A German Requiem is one of Johannes Brahms’ great masterpiece and a staple of the choral repertoire. As the title states, the piece is indeed a requiem but not the usual one found throughout the rest of classical music. The first of two major differences is the language of the text, German, indicated in the title, as opposed to the typical Latin. In fact, “German” in the title is only to indicate the language used and is not meant to specify a particular audience. Brahms told Karl Martin Reinthaler, director of music at the Bremen cathedral, that he would have gladly called the piece A Human Requiem. The second difference is the text itself. Brahms rejected the liturgical text for a requiem and instead compiled his own libretto from the Lutheran Bible.

Brahms’ text for the requiem also differs from the liturgical text in its approach and focus. While the liturgical requiem begins with a prayer for the dead (“Grant them eternal rest, O Lord”), Brahms instead begins with comforting the living with the text, “Blessed are they that mourn, for they shall be comforted.” This focus on comforting the living continues throughout much of the work with the Scriptures like, “And the ransomed of the Lord shall return, and come unto Zion with songs and everlasting joy upon their heads” and “Ye now therefore have sorrow: but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.”

Brahms’ mother died in February 1865, a significant loss to him, and it is possible that this was the impetus for composing A German Requiem. Three of the movements were completed by April of the same year, and the entire piece, except for the fifth movement, was completed by April 1866. A partial performance was given in Vienna, but the first full performance was on Good Friday in 1868. Brahms also added what is now the fifth movement in May of that same year, and the first performance of the seven movement work known today was on September 12, 1868 in Zurich.

The piece is absolutely a remarkable work and one that Brahms much fame. It is also a wonderful representation of Brahms’ high degree of craftsmanship and his use of Classical forms, for example, both the third and sixth movements end with rather expansive fugues. The piece was generally well-received, however, a few critics were less favorable. George Bernard Shaw, a devoted follower of Wagner, commented that “there are some experiences in life that should not be demanded twice from any man, and one of them is listening to the Brahms Requiem.” However, the piece has remained one of the greatest choral works of classical music.

Among Joshua Bell’s recorded works, I have heard several excellent interpretations, including some that I would count among my favorites. His technique, tone, and phrasing engage me in a music in a way only a few musicians can. To see him walk out onto the stage this evening at Symphony Hall, to play one of my favorite pieces with the Boston Symphony Orchestra led by Yan Pascal Tortelier was an instant delight, in anticipation of what was to come. Together, they performed the Brahms Violin Concerto in D Major, Op. 77. It was my first time to see it live, and what a wondrous occasion it proved to be.

The grand sound of the BSO in the hall is best experienced from center first balcony. I realized this during Stravinsky’s Firebird Suite (1945) — that the dynamics were so palpable from this vantage point gave me a profoundly new appreciation of Symphony Hall. First Balcony, Row A, Seat 21. One day I might have to purchase that seat. In the meanwhile, I was more than happy to make due with Row C, Seat 18. I felt as if I lost nothing of Bell’s solo violin from this location, though there is something to be said for having a seat close to C18 in the orchestra, where the soloist(s) are larger than life and the sound is completely enveloping.

From the first sweet note of the bassoon, the BSO moved through the first passage leading to the first solo entrance some 87 bars in with energy, culminating with a build up for Bell’s entrance that nearly felt like the end of a movement instead of the beginning. Bell entered passages grandly, though it was clear in a very few spots that passion would defeat accuracy on intonation of some impossibly high sections and on the execution of a few of the earlier chords. He seemed to be teetering precariously on the edge of control in a few fleeting moments on the highest of forte sections near the beginning. It did not detract but for a frightful moment, however, and Bell quickly held his composure and proceeded to command the first movement brilliantly. Upon anticipation at the cadenza, the hall fell as silent as I’ve ever heard it at capacity, as we held our collective breaths through the sheer magnificence of Bell’s perfect execution of his solo. I do not know the origins of the cadenza (whether he wrote it or if it was part of some standard repertoire), but I am dying already to hear it again and again. It challenged one’s understanding of the central themes, weaving in and out of familiarity and adding a new depth with colorful chords that tricked one into hearing a fullness from the solo instrument that was unexpected. The movement finishes shortly after, and I had to actively withhold my applause, though it most certainly would have been warranted in that space, especially in consideration of the cadenza.

Of course, I am least familiar with the second movement Adagio, but this performance gave me a new appreciation of the beauty in the theme, first conveyed by the purity of the oboe, to be later followed by the solo violin. Violinist Pablo de Sarasate reportedly had little patience in waiting for the oboe to finish this theme, but had he been here tonight, perhaps he would have missed his own entrance in awe of the song. The theme is pleasant, contemplative, and the sweetness of Bell’s tone throughout the Adagio moved me more than any other performance I’ve witnessed — ever. I won’t soon forget how I finally came to understand the Adagio this evening.

