Search - John Eliot Gardiner, Orchestre Revolutionnaire et Romantique, The Monteverdi Choir :: Brahms: Symphony # 1; Bergrabnisgesang, Op. 13; Schicksalslied, Op. 54; Mendelssohn- Mitten wir in Leben sind Op. 23

Brahms: Symphony # 1; Bergrabnisgesang, Op. 13; Schicksalslied, Op. 54; Mendelssohn- Mitten wir in Leben sind Op. 23

John Eliot Gardiner, Orchestre Revolutionnaire et Romantique, The Monteverdi Choir
Brahms: Symphony # 1; Bergrabnisgesang, Op. 13; Schicksalslied, Op. 54; Mendelssohn- Mitten wir in Leben sind Op. 23
Genre: Classical

Larger Image

CD Details

All Artists: John Eliot Gardiner, Orchestre Revolutionnaire et Romantique, The Monteverdi Choir
Title: Brahms: Symphony # 1; Bergrabnisgesang, Op. 13; Schicksalslied, Op. 54; Mendelssohn- Mitten wir in Leben sind Op. 23
Members Wishing: 0
Total Copies: 0
Label: SDG - Soli Deo Gloria
Original Release Date: 1/1/2008
Re-Release Date: 10/14/2008
Album Type: Single
Genre: Classical
Styles: Opera & Classical Vocal, Symphonies
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 843183070220, 884385041359

Synopsis

Product Description

Following on from John Eliot Gardiner's critically acclaimed recordings of the symphonies of Beethoven and Schumann, SDG are proud to b e releasing the first disc in a new series exporing teh music of Johannes Brahms. Recorded live during last autumn's Brahms and his antecedents tour, and showcasing the four symphonies as well as Brahms' major choral works, this series is an important milestond for SDG heralding teh development of the label beyond the music of Johann Sebastian Bach and teh REnaissance choral repertoire which have so far dominated its catlogue. Brahms' large-scale music is brimful of vigour, drama and a driving passion - says John Eliot Gardiner in his introductory notes. One way to release these characteristis is, for the conductor, to set his symphonies in the context of his own superb and often neglected choral music, and that of the old masters he particularly cherishede and studied (Schutz and Bach especially) and of recen heroes of his (Mendelssoh, Schubert, and Schumann). This way, says Gardiner, we are able to gain a new perspective on his symphonic compositions, drawing attention to the intrinsic vocality at the heart of his writing for orchestra. Composing such substantial choral works as Schicksalslied, which also features on this release, gave Brahms invaluable experience of orchestral writing years before he brought his first symphony to fruition. Solemnity, pathos, terror and jubilation are all experienced and encapsulated before they come to a head in the finale of the first symphony.

CD Reviews

Interesting and well played, but I doubt Brahms would recogn

Some Guy from Ohio | Columbus, OH United States | 06/13/2009

(3 out of 5 stars)

"The musicianship displayed on this recording is of a very high order, and the sonics are very good. This is a performance that creates a new Brahms First for the modern world, a Brahms that speaks to us.

This should not however be confused with Brahms as Brahms would have heard it. Brahms died in 1897, the phonograph was invented in 1877, and flat disc records in 1881. We have an ample auditory record of what musicians of Brahms' time sounded like, and this is not even close.

We have recordings of Joseph Joachim (the violinist for whom Brahms wrote his concerto) as well as other violinists of Brahms' time, and clearly vibrato and a lot of portamento were used. Joachim's vibrato is spare, but to use none at all, and no portamento, is not in keeping with the known performance practices of Brahms' time.

Beyond those primitive early recordings, some musicians who knew Brahms, conducted for Brahms, and heard Brahms conduct lived well into the mid-twentieth century, when electric recording techniques were available.

If you are interested in hearing something close to what Brahms must have heard, look into Felix Weingartner's recordings from the 1930's. Weingartner was in his mid-thirties when Brahms died; Brahms heard him conduct his Second Symphony, and liked what he heard. Weingartner also heard Brahms conduct his Third and Fourth symphonies.

The standards of orchestral playing were not as high in the 1930's as they are today, and there are imperfections, but this is the closest to "authentic" Brahms as it is possible for us to have. The recordings themselves were made using an electrical process with microphones, and are not primitive."

One fantastic CD

Osvaldo Colarusso | Curitiba, Paraná Brazil | 04/17/2009

(5 out of 5 stars)

"This CD pleased me very much.First of all the Monteverdi choir is, today, one of the most impressive vocal ensembles . The Mendelssohn, in this CD , for a Capella choir , sounds magnificent. And the version of the superb Song of Destiny is one of the best I heard. The first three tracks are the sufficient reason to buy this record , but after we can hear one of the most beautiful versions available of the first Symphony of Brahms. The orchestra play so well, and the transparency, all the time ,make you hear things that simply don't appear in others versions.I am very happy to hear this CD, and I'm anxious to listen the others Symphonies. After the wonderful work with the Cantatas of Bach, the Monteverdi Choir and Gardiner, with this superb orchestra,shows once more the serious intentions of this new label."