E.T.A. Hoffmann ‎– Miserere B-Moll-Sinfonie Es-Dur (1997)

Miserere B-Moll  (Miserere In B Flat Minor)
1 	Miserere Mei, Deus. Adagio 	5:57
2 	Ecce Enim. Andante Molto 	3:06
3 	Ecce Enim Veritatem. Andante Maestoso 	2:40
4 	Asperges Me. Larghetto 	3:41
5 	Auditui Meo Dabis. Andante 	1:44
6 	Averta Faciem Tuam. Adagio 	3:22
7 	Redde Mihi. Andante 	3:45
8 	Docebo Iniquos. Moderato 	2:18
9 	Libera Me. Adagio - Alla Breve 	2:41
10 	Sacrificim Deo. Larghetto Sostenuto 	5:01
11 	Benigne Fac. Adagio 	1:59
12 	Ut Aedificentur. Allegro 	3:26

Sinfonie Es-Dur (Symphony In E Flat Major)
13 	Adagio E Maestoso. Allegro 	7:32
14 	Andante Con Moto 	6:39
15 	Menuetto 	2:52
16 	Finale. Allegro Molto 	4:10

Camilla Nylund (soprano)
Arantxa Armentia (mezzo-soprano)
Lioba Braun (alto)
Rodrigo Orrego (tenor)
Johannes Schmidt (bass)
Concerto Bamberg
Süddeutsches Vokalensemble
Rolf Beck – conductor

It was ETA Hoffmann’s writings which so inspired Schumann and, rather differently, Offenbach. But Hoffmann (1776-1822) was a composer of note himself, graduating via occupied Poland to the German theatre and opera house, as evidenced by a clutch of stage works (notably Undine) which he added to the repertoire of his day. In Bamberg, Hoffmann left a durable mark, and in return these capable forces do him more than credit. Both works hold up well, though the youthful, spirited, Classical-style Symphony – played inspiredly, if just a little bass-heavy – is less fertile in ideas than the forty-minute choral work, where Hoffmann’s Mozartian fervour and keen grasp of earlier repertoire bear fruit. The Miserere, planned for a Catholic royal occasion, based on a reduced Psalm 50 and cast in some dozen sections, is an ideal textual vehicle for Hoffmann’s intelligent and imaginative word-setting. All the soloists do well, though early on the slightly operatic alto and tenor seem just a little portentous, and one quintet sounds earnest rather than penitential. The bass is clearest but weakest; the mezzo is most rewarding. Beck’s choir sings with genuine feeling, the adagios never get moribund and the orchestra’s ample bowing lends full body and a stately forward momentum. Woodwind obbligato and Baroque-style punctuating brass are strong, and the warm Koch acoustic enhances all. Latin and German texts only are given; the German notes are more instructive than the English. ---Roderic Dunnett, classical-music.com

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