Reviews

Reviews: Schütz and Distler

09.10.2008

"Not glamorous, not a ‘sexy’ programme, not under a world-famous conductor. The programme with which the Nederlands Kamerkoor and its choirmaster Klaas Stok are touring this week is a textbook example of ‘simply’ good. It is the sort of programme in which the Kamerkoor demonstrates its unique character and the quality of its singers as soloists: 17th-century choral works by Schütz are alternated with 20th-century ‘Geistliche Chormusik’ (’Sacred Choral Music’ ) by Hugo Distler, which is every bit as colourful, and with its polyphonic approach refers back to Schütz . [...]
Harmonically refined music which goes straight to the heart, which in Führwahr, er trug unsere Krankheit made both the text (Isaiah 3, 4-5) and Distler’s own trials and tribulations during the period of National Socialism palpable.
Klaas Stok approached both Schütz and Distler with a sympathetic naturalness. Phrases were given ample room, the polyphony remained clear, and any thirst for effect was avoided as much as possible. He could have afforded to lean back and enjoy the sumptuousness on offer a bit more.”

Mischa Spel in the NRC-Handelsblad of 4 October 2008

“Musical extremes come together in their emotion”

[...] “The cleverly compiled programme concealed a story within the text. The motet Singet dem Herrn ein neues Lied formed the framework. At the start in a motet by Schütz, at the end in a setting by Distler. In between we heard motets concerning praise, fear, death and resurrection in the light of Easter and hopeful expectation. Klaas Stok, who knows the church and how its acoustics work, made grateful use of that fact. In Schütz’s motet Nun danket alle Gott the Alleluia could be heard from three sides. Other motets were also performed in this way, often with two violins and an ample continuo section, and sung from sometimes two, sometimes three locations. [...]
Klaas Stok is the ideal choral conductor, inspiring the singers with broad arm movements, giving small cues to the instrumentalists, but always natural. [...] Even more than Schütz, Distler sought expression in musical word-painting. For him, harmonies which in the past were perceived as dissonant are now a means of emphasising a word. It was a special experience to be exposed to this music. Whereas Distler’s organ music often has a nervous undertone, his vocal music exudes calm through its expressive handling of text. In the modestly sung a cappella Ich wollt dasz ich daheim war we could hear traces of the depressive Distler. Of the man who, after an unhappy youth, could no longer face the Nazi threat and in 1942 took his own life.
Apart from the occasional flaw, a too obvious break in the voice of one of the singers in Dialogo per la Pascua, it was nothing but enjoyment - of the immaculate playing of the instrumental ensemble, and of singers who, both in small groups and in the tutti ensemble, held our attention. What music-making at home in the 17th century was like, we heard in the encore. A simple choral setting by Schütz, an organ that sounded like a recorder, with a violinist’s playing added to all of this. Music from a bygone time.
The NKK is touring the country with this programme and was on this occasion the guest of the large-scale festival Vocaal Drenthe.  The Stichting Vrienden van de Grote-of Mariakerk was thereby provided with a special concert to open the season. A concert which will long echo in the musical memory.” Marjan Doorn in the Meppeler Courant of 6 October 2008
“Tasteful double portrait Schütz and Distler”
“As a church musician from a Lutheran background, Distler became so obsessed with his illustrious predecessor from the early Baroque period that he unashamedly modelled himself on him. So, for instance, his collections of religious music bear the same titles as those of Schütz. Distler also allowed himself to be influenced in terms of professional technique, though not slavishly or academically. He managed to integrate historical principles into a personal style in an unforced way.  Just as the works of Schütz speak to the heart in their apparent simplicity, so does Distler’s relatively modern idom. The indefinable harmonies in Führwahr, er trug unsere Krankheit are terrifyingly intense. Distler composed it shortly before, in 1942, inwardly as torn apart as the world around him, he took his own life.”

Thiemo Wind in De Telegraaf of 7 October 2008