And yet, his performance confidence must have only grown, as the gypsy third movement was vibrant; it was clear to me that Bell was enjoying himself on stage throughout. The performance marked for me the hallmark of the Brahms by which all others will be undoubtedly compared. Even though, in a few sections, Bell and the BSO’s interpretation was slightly different than one I prefer, mostly in the choice of tempo and some of the articulation, certainly nothing was egregiously out of place, and Bell’s execution and tonal maturity were on full display tonight. It would be unfair to the Tchaikovsky to allow tonight’s excellent performance cause the Brahms to usurp it for absolute top violin concerto spot in my mind, but as soon as I was unsure how to gain further depth into the music of Brahms, this concert set me completely straight. I look forward to a lifetime of hearing equally excellent performances of this piece, starting with this Saturday night, with completely clear expectations of what to look forward to in Bell and the BSO’s performance.

An Advent Procession based on the Great “O” Antiphons
The Choir of St. Mark’s Cathedral, Seattle
(Loft Recordings)

Johannes Brahms: Symphony No. 1
Budapest Festival Orchestra
Ivan Fischer
(Channel Classics)

Alphons Diepenbrock: Orchestral Works and Songs
Residentie Orchestra The Hague
Hans Vonk
(Chandos)

Phil Kline: Unsilent Night
(Cantaloupe Music)

Henry Purcell: Odes for St. Cecilia’s Day
Taverner Consort
Andrew Parrott
(Virgin Veritas)

Remembering the great Elisabeth Söderström

Joshua Bell will be performing tonight, Friday (matinee), Saturday, and next Tuesday in a series of concerts with the Boston Symphony Orchestra. I broke down and decided to go at least this Tuesday and Saturday’s shows, since he will be performing one of my two favorite violin concertos: Brahms, D Major, Op. 77. Instead of waiting in line for an hour or more for the certainly popular rush tickets tomorrow night, I decided to buy a $20 under-40 ticket. Among my seat choices was an excellent orchestra seat, dead center in row Z, or a third row first balcony seat, also in the center. While I’d rarely pass up that wonderful orchestra seat, I’ve seen all but one show from the orchestra and have not spent any time on the first balcony. Since all of my rush and student tickets so far have been in the orchestra, I opted for the first balcony seat, where I will certainly have another unique perspective on the power of Bell’s solo violin carrying throughout Symphony Hall. On Saturday night, my seats are stage left orchestra seats, so it will be an interesting experiment in acoustics to see how similar (but not identical) performances sound from different seats. I can already hear the low hum of the side vents in those orchestra seats, however ….

Unfortunately, Sir Andrew Davis was not able to be with us for this series of concerts, and Yan Pascal Tortelier will serve as his replacement in his BSO debut at Symphony Hall. Along with this change, instead of Igor Stravinsky’s Symphony in Three Movements, the BSO will do Stravinsky’s 1945 Firebird Suite, which I think will be quite a treat.

I plan on attending the pre-concert talk on Tuesday that will be given by Elizabeth Seitz, but I am not planning on staying for the signing of Bell’s new album, At Home With Friends. It’s not that I do not wish to meet Mr Bell, which I would like to do perhaps one day, but there’s something incredibly objectionable to me to stand in line in order to meet someone and have them scribble their name onto the liner notes of a CD. I might have to invite Hilary Hahn to dinner though, if I get a chance to meet her later in the season ….

I have several of Bell’s albums and particularly enjoy his performances of Tchaikovsky’s Violin Concerto (my other favorite) and Kreisler violin pieces. Having never heard him play the Brahms, I will be interested in his and the BSO’s interpretation.

Sylvia Ji, »La Catrina«

Heute ist Totensonntag, der letzte Sonntag im Kirchenjahr. Ich werde heute Nachmittag in der Kreuzkirche Johannes Brahms’ Ein Deutsches Requiem im Konzert hören (mit dem Chorknaben unter den Sängern). Es ist für mich das dritte Mal, daß ich diese bewegende Komposition an diesem Ort erlebe – inzwischen ist es Teil „meines“ Dresdens geworden. Ich kann mich nicht erinnern, wann mich der Chor „Denn alles Fleisch, es ist wie Gras“* jemals nicht zu Tränen bewegt hätte. Stets erinnert es mich daran, wie kurz, wie nichtig, aber auch wie kostbar unser Leben ist – und ich fühle mich aufgehoben …

Halloween, Totensonntag/Ewigkeitssonntag, Allerheiligen/Allerseelen: an diesen Feiertagen setzen sich die Christen mit dem Tod auseinander.**

Einer grundsätzlich anderen Begegnung mit dem Tod in fremden Kulturkreisen bin ich in dieser Woche ja bereits nachgegangen („Von Weißen Frauen & schwarzen Tauben“).

Eine zentrale Figur hierbei ist „La Catrina“, was in diesem Fall nicht „Die Reine“, sondern „Die Vornehme, Eitle“ bedeutet. „La Catrina” geht zurück auf eine Serie von Radierungen José Guadalupe Posadas, in der er 1913 die dekadente mexikanische Oberschicht karikierte.

José Guadalupe Posada, »La Catrina« (1913)

Diese Figur wirkt bis heute in der Populärkultur nach; so hat sie z. B. Tim Burtons Werk nachhaltig beeinflußt.

