Brahms - Symphony No.3, Choral Works | SDG SDG704

Brahms - Symphony No.3, Choral Works

£13.25

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Label: SDG

Cat No: SDG704

Format: CD

Number of Discs: 1

Release Date: 1st September 2009

Contents

Works

Brahms, Johannes

Canons (13), op.113
» no.13 Einformig ist der Liebe Gram
Gesang der Parzen (Song of the Fates), op.89
Gesange (4), op.17
» no.1 Es tont ein voller Harfenklang
Gesange (5), op.104
» no.1 Nachtwache I 'Leise Tone der Brust'
Lieder (5), op.41
» no.1 Ich schwing mein Horn ins Jammerthal
Nanie von Friedrich Schiller, for choir and orchestra, op.82
Symphony no.3 in F major, op.90

Artists

Monteverdi Choir
Orchestre Revolutionnaire et Romantique

Conductor

John Eliot Gardiner

Works

Brahms, Johannes

Canons (13), op.113
» no.13 Einformig ist der Liebe Gram
Gesang der Parzen (Song of the Fates), op.89
Gesange (4), op.17
» no.1 Es tont ein voller Harfenklang
Gesange (5), op.104
» no.1 Nachtwache I 'Leise Tone der Brust'
Lieder (5), op.41
» no.1 Ich schwing mein Horn ins Jammerthal
Nanie von Friedrich Schiller, for choir and orchestra, op.82
Symphony no.3 in F major, op.90

Artists

Monteverdi Choir
Orchestre Revolutionnaire et Romantique

Conductor

John Eliot Gardiner

About

Soli Deo Gloria is proud to release the third instalment in the successful Brahms Symphony series which sees John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique explore the music of Johannes Brahms.  

The choral pieces on this release demonstrate beautifully the extent to which choral thinking permeates Brahms’ orchestral writing. Gardiner states that ‘just as there is choral thinking evident in his symphonies, surely there are also signs of orchestral thinking embedded within his choral writing.

Gesang der Parzen shows fascinating links with Brahms’ last two symphonies and shares with the Third not just an adjacent opus number but an immensely powerful orchestral opening, with passing references to ‘early music’ styles next to passages of the most advanced harmony.

Einförmig ist der Liebe Gram, an irresistible little piece written for women’s voices, sees Brahms take the final song from Schubert’s Winterreise and turn it into a haunting six-part canon - another example of Brahms forging links with a revered predecessor.

Written nearly six years after Brahms completed his Second Symphony, his Third Symphony was described by Hans Richter on its premiere as Brahms’ ‘Erioica’. A friend of Brahms and music critic at the time, Eduard Hanslick, wrote: “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect”.

Recorded live at the Salle Pleyel, Paris and Royal Festival Hall, London.

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