Though probably timewise slightly unsuitable, there was a performance of „A German Requiem“ by Brahms in the Christkoenig-Church in Linz which triggered loud applause for the choir and the Sinfonia Christkoenig. Unlike the usual requiem masses this is no liturgical work, but uses German texts from Luther’s Bible, whose comforting words are musically expressed in a composition of seven parts which was first performed in the Cathedral in Bremen on Good Friday 1868.
Eduard Matscheko reached a further artistic climax with his choir and orchestra „Sinfonia Christkönig“. The acoustic difficulties in this church had to be taken into account, which led the experienced conductor to a quiet, more balanced gesticulation and special restraint. This time Matscheko proved himself to be a masterful arranger of sounds, who knew precisely how to present the content of this funeral music, how to intensify the sound to reach oratorical greatness and how dynamics and rhythm press ahead towards a powerful final fugue, where mourning turns into an overall glorification.
The orchestra being at its best followed in a sensitive way. So did the choir, enthusiastic and precise, showing how they enjoyed performing this great work. Klaus Kuttler, „house soloist“ presented the baritone solo parts with his wonderful timbre, Simone Eisinger sang the soprano part with her crystall-clear voice.
„Wachsende Bläue“, by Thomas Daniel Schlee, the former manager of the Brucknerhaus Concert Hall, was an absolutely congenial beginning. It is a piece for two solo violins (Claudia Federspieler, Johanna Bohnen) and string ensemble, poetically inspired and solidly built in its movements.