Neben dem Wieder- und Wiederhören von Elliot Goldenthals Frida-Soundtrack wurde meine Auseinandersetzung mit dem Thema des „Dia de los Muertos“ vor allem von Photographien des Künstlers John Rees angestoßen. Diese Frauengestalten wirken trotz ihrer Fleischlichkeit wie diaphane Geistererscheinungen oder Verstorbene, die uns auf alten Sepiaporträts entgegenblicken:

John Rees, »Dia de los Muertos« (2008)

[Klick vergrößert Bilder.]

[via]

Natürlich haben auch die beiden mexikanischen Künstler par excellence, Frida Kahlo und Diego Rivera, regen Gebrauch von dieser indigenen Folklore gemacht:

Diego Rivera, »Sonntagsträumerei in der Alameda« (Detail) (1948)

Ich wünsche allen einen besinnlichen, schönen Sonntag!

Hallo,

eine schöne Information von @Leen, dafür ganz herzlichen Dank. Auf dem niederländischen”Webchannel Cultura” gibt es Konzert- Probenausschnitte und Interviews zu J.S. Bach und Johannes Brahms zu bewundern. Die Aufnahmen sind von Oktober 2007 u.a. mit dem BWV 60 “O Ewigkeit du Donnerwort” und Aussagen zur Interpretation von Johannes Brahms. Die einfühlsame Probenarbeit von J.E. Gardiner ist wiederum zu bewundern.

J.E. Gardiner im Interview in Holland 2007

Ein wenig Zeit ist für den Film notwendig die Laufzeit beträgt ca. 40 Minuten, darunter sind viele köstliche Szenen zu bewundern – wünsche viel Spaß…!!

Im Gespräch zur Interpretation Prof. Michael Niesemann und J.E.Gardiner

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Link zum niederländischen Webchannel-Cultura:

http://player.omroep.nl/?aflID=10359997

Quelle: player.omroep.nl

Helaas ondersteunt uw browser niet (voldoende) JavaScript om de player weer te geven. Lees hier hoe u JavaScript kunt inschakelen. We werken aan een oplossing voor dit probleem.

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Nach dem Öffnen der Webchannel-Webseite wird der Quick Time Player 7 automatisch beim Browser “Safari” (Apple) gestartet, ein wenig Geduld beim Laden…!!  Beim Aufruf unter Windows erfolgt ebenfalls automatisch auf der Webchannel-Cultura-Seite ein Aufruf des Windows-Media-Players auch hier ein wenig Geduld, bis der Ladevorgang abgeschlossen wird.

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Gruss

Volker

I was fortunate enough to see two performances of the same program, a rare treat for me at the Boston Symphony Orchestra. I went for college card tickets on both the Thursday night and Saturday night performances of last week. The BSO played Arthur Honegger’s Pastorale d’Été, Camille Saint-Saëns’ Piano Concerto No. 2, and Igor Stravinsky’s Petruska. In truth, I came for the Petruska and stayed for the Saint-Saëns, having the least of hopes for the Honegger, since I was not aware of him until Thursday night. A symphony friend CB and I met at 10 am outside the box office in anticipation of the college card tickets on Thursday, and we were met by a surprisingly long line. The Salvation Army donations guy was out in front of Symphony Hall, which we commented seemed to be occurring earlier and earlier each year. Even with his single tone bell, I immediately recognized the rhythm as that of Jingle Bells. If you sang along with it in your head, as I am sure the Salvation Army’s handbell soloist was, it didn’t sound too bad after all. His virtuoso performance outside the hall reminded me of my middle school days, when I would tap the WIlliam Tell Overture with my four-and-two fingers on the table. It dawned on me then that perhaps no one else could hear the melody in the tapping, and I tried to decouple my tapping with the actual sound I was hearing. I listened hard to hear only taps, but the ever familiar melody always played softly in the background.

For some reason, the box office was allowing everyone to get two college card tickets, so we both got two tickets each, in hopes of corralling others to join us that evening. It’s a surprisingly lofty proposition, to find people I know who want to go experience one of the world’s best symphony orchestras in one of the most amazing concert halls in the world, for free. In fact, we both failed in finding people to accompany us, so we decided to hold onto her pair of tickets, which gave us a great view of the solo pianist during the Saint-Saëns. I had a Fenway Park moment outside the box office just before the show, as I desperately tried to find someone who was looking for tickets but did not have them. I was hoping to give them to someone who would not normally go to the symphony, reminiscent of a photo of a man outside the hall with a sign, Desperate for Tickets. I finally found a pair of college students who had just been turned away from the box office who were very grateful and hopefully enjoyed the show.

With no expectations for the Pastorale d’Été, I settled in for the piece comfortably, and after what was a pretty long day, I found it to be perfectly peaceful and quit a fitting tribute to its namesake of the summer season. The free laziness of summer was captured in the long legato tones of the winds and strings. It is a happy piece, a fitting tribute to a season that, at least for this year, has come and gone.

