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| © Mark Harrison |
As Harry Christophers' vocal ensemble The Sixteen sang of the glory of man and of trumpets sounding, a sense of sheer joy rose up through my body. The voices rang out and filled the Concertgebouw Brugge concert hall in what was a truly wondrous experience.
The main work on last night's programme was Brahms' 'Ein deutsches Requiem', an unusual work perhaps for a group best known for its Renaissance and Baroque repertoire. But as Christophers has said, "Since Brahms had been so influenced by the Protestant Church music of the great German master of the early Baroque, Heinrich Schuetz, the Requiem seems to be perfect material for The Sixteen."
And in case you're wondering how a small vocal ensemble pulled off a masterpiece that usually demands a large choir and full orchestra, Brahms also wrote a scaled-down version with an arrangement for piano duet: it is this version that The Sixteen performed with pianists Christopher Glynn and John Reid.
One advantage of the version with piano duet is a more intense focus on the text, with the voices at no point being drowned out by an orchestra. The tone and texture of The Sixteen's voices underscored the meaning of the words and I had the sense that even if you hadn't understood the German text, or had a translation to hand, much of the meaning would have been understood simply through the musical interpretation.
The importance of singers understanding the text of a vocal score was recently highlighted by another conductor, Collegium Vocale Gent's Philippe Herreweghe. As part of a Herreweghe celebration this month, the Centre for Fine Arts in Brussels showed the documentary film "Collegium Vocale, 40 years of passion" as a prelude to a performance by the choir of Beethoven’s Missa solemnis. In the documentary, several Collegium Vocale singers emphasised how, for Herreweghe, the text was of primary importance. You had to use your head as well as your heart when singing with him, they said. Those words would seem to be equally applicable to Christophers and The Sixteen.
