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Overture to Collin's Coriolan, Op. 62, "Coriolan Overture" - Overture to Collin's Coriolan, Op. 62, "Coriolan Overture" | |
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Symphoniae Sacrae (1615) - Symphoniae Sacrae (1615): Sanctus-Benedictus a 12 | |
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Symphoniarum sacrarum III, Op. 12, SWV 398-419 - Symphoniarum sacrarum III, Op. 12: No. 18. Saul, Saul, was verfolgst du mich, SWV 415 | |
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Nach dir, Herr, verlanget mich, BWV 150 - Meine Augen sehen stets zu dem Herrn | |
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Nach dir, Herr, verlanget mich, BWV 150 - Ciacona: Meine Tage in dem Leide | |
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Geistliches Lied, Op. 30 (arr. J.E. Gardiner for chorus and strings) - Geistliches Lied, Op. 30 (arr. J.E. Gardiner for chorus and strings) | |
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Fest- und Gedenkspruche (Festive and Memorial Verses), Op. 109 - No. 1. Unsere Vater hofften auf dich | |
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Fest- und Gedenkspruche (Festive and Memorial Verses), Op. 109 - No. 2. Wenn ein starker Gewappneter | |
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Fest- und Gedenkspruche (Festive and Memorial Verses), Op. 109 - No. 3. Wo ist ein so herrlich Volk | |
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Symphony No. 4 in E minor, Op. 98 - I. Allegro non troppo | |
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Symphony No. 4 in E minor, Op. 98 - II. Andante moderato | |
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Symphony No. 4 in E minor, Op. 98 - III. Allegro giocoso - Poco meno presto | |
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Symphony No. 4 in E minor, Op. 98 - IV. Allegro energico e passionato - Piu allegro |
Album Summary
Jeremy Budd (Voice)- Matthew Vocal] (Baritone)
- Stuart Young (Baritone)
- Alison Hall (Baritone)
- Margaret Bragle
- Nicholas Mulroy (Tenor)
- Nicholas Robertson (Tenor)
- Tom Appleton (Boy Soprano)
- Charlotte Mobbs (Soprano)
Notes & Reviews:
"During a 2008 BBC interview to mark the centenary of his birth, the composer Elliott Carter uttered the startling statement that live performances of his works rarely sounded the way they did in his head. Such an admission from this two-time Pulitzer Prize-winning centenarian sounded rather tragic, but in fact Brahms had a similar problem with his symphonies. Indeed, even the greatest conductors of his day could reduce him to despair. He accused Walter Frisch of "fussy over-determined expressivity", whilst a performance by Hans Richter was "truly awful". Thankfully for Brahms, people did occasionally get it right for him, garnering praise from him such as "exceptionally sensitive and scholarly", and "spirited and elegant". It's likely he would have approved of this particular disc too, the latest addition to John Eliot Gardiner's historically-informed Brahms series.
Gardiner's reading of Brahms' final symphony has been informed by the composer's more positive comments above, and also the annotated manuscripts left by Steinbach, a conductor whose performances Brahms was reputed to have enjoyed. Perhaps most importantly though, Gardiner has taken guidance from, and programmed the symphony alongside, the music that made Brahms tick - orchestral and choral works by his beloved Beethoven, Bach and Schütz, plus his own substantially-sized choral works. The resultant interpretation, performed on a small, period-instrumented orchestra, is a revelation.
Textures are as transparent as chamber music. Phrases and ideas are nuanced, but disciplined rather than heart-on-sleeve. Attack is crisp. In short, Gardiner and his orchestra have placed the work firmly within the classical tradition, as a natural continuation from Brahms' symphonic idol Beethoven, rather than the seamless precursor to Wagner. Fans of the highly expressive, big-orchestra sound will find climaxes smaller, swells less deeply plumbed, and timbres less fruitily rich. However, instead there's pace, energy, intelligently balanced lines, and notes that previously you'd have needed a score to detect amidst the general wash of colour.
This invigorating performance is more than an interpretation. It's an entire reassessment of how Brahms' fourth and final symphony should be understood and performed. Marvellous."-BBC Music
Recording information: Royal Festival Hall, London (10/2008).
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Works Details
Beethoven, Ludwig van : Coriolan Overture in C minor, Op. 62 - Conductor: John Gardiner
- Running Time: 6 min. 51 sec.
- Period Time: Classical
- Written: 1807
Gabrieli, Giovanni : Symphoniae sacrae, Book 2 - Conductor: John Gardiner
- Running Time: 3 min. 37 sec.
- Period Time: Renaissance
- Form: Choral
Heinrich Schütz (1585 - 1672) : Saul, Saul, was verfolgst du mich, motet for 2 sopranos, alto, tenor, 2 basses, 2 violins & continuo - Performers: Jeremy Budd (Voice); Matthew Vocal] (Baritone); Stuart Young (Baritone); Alison Hall (Baritone); Margaret Bragle; Nicholas Mulroy (Tenor)
- Conductor: John Gardiner
- Running Time: 3 min. 49 sec.
- Period Time: Baroque
- Form: Choral
Bach, Johann Sebastian : Cantata no 150 "Nach dir, Herr, verlanget mich" BWV 150 :: Meine Augen sehen stets zu dem Herrn - Performers: Nicholas Robertson (Tenor); Tom Appleton (Boy Soprano); Charlotte Mobbs (Soprano)
- Conductor: John Gardiner
- Running Time: 2 min. sec.
- Period Time: Baroque
- Form: Cantata/Oratorio
- Written: 1706
Bach, Johann Sebastian : Cantata no 150 "Nach dir, Herr, verlanget mich" BWV 150 :: Meine Tage in den Leiden - Performers: Nicholas Robertson (Tenor); Charlotte Mobbs (Soprano); Tom Appleton (Boy Soprano)
- Conductor: John Gardiner
- Running Time: 2 min. 53 sec.
- Period Time: Baroque
- Form: Cantata/Oratorio
- Written: 1706
Brahms, Johannes : Geistliches Lied, Op. 30 - Conductor: John Gardiner
- Running Time: 5 min. 18 sec.
- Period Time: Romantic
- Form: Choral
- Written: 1856
Brahms, Johannes : Fest- und Gedenksprüche (3) for double chorus, Op. 109 - Conductor: John Gardiner
- Running Time: 8 min. 31 sec.
- Period Time: Romantic
- Form: Choral
- Written: 1886-1888
Brahms, Johannes : Symphony no 4 in E minor, Op. 98 - Conductor: John Gardiner
- Running Time: 36 min. 23 sec.
- Period Time: Romantic
- Form: Orchestral
- Written: 1884-1885