The featured soloist for the Saint-Saëns Piano Concerto No. 2 was 21-year-old Lise de la Salle, someone whom I had not heard of, and since I did not know the music of Saint-Saëns save the Carnival of Animals, I was not terribly eager for this piece. The first movement of the piece, which numbers among CB’s favorites, is dramatic and serious, a dark contrast with the Pastorale. I found de la Salle’s playing to be quite compelling, though I did feel in a few phrases that she probably could have coaxed even more intensity from the Steinway and Sons. The subsequent movements contained small musical jokes and grand musical gestures, exploring the ranges of human emotion with ease. The piece was executed brilliantly, and her maturity in young adulthood was evident. In addition, I found in Saint-Saëns a composer whose work excites me almost as much as his contemporary from the Romantic period and perhaps my favorite composer Johannes Brahms. I have already begun my exploration into his work and found several pieces that may become part of my standard listening repertoire.

The Piano Concerto far overshadowed my expectations for Stravinsky’s Petruska, a nice piece for a ballet that felt at time confusing, perhaps since it was meant to accompany the missing dancers. Perhaps I will get a chance to see it performed to heighten my appreciation of it. The experience reminded me of my first listen of the soundtrack to the French film noir Ascenseur Pour L’Échafaud, which is improvised by Miles Davis and his trio as Davis watched the scenes of the film. Hearing the soundtrack first, I had no reference point for the music, and while it was all fine, watching the film with the music deepened my understanding and appreciation of the music. (The film is in my top five favorites.)

When I heard of the college card tickets that were released on Saturday morning, I knew I wanted to go see de la Salle perform the Saint-Saëns again. I was treated to the calming Honegger and thoroughly enjoyed the piano concerto, now having some familiarity with the piece. It was similar in more ways than one, as de la Salle appeared to have on the same dress as the Thursday performance! I cannot recall if I noted this in Janine Jansen and Alisa Weilerstein when I saw them perform the Brahms Double Concerto this year, but I did liken de la Salle’s attire to that of some kind of musical superhero with closets full of the same blue dress. I came away from this week with a respect for Honegger, a hope for future Stravinsky, and an excitement to explore the music of Camille Saint-Saëns further.

Hallo,

wenn es bei Sir J.E.Gardiner um Neuland in der Veröfentlichung eines Projektes geht, müssen seine “Brahms-Einspielungen” unbedingt  genannt werden. Die neuste CD mit der Brahms-Symphonie No:3 als SDG 704.

Cover: Brahms Symphonie 3

Johannes Brahms

1833-1897

Inhalt:

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
II Andante
III Poco allegretto
IV Allegro

Nänie Op.82 (1881)

Ein weiteres aktuelles Projekt von Gardiner beinhaltet das Nebeneinander von drei Brahms Symphonien sowie Chormusik von Brahms. Insbesondere konzentriert sich Gardiner auf die “Vokalität” dieser Symphonien, und befindet sich auf tragenden Spuren seiner Interpretation in den vokalen Werken von Brahms.

Dieses Album bietet einen großen Brahms mit der dritten Symphonie – heroisch erklingend neben der  Nänie ebenso ein dramatischer Ballade Gesang in der Parzen.

Das Projekt wurde in zwei Tranchen, und der erste Teil der zweiten Tranche ist nun in Form der Dritten Symphonie, die mit sechs Chorwerken Brahms eingespielt wurden. Die Auslegung Gardiner’s mit der Verwendung von historischen Instrumenten erzeugt ein ganz neues Klangerlebnis. Die Texturen und Klangfarben sind folglich sehr prägnanten, zum Beispiel in dem lieblichen, poetischen zweiten Satz, in dem die Holzbläser abheben – und eine unnachahmliche Eigenständigkeit im Klangerlebnis bewirken.

Ein gelungenes Ergebnis, ist Gardiner’s Theorie über Vokal-Ansätze bis hin zur symphonischen Zusammensetzung in einem genialen Klanggenuss zu vereinen. Es erklingt eine leidenschaftliche und dramatische Brahms-Symphonie No: 3 die begeistert.

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CD-Bestellung über meine Partnerseite nachstehend:

Link: http://blogjsbachcantatapilgrimage2000.blogspot.com/2009/11/gardiner-mit-brahms3-sdg-704-erschienen.html

Gardiners-Erläuterungen dazu: nachstehend:

Click here for a German Translation of the sleeve notes.

Gruß
Volker

[WV, CUE, LOG, COVERS]

Label: Membran / Artone

Number of Discs: 4

Composer: Carl Maria von Weber, Johannes Brahms, Peter Ilyich Tchaikovsky, Dmitri Shostakovich
Conductor: Eugen Mravinsky
Orchestra/Ensemble: Leningrad Philharmonic Orchestra

CD 1

PETER ILYICH TCHAIKOVSKY (1840–1893)
Symphony No. 6 in B minor Op. 74
“Pathétique”
1. I. Adagio. Allegro non troppo 17:50
2. II. Allegro con grazia 7:12
3. III. Allegro molto vivace 8:50
4. IV. Finale: Adagio lamentoso 9:45
Recorded 1949

5. “Capriccio italien” Op. 45 14:07
Recorded 1950

Leningrad Philharmonic Orchestra

Total Time: 57:47

CD 2

PETER ILYICH TCHAIKOVSKY (1840–1893)
Serenade for Strings in C major Op. 48
1. I. Pezzo in forma di Sonatina. Andante non troppo 9:25
2. II. Valse: Moderato, Tempo di Valse 3:40
3. III. Elegia: Larghetto elegacio 8:23
4. IV. Finale: Tema Russo. Andante. Allegro con spirito 7:38
Recorded 1949

