|
This may be a budget recording compared to all the others in full
and mid-price. However, this recording is certainly no push over.
It boasts good quality sound and admirable acoustics and as an alternative
to the other versions which replaces trebles with sopranos, this
authentic treble version is a welcome change. Other versions utilizing
trebles include an early 1960s Tölzer Boys Choir recording on a
Philips label which has not been released on CD and is no longer
available. Fortunately, I still have a cassette recording of it.
Admittedly,
trebles in general do not deliver their lines with the same flair
that accomplished sopranos are quite capable of. In addition, they
are often accused of being uninvolved with the music emotionally.
Nevertheless, trebles in an established boys' choir are often better
trained and technically more competent than many sopranos in adult
choirs. Trebles undergo stringent training programs and the few
treble choirs that are world famous have every reason to be where
they are - among the best.
The
Kammerchor der Augsburger Domsingknaben trebles are natural and
they deliver their crystal-clear voices with first class control,
tossing high notes off with finesse and ease not apparent amongst
sopranos in a lesser class. Choral singing is also achieved with
clean and clear lines, harmony is tight and full. Intonation flaws
are few and far between.
There are quite a few moments where one wishes for greater precision
of execution. The direction of these boys seem to lack insight for
there are parts when one feels that these masterpieces are treated
as mere vocal exercises. Yet, the many moments of tight control
and great understanding of the Bachian line proves to me beyond
a doubt that my feelings are unfounded. This is a recording as worthy
of a listen as any others that I have reviewed so far.
Right:
Detail from "The Nativity"
by Stefan Lochner (c.1410-1451)
In
addition, there is a certain quality in these treble voices that
strike me deep down. They sing fearlessly. The great difficulties
are conquered without any signal of internal struggle, nor of strain
or tiredness, and certainly without any fear. The treble voice boasts
of these qualities not found in the adult voice. Though the reason
for using boys instead of women may have been a social one, Bach
must have understood this quality of the treble voice. Bach writes
for the voice as if it was an instrument with inexhaustible breath
and dexterity. Surely, he meant them to be sung by angels.
Knowing
this, the small imperfections are readily forgiven and the spirit
of the music - in their original intentions, come to life in this
recording.
NG
YEUK FAN
is jealous of all these treble boys...
If you wish to
Add a Comment to this article, please email your comments to classical@inkpot.com.
220:
28.6.1998 © NG Yeuk Fan
All
original texts are copyrighted. Please seek permission from the
Classical Editor
if you wish to reproduce/quote Inkpot material.
|
