BRAHMS' REQUIEM.

Press, Volume LXIII, Issue 19179, 9 December 1927, Page 9

BRAHMS' REQUIEM.

AT THE CATHEDRAL.

Like Bach's "St. Matthew Passion" the "German Requiem" by Brahms has long become an institution at the Cathedral. With a choir virtually unchanged, year by year the intimate knowledge gathered by the singers favours a constant advance on the road to perfection. Indeed in pursuing the study of a profound work of art we seem to embark on a voyage of discovery, finding gold where least expected. It was the impression of last night's performance that it rose above previous recitals. In any case a merely mechanical repetition would not be Dr. Bradshaw's way. This year, also, the beauty of the new organ was a mighty factor, not to overlook its masterly employment. It may be remembered that only with this fifth work Brahms came to universal recognition. And well it might establish the fame of any man. Grand of conception, through ite whole form there occur stages of supreme beauty, like in the words "They that sow in tears" or the reiterated "Be patient" in the second chorus. The weight and splendour of choruses continue almost in permanence, reaching the highest degree in "On this earth we have no continuing home." The baritone solos were sung by Mr Fred. Bullock with fine expression, but require really a voice of heavier calibre. In spite of indisposition, Master Jack Joynt acquitted himself splendidly in the soprano solo, "Ye who now sorrow." All the chorus work was faithfully and ably done; the bovs' share, so absolutely reliable and faultless in intonation, was beyond praise. There could be no doubt that the large assembly at the Cathedral was deeoly moved by the touching, lovablo work.