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Peter Dijkstra|Brahms: Mass & Motets

Brahms: Mass & Motets

Peter Dijkstra and Swedish Radio Choir

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Langue disponible : anglais

For a long time now I have hoped to have the opportunity one day to record the sacredchoral works of Johannes Brahms. In recent years these pieces have occupied me intensivelyand I have performed them frequently with a number of ensembles. The richness of theircontent has surprised me time and time again. In these works Brahms’s great exampleswere Schultz, Gabrieli and Bach, and it is wonderful to discover how he employs the compositionaltechniques of these masters to his own ends. In the patriotic Fest-und Gedenkspru?cheop. 109, for example, inspired by the accession of Emperor Wilhelm II in 1888, thecomposer uses predominantly block-like, homophonic techniques (probably with an eye toopen-air performance by large choirs). The choral groups alternate in broad movements,but occasionally the structure suddenly changes when prompted by the text: a reference tothe disintegration of the kingdom in the second movement, for example, is illustrated byapparently random entries of the parts without taking the beat into account, as though theentire structure falls apart. In his harmonic language, Brahms goes much further than hisRenaissance and Baroque examples, often adding notes beyond the key, for example insequences of falling fifths, taking the music to keys hardly within reach of composers of theseventeenth century. Doing justice to this work requires a choir capable of developing alarge, grandiose sound.
Peter Dijkstra

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Brahms: Mass & Motets

Peter Dijkstra

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2 Motets, op. 74 (Johannes Brahms)

1
I. Warum ist das Licht gegeben. Langsam und ausdrucksvoll
00:11:57

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Martin Luther, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

2
II. O Heiland, reiß' die Himmel auf. Tempo giusto
00:05:25

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Friedrich von Spee, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

Fest- und Gedenksprüche, op. 109 (Johannes Brahms)

3
I. Unsere Väter hofften auf dich. Feierlich bewegt
00:02:19

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Martin Luther, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

4
II. Wenn ein starker Gewappneter. Lebhaft und entschlossen
00:03:16

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Martin Luther, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

5
III. Wo ist ein so herrlich Volk. Froh bewegt
00:04:47

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Martin Luther, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

Missa canonica, WoO 18 (Johannes Brahms)

6
II. Sanctus
00:02:49

Johannes Brahms, Composer - Anonymous, Lyricist - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher

2014 Channel Classics Records 2014 Channel Classics Records

7
III. Benedictus. Poco adagio
00:02:03

Johannes Brahms, Composer - Anonymous, Lyricist - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher

2014 Channel Classics Records 2014 Channel Classics Records

8
IV. Agnus Dei
00:04:44

Johannes Brahms, Composer - Anonymous, Lyricist - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher

2014 Channel Classics Records 2014 Channel Classics Records

2 Motets, op. 29 (Johannes Brahms)

9
I. Es ist das Heil uns kommen her
00:05:17

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Paulus Speratus, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

10
II. Schaffe in mir, Gott. Andante moderato
00:07:06

Johannes Brahms, Composer - Anonymous, Lyricist - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher

2014 Channel Classics Records 2014 Channel Classics Records

3 Motets, op. 110 (Johannes Brahms)

11
I. Ich aber bin elend. Andante con moto ed espressivo
00:02:58

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Martin Luther, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

12
II. Ach, arme Welt, du trügest mich. Con moto
00:02:05

Johannes Brahms, Composer - Anonymous, Lyricist - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher

2014 Channel Classics Records 2014 Channel Classics Records

13
III. Wenn wir in höchsten Nöten sein. Andante
00:03:24

Johannes Brahms, Composer - Swedish Radio Choir, MainArtist - Peter Dijkstra, MainArtist - Copyright Control, MusicPublisher - Paul Eber, Lyricist

2014 Channel Classics Records 2014 Channel Classics Records

Chronique

For a long time now I have hoped to have the opportunity one day to record the sacredchoral works of Johannes Brahms. In recent years these pieces have occupied me intensivelyand I have performed them frequently with a number of ensembles. The richness of theircontent has surprised me time and time again. In these works Brahms’s great exampleswere Schultz, Gabrieli and Bach, and it is wonderful to discover how he employs the compositionaltechniques of these masters to his own ends. In the patriotic Fest-und Gedenkspru?cheop. 109, for example, inspired by the accession of Emperor Wilhelm II in 1888, thecomposer uses predominantly block-like, homophonic techniques (probably with an eye toopen-air performance by large choirs). The choral groups alternate in broad movements,but occasionally the structure suddenly changes when prompted by the text: a reference tothe disintegration of the kingdom in the second movement, for example, is illustrated byapparently random entries of the parts without taking the beat into account, as though theentire structure falls apart. In his harmonic language, Brahms goes much further than hisRenaissance and Baroque examples, often adding notes beyond the key, for example insequences of falling fifths, taking the music to keys hardly within reach of composers of theseventeenth century. Doing justice to this work requires a choir capable of developing alarge, grandiose sound.
Peter Dijkstra

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