5. “Francesca da Rimini” Op. 32 22:36
Symphonic fantasy after Dante
Recorded 1948

Leningrad Philharmonic Orchestra

Total Time: 51:43

CD 3

JOHANNES BRAHMS (1833–1897)
Symphony No. 1 in C minor Op. 68
1. I. Un poco sostenuto 13:02
2. II. Andante sostenuto 8:15
3. III. Un poco allegretto e grazioso 4:33
4. IV. Adagio. Allegro non troppo ma con brio 16:25
Recorded 1949

CARL MARIA VON WEBER (1786–1826)
5. “Invitation to the Dance” Op. 65 9:37
Recorded 1951

6. Overture “Oberon” 8:09
Recorded 1951

Leningrad Philharmonic Orchestra

Total Time: 60:04

CD 4

DMITRI SHOSTAKOVICH (1906–1975)
Symphony No. 5 in D minor Op. 47
1. I. Moderato. Allegro non troppo 16:43
2. II. Allegretto 5:40
3. III. Largo 14:19
4. IV. Allegro non troppo. Allegro 10:59
Recorded 1938

Leningrad Philharmonic Orchestra

Total Time: 47:43

LINKS

http://uploading.com/files/f5b8a22f/MravinskyTchaikovskySymphony6CapriccioItalien.part1.rar/

http://uploading.com/files/m2482319/MravinskyTchaikovskySymphony6CapriccioItalien.part2.rar/

http://uploading.com/files/6cc889fb/MravinskyTchaikovskySerenadeforStringsFrancescadaRimini.part1.rar/

http://uploading.com/files/dmf8fa27/MravinskyTchaikovskySerenadeforStringsFrancescadaRimini.part2.rar/

http://uploading.com/files/87ba739m/MravinskyBrahmsWeber.part1.rar/

http://uploading.com/files/875b29f3/MravinskyBrahmsWeber.part2.rar/

http://uploading.com/files/34afc2f8/MravinskyShostakovichSymphonyNo5.rar/

Although the title would suggest otherwise, 9 dancers are placed on the stage in deep blue shiny unitards. The piece is set to the entire 77th opus of Johannes Brahms Violin Concerto in D. The movement begins small and in unison as the dancers move in and out of beautifully constructed body lines, at times moving quickly and with force and other times slowly and with intention. The first section of the dance is set to all of section one of the opus and runs seamlessly into section two.

Credit: Steve Labuzetta

Violin Concerto in D, Opus 77, Section 1:

Violin Concerto in D, Opus 77, Section 2:

As soon as the first note of Section 2 was played, I was immediately taken by surprise. I am not an avid classical music listener but I recognized this song. Specifically from David Berkey’s famous piece, Sentinel, choreographed in 1990, two years later.

Credit: Michael Williams

Sentinel is a quartet choreographed at the end of David Berkey’s career and tells a story of passing knowledge and life on to a younger generation. It’s a beautiful and lyrical dance that makes use of the dynamics within the music for powerful leaps during intense upsurges and quiet deliberateness during lulls. Garth Fagan does not do this. In fact there is no transition from the first song to the next within the dance, the dancers just continue on and ignore any of the emotional pushes of the music. Even to the point where the music seems hardly to affect the audience.

The music continues on.

Violin Concerto in D, Opus 77, Section 3:

As the dance progresses, phrases from the begining continue to appear in random and sometimes unpredictable ways. The partnerings shift and both women and men take each other’s roles. One partner is slowly lifted from the floor by the standing partner to a position with one leg on the ground and the other lifted high above and behind the head. This is juxtaposed with quck flapping arms and direction changes. All with a continuous flow.

Although the this dance and that of David Berkery are very different. It was difficult not to see the other dance while watching this one. The music didn’t punch me the way it would have had I not already seen it performed under an entirely different circumstance. Instead of watching the movement, I couldn’t help but compare the two immediately and decide that this one certainly wasn’t using the music the way I would expect from seeing the previous dance first.

Many times within the dance world, two or more dances will be choreographed to the same song. Especially with such attractive composers such as Phillip Glass, Steve Reich or any number of well known classical scores, it can be difficult to make a song your own. I have been told that at dance festivals it is incredibly important to be prepared for the possibility that two pieces will use the same music and to figure out a solution.

Have you seen both of these dances? Which did you see first?

When have you seen modern dances using the same music? How did it affect you?

Do the multiple uses of a single music piece create a deeper cultural understanding of the music or should each dance’s use be considered separately?

Were you upset when  your ‘Single Ladies’ interpreation get lost in the avalanche of youtube videos?

November 1st, 2009, 7:30pm
Joyce Theater
New York City, New York

I know I’m well past the age of someone who should be doing this, but every once in a while I like to watch Saturday morning cartoons. Last weekend while watching “Jane and the Dragon” (great show, by the way), I saw a commercial for a new cereal called Raisin Brahms.

As in the 19th century German composer Johannes Brahms.

