ab 7. September 2009 stehen die Neuveröffentlichung von
SDG 159, Vol. 9 und SDG 704 Brahms-Symphonie 3
vom Label – Soli Deo Gloria – bereit.
Weitere Informationen dazu nach dem Cover:
TWO NEW RELEASES DUE EARLY SEPTEMBER 2009
- SDG 159 – BACH CANTATAS FOR 17TH & 18TH SUNDAYS AFTER TRINITY
- SDG 704 – BRAHMS SYMPHONY 3
SDG 159 Volume 9 (2 cds) contains:
Cantatas for the for the Seventeenth Sunday after Trinity
BWV 148 – Bringet dem Herrn Ehre seines Namens
BWV 114 – Ach, lieben Christen, seid getrost
BWV 47 – Wer sich selbst erhöhet, der soll erniedriget werden
BWV 226 – Motet: Der Geist hilft unser Schwachheit auf
(recorded: Allhelgonakyrkan, Lund)
Soloists: Katharine Fuge | Frances Bourne
Robin Tyson | Charles Humphries
Mark Padmore | Stephen Loges
Cantatas for the Eighteenth Sunday after Trinity
BWV 96 – Herr Christ, der ein’ge Gottessohn
BWV 169 – Gott soll allein mein Herze haben
BWV 116 – Du Friedefürst, Herr Jesu Christ
BWV 668 – Chorale: Vor deinen Thron tret’ ich hiermit
(recorded: Thomaskirche, Leipzig)
Soloists: Katharine Fuge | Nathalie Stutzmann
Christoph Genz | Gotthold Schwarz
The Monteverdi Choir | The English Baroque Soloists | John Eliot Gardiner
Gardiner’s award-winning Bach Cantata series on Soli Deo Gloria continues with volume 9 in the series featuring Cantatas for the seventeenth and eighteenth Sunday after Trinity. Recorded live in October 2000.
We join John Eliot Gardiner, The Monteverdi Choir and The English Baroque Soloists on their Bach Cantata pilgrimage in the spectacular dark brown gothic Allhelgonakyrkan (All Saints Church) in Lund.
The concert explodes into action as the long fanfare-like ritornello for solo trumpet and strings herald the opening of BWV 148 Bringet dem Herrn Ehre seines Namens (Give the Lord the Glory due his Name). This grand opening leads the way for the chorus to enter with a rousing delivery of the psalm verse, ‘Give unto the Lord the glory due unto His name; worship the Lord in the beauty of holiness.’
This is then followed by the chorale cantata BWV 114 Ach, lieben Christen, seid getrost (Ah, dear Christians, be brave), from Bach’s second Leipzig cycle. In typical Lutheran fashion, the text begins in despair and ends with the hope of redemption. The contrast between despondency and consolation is clear in the second movement for tenor, obbligato flute and continuo. Sung by the fantastic Mark Padmore.
“This is one in a series of bleak but hypnotic arias epitomising the beleaguered soul at which Bach excels”, states Gardiner.
We then hear BWV 47 Wer sich selbst erhöhet, der soll erniedriget werden (Whoever himself exalteth shall be abashed) which opens with a mighty opening movement for chorus. Gardiner states in his notes that this was a choral fugue that grew on the choir, and by the encore of the second concert it had registered its considerable power with both the performers and the listeners.
The programme ends with the most instrumentally conceived of Bach’s double-choir motets, BWV 226 Der Geist hilft unser Schwacheit auf (The Spirit Helpeth Our Infirmities). Interestingly, this is the only one for which original doubling parts for winds and strings have survived. It is also the only motet composed by Bach for which a specific purpose is known – the funeral service of JH Ernesti, the rector of the Thomasschule in Leipzig.
We then travel to the Thomaskirche in Leipzig and open the programme with BWV 96Herr Christ, der ein’ge Gottessohn (Lord Christ, the only Son of God). The cantata is closely connected to a 200-year-old hymn by Elisabeth Cruciger, a poet who came from an emigrant aristocratic Polish family.
Next comes BWV 169 Gott soll allein mein Herze haben (God alone shall have my heart), the last and considered by many to be the most consistently beautiful of Bach’s Cantatas for solo alto. This is then followed by the superb choral cantata BWV 116 Du Friedefürst, Herr Jesu Christ, first performed on 26 November 1724.
The choir then retreat to the very crucible where for the last twenty-seven years of his life Bach worked. They form a horseshow around his final resting place and sing a cappellawhat legend has identified as Bach’s very last piece, BWV 668 Vor deinen Thron tret’ ich hiermit, the so-called Deathbed Chorale.
SDG 704 – Brahms Symphony 3 (1 cd) contains:
Ich schwing mein Horn ins Jammertal Op.41/1 (1861)
Es tönt ein voller Harfenklang Op.17/1 (1860)
Nachtwache I Op.104/1 (1888)
Einförmig ist der Liebe Gram Op.113/13 (1891)
Gesang der Parzen Op.89 (1882)
Symphony No.3 in F major Op.90 (1883)
I Allegro con brio
III Poco allegretto
Nänie Op.82 (1881)
(recorded: the Salle Pleyel, Paris and the Royal Festival Hall, London)
The Monteverdi Choir | Orchestre Révolutionnaire et Romantique | John Eliot Gardiner
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 recordings from this series are drawn from Gardiner’s two-year Brahms and his Antecedents project which not only celebrated Brahms the composer, but traced the roots from which Brahms drew his creative inspiration. No other composer of the 19th century had such a close and informed relationship to music of the past and for this reason, great choral works by composers as varied as Bach, Schütz and Mendelssohn are performed alongside Brahms’ compositions.
This album features Brahms’ grand, heroic third symphony alongside his setting of Schiller’s dirge Nänie and Goethe’s dramatic ballad Gesang der Parzen. These are preceded by a little group of choir pieces threaded together by an autumnal hunting-horn theme.
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”
Inside the same elegant packaging used for the Bach Cantatas CDs, the booklet notes feature an in-depth conversation between John Eliot Gardiner and composer Hugh Wood.
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