Composer: Tota
Works: Pulchra Es. Flemish Sacred Songs
Performers: Cristel De Meulder, soprano; Jan Van Mol, organ; Sarah Van Mol, soprano; Noelle Schepens, mezzo-soprano
Recording: Recorded September and October 1999, unspecified location
Label: PAVANE ADW 7431
The album “Pulchra Es. Flemish Sacred Songs” presents a compelling exploration of lesser-known composers from Belgium, primarily during a period where national identity in music was being fervently cultivated. The works selected span a variety of sacred vocal music from the late 19th to mid-20th centuries, reflecting a rich tapestry of melodic simplicity and devotional fervor. The prominence of composers such as Jef Van Hoof, Emiel Wambach, and Flor Peeters offers a glimpse into a musical tradition that, while not universally recognized, embodies a distinctive blend of lyrical grace and nationalistic sentiment.
Cristel De Meulder’s soprano shines throughout the album, displaying a clear, radiant tone that is particularly effective in conveying the ethereal qualities inherent in these sacred songs. The interpretation choices made by the performers are largely commendable, with an emphasis on clarity and emotional sincerity. For instance, Van Hoof’s “Tota Pulchra es Maria” is rendered with an inviting warmth, while the organ accompaniment, played with finesse by Jan Van Mol, complements the vocal lines without overshadowing them. The interplay between voice and organ is meticulously balanced, allowing the listener to appreciate both the melodic lines and harmonic support.
Recording quality plays an essential role in the overall listening experience. The ambient sound captures the reverberation of the performance space, adding depth to the choral textures, particularly in works like Benoit’s “O gloriosa Virginum.” The engineering effectively showcases the dynamic range of the singers and the organ, allowing the nuanced details of the compositions to emerge with clarity. However, moments of pronounced vocal harmony, such as in De Vocht’s “Jesu allerliefste kind,” occasionally challenge the recording’s limits, as the lushness of the three-part textures can slightly compress under the weight of vocal interplay.
The historical context of these works cannot be overstated, as they emerge from a period of burgeoning Flemish nationalism and a revival of interest in Catholic liturgical music. This is particularly evident in pieces like Wambach’s “Priere,” which, while modest in ambition, encapsulates a serene devotion that resonates well with contemporary audiences. The simplicity and gentleness of many of these compositions may evoke comparisons to contemporaneous choral traditions, yet they stand apart in their distinctly Flemish character, evident in the harmonic choices and melodic lines that often eschew the complexity prevalent in German and French sacred music of the time.
Technical aspects of the performance are notable, with the singers executing their lines with both precision and expressiveness. However, while the focus on lyrical beauty is laudable, there are instances where a more robust interpretation could elevate the music’s emotional impact. For example, Tinel’s “Improvisata,” though beautifully played, lacks a certain dramatic tension that could have been achieved through varied articulation and dynamic shaping. This restraint, while characteristic of the genre, may leave some listeners yearning for a deeper interpretative engagement with the text.
This collection of Flemish sacred songs is presented with care and attention, offering a delightful journey into an often-overlooked repertoire. The performers navigate the delicate balance between simplicity and sophistication with commendable skill, providing a listening experience that is as much about musical exploration as it is about devotional reflection. The album stands as a significant contribution to the understanding of Flemish sacred music, inviting both the curious listener and the dedicated scholar to engage with the rich traditions of a national school that continues to deserve broader recognition.