Ok, so it’s not a real cereal. It’s actually a public service announcement created by an organization called Americans for the Arts. As part of their “The Arts. Ask for More.” campaign, they partnered up with the NAMM Foundation and the Ad Council to produce commercials that encourage parents to get their kids interested in the arts. Because Brahms really is part of a complete breakfast. Take that Frosted Flakes.

- Alana Harper

This weekend Franz Welser-Möst is conducting the Cleveland Orchestra and Chorus in Johannes Brahms’s Ein deutsches Requiem (A German Requiem) with soprano Nicole Cabell and baritone Russell Braun as soloists. Robert Porco prepared the wonderful Cleveland Orchestra Chorus.  Rarely have I heard this work performed with such clarity and directness, yet with the requisite boldness and tenderness.  Franz is an outstanding choral conductor–a trait not always found in orchestral conductors, even those with talent for opera. The chorus is not left “on their own” to figure out what to do. I have witnessed even such notable conductors as Pierre Boulez and Christoph von Dohnanyi leave the chorus behind in the dust.

With absolutely parochial interest, I note that the Norton Memorial Organ was used in this performance, played by Joela Jones, to give an added sonic “boost” to the bass, but also supporting the vocal lines.  It was mostly not audible, but it was “there,” and I’m glad they used the organ.

Russell Braun has a lovely voice, but he seemed a bit underpowered for this particular performance.  (Or perhaps Franz should have shut down the orchestra a bit more.)  In the single movement that the soprano soloist appears, one has gotten used to hearing light voices (think Kathleen Battle, Dawn Upshaw, or even the German Christine Schäfer). Nicole Cabell, although obviously a lyric soprano, has a darker, richer, more luscious voice.  It made a nice contrast with the “classic” texture of sound in the rest of the performance.

The concert opened with a Cleveland premiere of Chor (for orchestra), a 2003-04 work by German composer Jörg Widmann, who is beginning his two season tenure as the orchestra’s Young Composer Fellow. While it is impossible to judge a complex contemporary work on one hearing, what is not in question is the Cleveland Orchestra’s brilliant performance. The work is in a broad arc with a stupendous central climax marked with ear-splitting rolls on suspended cymbals, strings at extremely high pitch, and, I believe, multiple police whistles. (It was really too loud, and I felt forced to hold my ears.) The pace is slow, with many long notes overlapping one another.  An offstage solo trumpet (the orchestra’s amazing principal trumpet Michael Sachs) started the work with a dialogue with a bowed vibraphone and notes on an accordion (played by the ever-versatile Joela Jones).  The texture and amplitude gradually increase until the climax, then start to dissolve again, but with “speed bumps” along the way–huge interjections by the full orchestra interrupting the quiet flow of the music.  At several points there are quite tonal “chorale”-type passages of an almost of a Brahmsian nature, but always deconstructed, as if the aural equivalent of looking in a funhouse mirror.  The work makes extensive use of quarter-tone playing in all the parts, and the orchestra’s pitch and clarity were quite astonishing.  (After hearing Chor, I am tantalized by what the orchestra would make of Thomas Ades’s monumental and beautiful  Tevot, written for Berliner Philharmoniker.  The orchestra is performing Ades’s Violin Concerto later this season, and Franz has conducted more of his music in the past.  Come on Franz, let’s have Tevot!)

Virtual Farm Boy is constantly complaining about too many standing ovations at concerts in Cleveland, but this is a case where the ovation was richly deserved.  The orchestra is off for a few weeks on European tour and a residency in Vienna.  We’ll look forward to their return in mid-November.

Hallo,

ein Interview erschien im Monat Oktober 2009 im Rondo-Klassikmagazin mit Sir John Eliot Gardiner, im Gespräch mit Jörg Königsdorf über sein Brahms-Zyklus Projekt.

Interview Gardiner im Rondo-Magazin (Fotorechte: Rondo-Magazin)

Link: PDF gardiner_rondo_Interview_2009

Gruß

Volker

When famed composer Johannes Brahms was in his latter years, he announced that he would no longer compose.  His friends and adoring public were shocked and saddened by the news.  ”Why?” they asked him.  ”Why, when you still have so much beautiful music left to write?”

He explained that he was old and wanted to spend some time enjoying his last years. Who could blame him?  He had already given many years to his craft, making music that blessed so many.

And so, Brahms laid down his pen and spent his time visiting friends and pursing hobbies.  Those who were close to him said that he definitely seemed to have more spark since stepping away from the demands of being in the public eye.

And so it was that everyone was totally surprised a few months later when Brahms announced that he had just completed a new work.  ”But we thought you were going to retire…” they declared.

“I was!  I was!” he said, “But after a few days’ leisure, I was so happy at the thought of not writing that the music just came to me without effort!”

Ever been weary of well-doing?  Sometimes the pressure to do the thing you love to do takes the passion out of the process.  Everyone’s expectations for faster, better, more have made you forget how much you enjoyed doing a task just for the sake of doing it.

