JOHANNES BRAHMS

 

Symphony 3

 

1.  Ich schwing mein Horn ins Jammertal Op. 41/1                       

2.  Es tönt ein voller Harfenklang Op. 17/1 (1860)

3.  Nachtwache I Op. 104/1 (1888)

4.  Einförmig ist der Liebe Gram Op. 113/13 (1891)

5.  Gesang der Parzen Op.89 (1882)       

6-9. Symphony No. 3 in F major Op. 90 (1883)

10. Nanie Op. 82 (1881)

 

The Monteverdi Choir

Orchestre Révolutionnaire et Romantique / John Eliot Gardiner

 

Recording locations: Recorded live at the Salle Pleyel, Paris and Royal Festival Hall, London

 

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.’ Both Nänie and Gesang der Parzen show fascinating links with Brahms’ last two symphonies Parzen sharing 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.”

 

Soli Deo Gloria SDG704