Brahms Triumphlied triumphed at the all-Brahms Prom 62 at the Royal Albert Hall London with Marin Alsop, the Orchestra of the Age of the Enlightenment, the Choir of the Enlightement and soloist Benjamin Appl. Brahm’s Triumphlied ()p 55, 1872 was written to mark the first unification of Germany, and the defeat of France, which hitherto had dominated the European balance of power. The British weren’t keen either, since the new nation competed with British industry, trade and naval control. The 1914-1918 was a direct result of this rivalry. Triumphlied wasn’t ever going to be popular in such circumstances. But no nation has a monopoly on nationalism. Now perhaps we have the historical perspective to hear the piece in context and appreciate its merits.
The first unification of Germany marked a the fulfillment of the Romantic dream of a nation no longer torn apart by hundreds of warring states. Significantly, Brahms chose his text from The Book of Revelation in the Bible, focusing on Chapter 19, where a vast multitude gather to celebrate a cosmic marriage (unity) . Hence the jubilant Alleujas and the punchy, optimistic rhythms .Brahms is celebrating hope after struggle. The different threads in the chorus and orchestra interweave, like garlands In Revelation, a white horse appears in the skies, with eyes of fire, bearing a horsemen who represents the King of Kings. Out of the tumult, the solo baritone’s voice rises, clear and forceful. Despite his youth, Benjamin Appl already has a huge following. I’ve kept missing his appearance, but now I can hear why he’s impressed so many. He doesn’t have much to sing in Triumphlied, but he makes those moments ring out gloriously. Listen to him next at the Oxford Lieder Festival in October.
Brahms Alto Rhapsody Op 53, 1869 made an interesting contrast to the Triumphlied. Here Brahms chose his text from an excerpt from Goethe Harzreise im Winter. The soloist, this time a mezzo (Jamie Barton) is again surrounded by large orchstra and chorus, yet the mood is desolate. The solo part is much more dominant, moving slowly and purposefully over the forces behind her. Jamie Barton has one of those big voices that impress. She won the BBC Singer of the World in Cardiff and the Richard Tucker Prize more recently. She has a nice, rich voice but needs to work on her diction. The Alto Rhaspsody is one of the finest vehicles for resplendent mezzo and contralto voices. Kathleen Ferrier, Christa Ludwig, Janet Baker, Brigitte Fassbender, and Alice Coote (First Night of the Proms 2009) set almost impossibly high standards for any young singer.
Framing the Triumphlied and the Alto Rhapsody were the purely orchestral Academic Festival Overture and Brahms Symphony no 1 in C minor. .Brahms is a composer Marin Alsop usually does well, and she’s conducted the Orchestra of the Age of Enlightenment many times before Last year at the Proms, they did Brahms German Requiem together. Like the Triumphlied and the Alto Rhapsody, the German Requiem predicates on the singing. Much credit to the Orchestra of the Enlightenment which made this a good Prom.
Original Source: Triumphant Triumphlied Brahms Prom 62 OAE