Serious Brahms choral music fans already will own favorite recordings of many of the works included on this 8-CD set, its 178 individual selections all performed–with remarkable ensemble consistency–by the youthful band of singers known as the Chamber Choir of Europe and conductor Nicol Matt. Yet that doesn’t mean that there’s nothing in this vast and very comprehensive collection of a cappella and non-orchestrally accompanied works to interest Brahms lovers. For among the familiar Liebeslieder Waltzes, Zigeunerlieder, the Op. 62 and Op. 104 songs, and perhaps the Marienlieder, are gems such as the five Op. 41 songs for men’s chorus, the delightful 12 Lieder und Romanzen Op. 44 for women’s choir, the Little Wedding Cantata (all 78 seconds of it!), and the tiny masterpiece of a partsong, Dem dunkeln Schoß der heil’gen Erde. As mentioned, considering the sheer quantity of music and the fact that it seems to have been recorded within a relatively short period, the performances are of consistently high quality, showing obvious care for matters of ensemble detail that don’t happen unless a group is well-rehearsed, musically aware, and sensitive to style and to the conductor’s (and the composer’s) many expressive demands. Even the relatively obscure (but quite beautiful) partsongs for women’s voices Und gehst du über den Kirchhof, Die Braut, and Märznacht, stand out for the impressive precision of the phrasing and uniformity of articulation and sudden dynamic shifts. Other highlights include the Marienlieder and favorites such as Waldesnacht and Warum ist das Licht gegeben.
On the other hand, while the “big” pieces such as the two sets of Liebeslieder waltzes are undeniably solid and stylish, there’s a slightly too-cool, casual feel to songs that call for a bit more pizazz, a bit more swing, a bit more personality. The Zigeunerlieder must be the tamest and most polite on disc–yet these also exude a pleasing charm, even if the fire is missing from the more rousing numbers. And of course, among this repertoire, which covers the entirety of Brahms’ career, there are a few pieces that fall into the category of (in the composer’s own words) “for singing, not listening to”; but there’s such a wealth of music here, much of it worthy yet rarely heard or recorded, that most listeners will find many hours of pleasure on these discs. Yes, the budget price is more than right–but I can’t help but be disappointed at the skimpy notes and the texts in German only, and those annoying cardboard sleeves. But for this music, performed to such a high standard, recorded in very decent sound, who’s really complaining?
