Information (DK)
Til dem, der måtte tørste efter anderledes klassisk julemusik end Händels Messias og Bachs Juleoratorium, kommer her en varm anbefaling af Hugo Distlers Weihnachtsgeschichte (Julehistorie). Det er et oratorium uden trompeter og pauker, uden instrumenter overhovedet, kun et kor med en fortæller eller evangelist og nogle korte solistpartier. Komponeret i en mørk tid – 1933 – da nationalsocialisterne overtog magten i Tyskland, i en næsten hengiven inspiration af den tyske barokkomponist Heinrich Schütz’ kirkemusik iblandet Distlers nutidige sangbarhed. Carl Nielsen ligger faktisk ikke så fjernt fra dette tonesprog, der lyder af gammelt og nyt.
Hugo Distlers musikalisering af den bibelske beretning om Jesu fødsel er kommet i en fortræffelig dansk nyudgivelse. Stedet er Skt. Markus Kirke i Aarhus, opført omtrent samtidig med kompositionens tilblivelse. Carsten Seyer-Hansen dirigerer vokalgruppen Concert Clemens, og tenoren Adam Riis synger evangelistens store parti. For optagelsen står den erfarne Preben Iwan, som har indfanget en sval, smukt afbalanceret korklang og en nærværende, smidigt reciterende solist.
Hugo Distler (1908-42) er en gåde i forhold til juleværkets skæringspunkt og den tid, der fulgte. Han indmeldte sig omgående i nazistpartiet, promoverede i den offentlige debat partiets ideologiske velsignelser for fædrelandet, blev medlem af flere af systemets kunstneriske organer – samtidig med at han skrev musik, som flere højtstående partimedlemmer anså for at være entartet (udartet, forbudt musik). At komponere et kristeligt værk som julehistorien var heller ikke i tråd med nazistisk ideologi. Distler gav i sine sidste år udtryk for dyb bekymring for verdenskrigens konsekvenser for menneskeheden, og som 34-årig begik han selvmord.
Smuk og ren klang
Weihnachtsgeschichte er et nøgternt fortællende forløb, der anvender juleevangeliet ifølge Lukas og i mindre grad Matthæus. Ligesom i Bachs kantater og passioner har Distler indsat koraler som kommenterende indslag, det vil sige en enkelt: Es ist ein Ros entsprungen (»En rose så jeg skyde«), som stadig er en af de mest populære julesalmer i Tyskland. Og den forandrer karakter og substans fra gang til gang for til sidst at vende tilbage som sig selv. Der er nok af vers at tage i brug, oprindeligt 23 vers.
Distler bringer først koralen i ren melodisk form, men sådan at de fire stemmer glider selvstændigt afsted, understemmerne i skiftende taktarter, og støder sammen i bløde dissonanser. Udførelsen er emblematisk for Carsten Seyer-Hansens ledelse. Det er gribende korsang, smuk og afspændt i tonedannelsen, betagende ved herredømmet over den rene klang.
Adam Riis er en fryd at lytte til i den fremskudte position som evangelist. Uden instrumentledsagelse (som Bach benytter i samme rolle) reciterer han velmoduleret på fast grund i intonationen, ligesom det tyske sprog løber frit og idiomatisk. Vi hører en helt særlig fortællekunst gennem Distlers melodik, der blandt andet hviler på den tidløse pentatonik (femtoneskalaer), hans egne vendinger og middelaldermusikkens gentagne recitationsmønstre.
Juleevangeliet indeholder som bekendt replikker fra jordiske og himmelske aktører, glimrende fremstillet af Concert Clemens og solister derfra. Sceneflowet med englen Gabriels bebudelse af Jesu fødsel, Maria hos den gravide Elisabeth og Marias højsang gør indtryk i Distlers beskedne iscenesættelse. De lyse stemmer dominerer og bliver dermed symbolet på det guddommeliges nærhed. Og når den fine alt Beke Pfan synger Marias vidtspundne højsang – det nærmeste Distler kommer en arie – får den et alment menneskeligt kontrapunkt i et dæmpet korvers af En rose så jeg skyde.
