Chorlieder
Listen
(17)
- Abendständchen (Evening serenade )
- Waldesnacht
- O charming night!
- Late autumn
- Evening song
- Vineta
- Darthulas Grabesgesang
- Warum
- Rosmarin
- Von alten Liebesliedern
- Dein Herzlein mild
- All meine Herzgedanken
- Es geht ein Wehen
- Vergangen ist mir Glück und Heil
- Dem Himmel will ich klagen
- Es saß ein schneeweiß Vögelein
- Nachtigall, sag
Contents
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Composer
Johannes Brahms
| 1833-1897Johannes Brahms' study of musical tradition was of crucial importance to his output: he combined church modes, canonic technique, Baroque style and diction, Bach's counterpoint and Beethoven's thematic-motivic work with the harmonic and expressive achievements of Romanticism to form his own distinctive style. In this respect his choral songs and vocal quartets (e.g. the “Liebeslieder Waltzes” and “New Liebeslieder Waltzes”), often to folk song texts, in which a musical microcosm unfolds, are examplary. His “Deutsches Requiem”, available from Carus in several different versions, constitutes one of the most fascinating confessions of faith in the history of music. Personal details
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Preface writer
Dietrich Kämpfer
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Ensemble
Kölner Kammerchor
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Conductor
Peter Neumann
| 1940-2025In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Personal details
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Soloist - piano
Thomas Palm
Reviews
BRAHMS: 3 Songs for Chorus, op 42; Four Quartets, op 92; 7 Songs for Chorus, op 62; Three of ‚Seven German Folksongs’
Brahms: 3 Songs for Chorus, op 42; Four Quartets, op 92; 7 Songs for Chorus, op 62; Three of ‚Seven German Folksongs’
Brahms wrote many choral compositions that are rarely performed but are of the highest musical quality. These include motets, a cappella songs, canons, and folksong arrangements, and such as ”The Song of Destiny, Nanie”, and the celebrated ”German Requiem”. Many of the composer’s late choral works are very polyphonic and their style recalls early baroque madrigals. Brahms’s frequent activities as a choral conductor undoubtedly gave him opportunities to perform these compositions.
The Opus 42 a cappella choral songs are among his earliest in that genre; the folksongs for solo singer plus chorus date from 1894 and are among his la test. (Brahms made folksong arrangements all his life.) The Opus 92 quartets were originally written for four solo singers with piano accompaniment but Brahms did not discourage choral performances. Finally, the Opus 62 songs, again unaccompanied, were published in 1874 when the composer was conductor of the Vienna Singverein, and they are based on texts from ”Des Knaben Wunderhorn” and Heyse’s ”Jungbrunnen” (Youth Fountain), and are written in folksong style.
The Cologne Chamber Chorus numbers between 20 and 45 voices, depending on the work. They sound well-tuned and they sing with much beauty of tone, enthusiasm (where warranted), and commitment. Their diction is quite good too; but while all the texts are printed in the booklet, there are no translations. (The liner notes and bios are printed in three languages!) If you can live with that, I urge you to buy this off-the-well-trodden path release. It should give music-lovers much enjoyment, though it could easily have been longer.
Quelle: American Record Guide 5/1989
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