Maybe all you need is a break.  Can you take a time-out for awhile, go on a vacation, delegate the day-to-day part of the task to someone else, get someone to take a piece of it that you don’t like?  Maybe you need to lower your customers’ (internal or external) expectations.  Tell them that you’ll no longer be completing the task each day (or week, or month).  Let them know that you are going to scale back on the quality, quantity or speed a little.   Often times, you’ll find that you only thought they needed it at the level that you were producing it.

It’s important that you maintain your passion.  If you don’t, the quality, quantity or speed are going to suffer anyway.  You’ll find yourself resenting all the extra effort you put into it.  You’ll feel trapped by your own standard of excellence.  Before that happens, step back from the task and create some new boundaries for it or step away from the task so that you can get a clear perspective.

If it’s worth doing and it’s worth you doing it, we’ll wait for you to sort it out.

(S – Parts adapted from Braude’s Handbook of Stories for Toastmasters and Speakers, Jacot M. Braude, editor, Prentice Hall)

Lorsqu’on ouvre le boitier, l’image qui apparait est celle d’un violon retourné sur fond de grosses branches d’arbres.

Est-ce un hasard ? La musique de Brahms à souvent évoqué en moi des images de paysages forestiers. L’aurais-je écouté pour la première fois au walkman lors d’une de mes longues balades en forêt ? (non sans blagues, surtout pas de baladeurs dans ces endroits pleins de magie).

Je ne vais pas vous faire une critique technique de ce disque, vous en trouverez sûrement de très savantes sur le web.

Je voudrais simplement faire le lien entre le superbe son de ce violon de Vadim Repin, qui nous joue ici cette musique que je trouve une des plus belles de tout le répertoire romantique et… un tout aussi superbe documentaire de Jacqueline Veuve : Les Métiers du Bois.

Un fabricant de luges, un scieur-sculpteur, un fabricant de jouets, deux frères charretiers, etc.…et…un luthier bien sûr.

Dans ces neuf films, véritables moments de poésie manuelle et naturelle, on peut suivre les artisans dans leur travail journalier et le contact très étroit qu’ils entretiennent avec la matière et la nature en général.

Je me souviens de cette scène ou l’on voit le bucheron expliquer à quel moment il faut abattre l’arbre pour avoir un bois de qualité en fonction des phases de la lune…

Et je repense du coup à ces mouvements musicaux plein de force et de vigueur qui caractérisent la musique de Johannes Brahms, où la mélodie vous donne cette sensation de filer le long des branches feuillues pour atteindre la cime des arbres les plus hauts.

Il ne serait donc pas étonnant cet automne de me surprendre en pleine forêt en train de siffloter un air de ce concerto tout en sculptant des amulettes dans un bout de chêne à l’aide de mon Opinel…

Eddy Maes.

…Mais revenons un bref instant à notre arbre dans lequel coule cette sève musicale, voici : Un jour un arbre, un documentaire de Pierre Patrolin.

Pour chaque arbre, juste un soupçon d’information qui vous donne vraiment l’envie d’aller caresser du regard et des mains ces arbres majestueux, fascinants ou intrigants.

Détails et disponibilité:

Johannes Brahms, Concerto pour violon et orchestre/  Vadim Repin (violon) . Riccardo Chailly (dir.)

DB6936

Les métiers du bois / Jacqueline Veuve.

TL5891

Un jour un arbre/ Pierre Patrolin.

TO9191

]]> http://clickzoombytes.wordpress.com/2009/10/08/bzte-concerte-la-cluj-2009-octombrie-9-16-filarmonica/ Thu, 08 Oct 2009 15:39:29 +0000 clickzoombytes http://clickzoombytes.wordpress.com/2009/10/08/bzte-concerte-la-cluj-2009-octombrie-9-16-filarmonica/

PROGRAMUL FILARMONICII DE STAT „TRANSILVANIA”

9 – 16 octombrie 2009

Toamna Muzicală Clujeană, ediţia 43

…

• Vineri 9 octombrie
• Casa de Cultură a Studenţilor
• orele 19.00

Filarmonica de Stat „Transilvania” prezintă arii din opere: F. Mendelssohn-Bartholdy, G. Fr. Händel, J. Haydn, L. Berio, O. Respighi. Dirijorul principal al Filarmonicii este Nicolae Moldoveanu (din Elveţia), iar Solista este Liliana Nichiteanu (tot din Elveţia).

…

• Duminică 11 octombrie
• Academia de Muzică „Gh. Dima”, Sala Studio
• orele 19.00

Orchestra de Cameră a Filarmonicii de Stat „Transilvania”. Solistă: Ana Bogăţilă.

