Tragic Overture - Brahms

German Requiem - Brahms

Brahms's German Requiem can respond well to the slow pacing which characterised most of last Saturday night's performance at the National Concert Hall, but only if phrasing is much more ample than was produced on that occasion by the Dublin County Choir, the Orchestra of St. Cecilia and conductor Colin Block.

Responsibility for this area rests firmly with the conductor. In a piece brimming with ample lyricism, there was too much concern with detail, and a consequent tendency to poke at turns of phrasing and dynamics which need to spring naturally from preceding events.

It was a pity, for this performance had its heart in the right place. Colin Block's well-founded tempos were faithfully followed by the choir. The singing was wide-ranging in volume and often vigorous in rhythm. With about 85 choir members squeezed onto the main platform behind the orchestra, ensemble was tidy more often than not.

There was an edge to the choral sound, especially in the sopranos, and all sections showed inconsistencies in tuning. I have never especially associated this choir with these limitations.

An augmented Orchestra of St Cecilia was not on its best form either, due to some wobbly tuning and ensemble, yet I would have lived with all this - albeit not quite gladly - if there had also been sweeping drive when shaping phrases.

Philip O'Reilly (baritone) was impressive in a strong account of Herr, lehre doch mich; but the best playing and singing came in Wie lieblich. This was partly because of the generous, self-sustaining motion produced by Colin Block's direction, but above all it was be cause of Mary Callan-Clarke's outstanding singing of the soprano solo.

This was, by far, the highlight of the evening.