I den mere jordnære afdeling optræder kong Herodes med fyldig basrøst, mens barytonsolisten synger den fromme, gamle Simeon, som er udvalgt oppefra til at holde Jesus-barnet i sine arme, så han kan dø med fred i sindet.
Valdemar Lønsted, December 5th,- 2023
https://www.information.dk/kultur/anmeldelse/2023/12/toerster-klassisk-julemusik-handels-messias-bachs-juleoratorium
AI Translation

For those who may thirst for different classical Christmas music than Handel's Messiah and Bach's Christmas Oratorio, here is a warm recommendation of Hugo Distler's Weihnachtsgeschichte (Christmas Story). It is an oratorio without trumpets and timpani, without instruments altogether, only a choir with a narrator or evangelist and some short solo passages. Composed in a dark time – 1933 – when the National Socialists took power in Germany, it is an almost devout inspiration from the German Baroque composer Heinrich Schütz's church music mixed with Distler's contemporary lyrical style. Carl Nielsen, in fact, is not so far from this musical language that sounds both old and new.
Hugo Distler's musicalization of the biblical story of Jesus' birth has been released in an excellent new Danish edition. The venue is St. Markus Church in Aarhus, performed around the same time as the composition's creation. Carsten Seyer-Hansen conducts the vocal group Concert Clemens, and the tenor Adam Riis sings the significant part of the evangelist. For the recording, the experienced Preben Iwan is responsible, capturing a cool, beautifully balanced choir sound and a present, smoothly reciting soloist.
Hugo Distler (1908-42) is a mystery concerning the intersection of the Christmas work and the time that followed. He immediately joined the Nazi Party, promoted the party's ideological blessings for the homeland in public debate, became a member of several of the system's artistic bodies – all while writing music that several high-ranking party members considered degenerate (forbidden music). Composing a Christian work like the Christmas story was also not in line with Nazi ideology. In his final years, Distler expressed deep concern about the consequences of World War II for humanity, and at the age of 34, he took his own life.
Beautiful and pure sound Weihnachtsgeschichte is a soberly narrated sequence that uses the Christmas gospel according to Luke and, to a lesser extent, Matthew. Like in Bach's cantatas and passions, Distler has inserted chorales as commentary, namely one: Es ist ein Ros entsprungen ("A rose so I saw blooming"), which is still one of the most popular Christmas carols in Germany. And it changes character and substance from time to time to finally return as itself. There are plenty of verses to use, originally 23 verses.
Distler first presents the chorale in a pure melodic form, but in a way that the four voices independently glide away, the underlying voices in changing time signatures, and collide in soft dissonances. The execution is emblematic of Carsten Seyer-Hansen's leadership. It is moving choral singing, beautiful and relaxed in tone formation, captivating in mastery of pure sound.
Adam Riis is a joy to listen to in the prominent position as the evangelist. Without instrumental accompaniment (as Bach uses in the same role), he recites well-modulated on solid ground in intonation, just as the German language flows freely and idiomatically. We hear a special storytelling art through Distler's melody, which rests, among other things, on timeless pentatonic scales, his own turns, and the repeated recitation patterns of medieval music.
As is well known, the Christmas gospel contains lines from earthly and heavenly actors, excellently portrayed by Concert Clemens and soloists from there. The scene flow with the angel Gabriel's announcement of Jesus' birth, Mary with the pregnant Elizabeth, and Mary's canticle make an impression in Distler's modest staging. The bright voices dominate and thus become the symbol of the proximity of the divine. And when the fine alto Beke Pfan sings Mary's expansive canticle – the closest Distler comes to an aria – it gets a universally human counterpoint in a subdued choir version of "A rose so I saw blooming."
In the more down-to-earth department, King Herod appears with a rich bass voice, while the baritone soloist sings the pious old Simeon, who is chosen from above to hold the baby Jesus in his arms, so he can die with peace of mind.
Valdemar Lønsted, December 5th, 2023