Program: C. Silvestri – Trei piese pentru orchestră de coarde, B. Bartók – Divertimento, A. Vivaldi – Anotimpurile

…

• Luni 12 octombrie
• Academia de Muzică „Gh. Dima”, Sala Studio
• orele 19.00

Recital cameral cu Cvartetul Transilvan (Gabriel Croitoru – vioara I, Nicuşor Silaghi – vioara a II-a, Marius Suărăşan – violă, Vasile Jucean – violoncel), Invitat: Mihai Ungureanu – pian. Program Johannes Brahms: Cvartetul de coarde în la minor, op. 51 nr. 2, Cvintetul cu pian în fa minor, op. 34

…

• Miercuri 14 octombrie
• Academia de Muzică „Gh. Dima”, Sala Studio
• orele 19.00

Recital de pian, cu Daniel Goiţi. Program: Ludwig van Beethoven – Sonata op. 10 nr. 3 în Re major, Al. Skriabin – Sonata-fantezie în sol diez minor, op. 19 nr. 2, M. Mussorgski – Tablouri dintr-o expoziţie

…

• Joi 15 octombrie
• Casa de Cultură a Studenţilor
• orele 19.00

Concert In Memoriam Ştefan Ruha. Dirijor: Cristian Mandeal. Solist: Andrei Ágoston. Program: P. I. Ceaikovski – Concertul pentru vioară în Re major, op. 35, H. Berlioz – Simfonia fantastică, op. 14

…

• Vineri 16 octombrie
• Academia de Muzică „Gh. Dima”, Sala Studio
• orele 19.00

Serenadă în cheia Fa. Concertul pentru 12 violoncele. Interpretează: Székely Attila, Kozma Péter, Kostyák Elöd, Adrian Ciucă, Marian Marica, Ortenszky Gyula, Török Zsolt, Nagy Levente, Gabriel Râpă, Szabó Attila, Ciprian Câmpean. În program, aranjamente de Kostyák Emeric: J. S. Bach, J. Kajoni, Fr. Kreisler, M. Th. von Paradis, D. Popper, D. Şostakovici, G. Fauré, C. Saint-Saëns, E. Garner, B. Carter, Al. Arutiunian

[APE, CUE, LOG, COVERS, BOOKLET]

Performer: Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau

Orchestra: Philharmonia Orchestra and Chorus

Conductor: Otto Klemperer

This account of the German Requiem really is one of the great recordings of the century. Even today, Otto Klemperer’s monumental interpretation with the Philharmonia Orchestra and Chorus, recorded in 1961, remains unmatched among readings that emphasize the spirituality of the score. Sober and sustained, but not unduly slow, it places Brahms on the continuum of German sacred music going back through Beethoven to Handel, Bach, and Schütz. Drawing committed playing and singing from his forces, Klemperer opens the door to the beauties of the music without fuss or fanfare. Both soloists are exemplary: Schwarzkopf’s expressive portamento now sounds a bit dated in style, but her singing is characterful, while Fischer-Dieskau is a paragon of restrained expressiveness. The singing of the Philharmonia Chorus is especially beautiful. EMI has done a superior job of remastering the original recording. Balances and tone quality are quite fine, and the spacious Kingsway Hall ambience conveys with lifelike immediacy. Compared with previous CD incarnations, there is new depth to the image and better resolution of detail–the weight of the organ can really be felt, as can the timpani strokes in “Denn alles fleisch es ist wie gras,” and one finds greater presence and definition in the chorus and considerably more richness of tone in the orchestra. There is still some distortion in the climactic moments; for example, what sounds like tape saturation frizzes a couple of the big Beethovenian choral proclamations at the end of “Denn alles fleisch es ist wie gras.” Such things are but a small blemish on what is an absolutely ravishing restoration of one of the most valuable recordings of the stereo era. –Ted Libbey

Tracklist:

1. Ziemlich langsam – Selig sind, die da Leid tragen
2. Denn alles Fleisch es ist wie Gras
3. Herr, lehre doch mich
4. Wie lieblich sind deine Wohnungen
5. Ihr habt nun Traurigkeit
6. Denn wir haben hie keine bleibende Statt
7.Selig sind die Toten, die in dem Herren sterben

LINK

http://uploading.com/files/a757297e/BrahmsRequiem.rar

Johannes Brahms

Piano & Violin Sonata No. 3 in D minor, Op. 108
I. Allegro
II. Adagio
III. Un poco presto e con sentimento
IV. Presto agitato

Itzhak Perlman (Violin); Daniel Barenboim (Piano)

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Johannes Brahms

Piano & Violin Sonata No. 2 in A major, Op. 100
I. Allegro amabile
II. Andante tranquillo
III. Allegretto grazioso quasi andante

Itzhak Perlman (Violin); Daniel Barenboim (Piano)

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Johannes Brahms

Piano & Violin Sonata No. 1 in G major, Op. 78
I. Vivace ma non troppo
II. Adagio
III. Allegro molto moderato

Itzhak Perlman (Violin); Daniel Barenboim (Piano)

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Johannes Brahms

Piano & Clarinet Sonata No. 1 in F minor, Op. 120
I. Allegro appassionato
II. Andante un poco adagio
III. Allegretto grazioso
IV. Vivace

Karl Leister (Clarinet); Jorg Demus (Piano)

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Johannes Brahms

Clarinet Trio in A minor, Op. 114
I. Allegro
II. Adagio
III. Andantino grazioso
IV. Allegro

Karl Leister (Clarinet); Jorg Demus (Piano); Ottomar Borwitzky (Cello)

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Johannes Brahms

Horn Trio in E-flat major, Op. 40
I. Andante
II. Scherzo: Allegro
III. Adagio mesto
IV. Allegro con brio

Norbert Hauptmann (Horn); Tamas Vasary (Piano); Thomas Brandis (Violin)

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