Review: Choral Arts Society of Philadelphia Reconsiders Brahms

The Choral Arts Society has certainly established itself as a force to be reckoned with in the Philadelphia area over the past 25 years. With sixty members, it is not too small to tackle great works, nor too big to overwhelm more intimate settings. In its season opener, "Brahms' Requiem Reconsidered," the Choral Arts Society was able to show off the wide range of its abilities in a program of truly beautiful music.

Matthew Glandorf's graceful conducting style set the mood for the whole concert as one of artistry and identification with the text. The opening madrigal, Palestrina's Stabat Mater Dolorosa (as arranged by Richard Wagner) demonstrated the choir's capacity for great blend (the entrances of the semi-choir and full choir were interwoven seamlessly) and near perfect intonation, feats elusive to choirs even half the size of Choral Arts. .

Even without an intermission, the choir was able to transition from small chamber choir to large Brahmsian choir in a matter of seconds. While a normal requiem is generally a prayer for the dead, Brahms' German Requiem is a prayer for the living and those who grieve. That being said, the text is full of hope and compassion. I have to admit that I missed hearing the Requiem with orchestra, but the "reconsidered" piano four-hands version had its merits too. Brahms did the piano reduction himself, revealing Brahms' genius at the keyboard and highlighting the artistry of the choir, who carried the long lines and wide dynamic ranges with ease and sensitivity to the text. The soloists, mostly professional members of the choir, were well-selected. I was especially impressed by one of the non-professional soloists, baritone Thomas Baust. His clear love for and understanding for the music was a delight to behold in Denn wir haben hie keine bleibende Statt.

The Choral Arts Society of Philadelphia will perform a Hanukkah-themed concert December 11 and 12.

Image via the Choral Arts Society of Philadelphia