Schumann: Vier doppelchörige Gesänge, Op. 141

The Flemish Radio Choir is a professional chamber choir which performs a wide range of repertoire, including works which they have commissioned. Here they perform the works of Schumann, including Vier doppelchörige Gesänge Op.141 and excerpts from Romanzen und Balladen Op. 67, Vier Gesänge opus 59 and Romanzen Op.69.

From the last creative period of Schumann, the 'Missa Sacra' is a wonderful piece, but almost unknown, probably because of the circumstances of its composition. Originally written for choir and orchestra, Schumann wrote a version for choir and organ, which he sent, under a pseudonym, to an English composition competition. The piece was revealed only after his death at the insistence of Clara Schumann and only the Kyrie and Gloria were performed in Schumann's lifetime.

So this is a real rediscovery made by Geoffroy Jourdain and Les Cris de Paris, revealing, for the first time on period instruments, with, as soloist, one of the most talented current young singers, the mezzo-soprano Marianne Crebassa. The little known Missa Sacra is beautifully orchestrated and is coupled with the a capella double choir Opus 141 by Geoffroy Jourdain in a very German Romantic programme.

Spanning four CDs and featuring many a rousing performance, this release is dedicated to a fascinating yet largely unexplored facet of Robert Schumann’s output: his secular choral music. Written during the period 1840–50 and scored for men’s, women’s and a variety of mixed voices (with or without accompaniment), the music draws on a rich choice of texts by poets such as Rückert and Burns.While some of the early songs are humoristic in character, many of the later ones – including the Drei Männerchöre – are politically oriented, reflecting the revolutionary spirit of their age.

The works also represent a veritable lesson in different types of choral texture; Schumann was able to try out many of these on the two amateur groups he was in charge of directing. From the colourful use of solo voices in Drei Gedichte Op.29 to the unusual intertwining of two choruses in Vier doppelchörige Gesänge Op.141, the compilation reveals a composer intent on pushing boundaries.

That Schumann regarded choral music as an essential part of his oeuvre is revealed in various letters of the period, and yet the scepticism with which many of these late works have been greeted – due, in part, to the composer’s concurrent mental decline – has done little to increase their popularity. Highly accessible and often profoundly affecting, they deserve to be performed more often; with Schumann’s melodic and dramatic genius in full evidence, these committed readings are a must-have for both the Romantic enthusiast and choral music aficionado.