At the same time, some chorale preludes point the way to the twentieth century in terms of bar and rhythm or far-reaching chromaticism. In at least one respect, however, these pieces form an example of nineteenth-century romanticism, as they lend expression to the composer's most personal experience.
Both works may be considered as meditations upon death. In the chorale preludes Brahms the composer seems to want to say farewell to life once and for all. The composition of the first seven was prompted by the death of his beloved friend Clara Schumann. And although Brahms preferred to play down the seriousness of his own illness cancer of the pancreas , he must have realised that these pieces could well be his last.
This would appear from the choice of nine chorales two are set twice upon which they are based. Although the texts of chorale preludes were not sung, the tunes of these old German hymns were familiar enough to the informed listener to bring the intended associations to mind and give the pieces profound spiritual significance. The chorale texts speak of reconcilement with death, resignation and even joyful longing for the world to come.
The proud mood betrays great spiritual strength but is at the same time reflective and meditative. The direction 'forte ma dolce' , which Brahms used frequently here, would seem to typify the entire work, in which vigour and mildness are continually united. I finished this project a year later, in February His orchestral palette was in fact no larger than that of Beethoven.
11 Choral Preludes, Op.posth.122
The instrumental developments of his time seem to have been wasted on him, and he was the last great composer to write consistently for natural horns and trumpets. I therefore took up the challenge to study his orchestral technique and remain faithful to it in my arrangement. The numbering of the chorale preludes in my orchestration deviates from the published version. In one of Brahms' manuscripts pieces 2 - 7 are in a different order, and they are often performed today in this 'authentic' sequence.
At first my preference for this sequence was intuitive: Later on I discovered that this alternative sequence reveals a certain musical logic. The eleven pieces form a cycle, a kind of discourse, in which their order is indeed of importance. In this sequence the even movements are generally more reflective and subdued than the livelier uneven ones. This natural contrast between tension and relaxation was helpful to me in creating my orchestrations. In only two of the eleven chorale preludes, the first and seventh, have I employed the full orchestral instrumentation, which is the same as that of Brahms' first symphony: In all uneven movements the double bassoon and second pair of horns are used, and the trombones too in the fifth and eleventh pieces.
In the even movements the instrumentation is more modest. In the second and eighth it is derived from Brahms' Serenade opus 16, which does not employ violins.
Thus the sequence of pieces gave rise to a pattern of instrumentation in which nos. The central sixth movement, hardly by coincidence the first setting of 'O Welt, ich muss dich lassen' Oh world, I must leave thee , is orchestrated or rather, copied for string orchestra.
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Unlike the French organ masters of his time, Brahms did not give concrete registration directions in his organ works. Sest Sina oled minuga Liina Rahuoja Estonian organist recorded at: Oleviste kirik in Tallinn , Harjumaa , Estonia recording of: Six Etudes in Canonic Form, op. Pas trop vite composer: Robert Schumann German classical composer part of: Pas trop vite for two pianos, Debussy arrangements: Nicht zu schnell for piano trio, Kirchner.
Avec beaucoup d' expression composer: Mit innigem Ausdruck for piano trio, Kirchner arrangements: Avec beaucoup d' expression for two pianos, Debussy. Andantino for piano trio, Kirchner arrangements: Andantino for two pianos, Debussy.
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- Choral prelude for organ ("O Welt, ich muß dich lassen II"), Op. posth. 122/11.
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- Eleven Chorale Preludes - Wikipedia.
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Viola Chiekezi Estonian organist recorded at: Espressivo for two pianos, Debussy arrangements: Innig for piano trio, Kirchner. Nicht zu schnell for piano trio, Kirchner arrangements: Pas trop vite for organ, West.
More By Andreas Groethuysen
Adagio for piano trio, Kirchner arrangements: Adagio for two pianos, Debussy. Allegro con brio composer: Felix Mendelssohn part of: Johannes Brahms part of: O Gott, du frommer Gott composer: Herzlich tut mich verlangen composer: Herzlich thut mich verlangen, op. Sonata in D minor for four hands, op.
Gustav Merkel part of: Credits CD 1 organ: Viola Chiekezi Estonian organist tracks 4—6, 11— Liina Rahuoja Estonian organist tracks 1—3, 7—10, 15— Felix Mendelssohn tracks 7— Gustav Merkel tracks 15— Robert Schumann German classical composer tracks 1—6. Johannes Brahms tracks 11— Oleviste kirik in Tallinn , Harjumaa , Estonia tracks 1— Nicht zu schnell for piano trio, Kirchner track 1. Pas trop vite for two pianos, Debussy track 1. Avec beaucoup d' expression for two pianos, Debussy track 2.
Mit innigem Ausdruck for piano trio, Kirchner track 2.
Brahms / Martin Schmeding "Complete Works for Organ" | Многоканальная Музыка
Andantino for piano trio, Kirchner track 3. Andantino for two pianos, Debussy track 3.
Espressivo for two pianos, Debussy track 4.