work, for me at least it detracted somewhat from the gravity and darkness of the divided lower strings at the opening "Selig sind, die da Leid tragen..." ("Blessed are they that mourn, for they shall be comforted.")
However, Bond's vigorous approach to this unorthodox requiem had its good points, too, especially in the victory hymn of the sixth movement. In fact, for those who are familiar with them, it was fascinating to compare Bond's reading Monday night with those recorded by her great teacher Herbert von Karajan, which are by comparison leisurely. Her Brahms reminded me instead of that of Otto Klemperer both in its precision and its radiant emotion in the triumphant final movements.
Generations of listeners have been puzzled by a requiem that mentions not once the name of Christ, but they also have been deeply moved by Brahms' profound meditation on the meaning of death. The composer chose his own words and had no intention of producing a liturgically correct work for church use, though Anglicans will notice that Brahms chose many texts that occur in their own service for the dead.
This was a good performance from the standpoint of understanding those words. The Blacksburg Master Chorale sang with excellent clarity and with a lush blend, though their volume was none too large for the civic center's concert hall. They were not overpowered by the orchestra, but it required full attention from the loge section to hear some sections accompanied by full brass.
Craig Fields is clearly the best baritone in this half of the state. His two solo narrations - both of which launched the orchestra into vigorous and spacious fugues - were powerful and moving. Especially notable was his work in the third movement, which was a prayer from Psalm 39 for man to learn to accept his mortality. Fields projects his voice well and had little trouble reaching the high seats.
Soprano Ellen Shade has a mature and expressive instrument, but I found her vibrato rather wide. She was most effective in the fifth movement where her final repetitions of "Ich will euch wiedersehn" ("I will see you again") were heart-rending.
Bond's athletic tempi came into their own in the final choral segment of the sixth movement, which says in translation, "Thou art worthy, O Lord, to receive glory and honor and power..." Here were some truly fine moments in which chorus, orchestra and conductor worked together to make exciting and memorable art.
Brahms intended the final movement to provide an unmistakeable sense of catharsis and finality as themes from earlier movements are heard again and transformed. It was a satisfying ending as Bond navigated her musicians over a shifting pedal-point and the chorus sang "Selig sind die Toten" ("Blessed are the dead"). Bond, Fields and Shade received bouquets and three curtain calls at the end of the performance.
by CNB