{"id":40332,"date":"2010-02-01T16:25:14","date_gmt":"2024-01-17T22:10:19","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=40332"},"modified":"2024-01-17T23:10:23","modified_gmt":"2024-01-17T22:10:23","slug":"brahms-choral-preludes-op-122-bruckner-praeludium-in-c-major-wab-129-perger-praeludium-guy-bovet-at-the-historic-sainte-claire-organ-in-vevey","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/brahms-choral-preludes-op-122-bruckner-praeludium-in-c-major-wab-129-perger-praeludium-guy-bovet-at-the-historic-sainte-claire-organ-in-vevey\/","title":{"rendered":"Brahms: Choral Preludes, Op. 122 – Bruckner: Praeludium in C Major, WAB 129 “Perger Praeludium” – Guy Bovet at the historic Sainte-Claire Organ in Vevey."},"content":{"rendered":"

Johannes BRAHMS:<\/strong> 11 Choral Preludes, Op. 122: No. 1 Mein Jesu, der du mich – Choralvorspiel und Fugue \u00fcber “O Traurigkeit, o Herzeleid”, WoO 7: Choralvorspiel – 11 Choral Preludes, Op. 122: No. 2 Herzliebster Jesu – No. 3 O Welt, ich muss dich lassen – No. 4 Herzlich tut mich erfreuen – No. 5 Schm\u00fccke dich, o liebe Seele – No. 6 O wie selig seid ihr doch, ihr Frommen – No. 7 O Gott, du frommer Gott – No. 8 Es ist ein Ros’ entsprungen – No. 9 Herzlich tut mich verlangen – No. 10 Herzlich tut mich verlangen – No. 11 O Welt, ich muss dich lassen – Anton BRUKNER:<\/strong> Praeludium in C Major, WAB 129 “Perger Praeludium”.<\/p>\n

Guy Bovet<\/strong> at the historic Sainte-Claire Organ in Vevey.<\/p>\n

https:\/\/guybovet.org<\/a><\/p>\n

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Brahms has bequeathed to us fifteen pieces for organ. Three of them are “free” pieces (two preludes and fugues and one fugue in A flat minor, written at the age of 23 and 24); the twelve others are choral preludes, written at the very end of the Master’s life, with the exception of \u2018O Traurigkeit\u2019 which dates from the same epoch as the free pieces. It is these chorals that are the object of the present recording.<\/p>\n

Their atmosphere is serious, serene, but it reveals the thought of a lonely, aged Brahms, thinking of death. The musical references are clearly readable: J.S. Bach is continually present; but also in Brahms\u2019 own production, one finds the atmosphere of these chorals in the \u2018Vier ernste Gesange\u2019 or in certain passages of the \u2018Deutsches Requiem\u2019. These posthumous pieces (with the exception of \u2018O Traurigkeit\u2019), published as opus 122 in 1902, might well be the musical testament of the composer; Brahms, in his last years, returns to the organ, which he had completely abandoned for 42 years, and writes for that instrument eleven pieces of extreme beauty and simplicity.<\/p>\n

11 Choral Preludes Op. 122, No. 1: Mein Jesu der du mich<\/strong><\/p>\n

\u2018Mein Jesu der du mich\/zum Lustspiel ewiglich\/Dir hast erwahlet
\nsieh wie dein Eigentum\/des grossen Braut\u2019gams Ruhm\/so gern erzahlet.\u2019<\/p>\n

In spite of this text, which evokes the joy of a Christian in comparison to that of a bride, the atmosphere of the choral is calm (Brahms\u2019 indication: \u2018forte ma dolce\u2019). Each phrase of the choral is introduced in fugato, in an ornate version, before ever the pedal emphasizes it in long values. The art of the counterpointist is remarkable. The idea of \u2018love play\u2019 (\u2018Lustspiel\u2019) is indicated in the preparation for the third phrase, where a theme in arpeggios with a phrase displacing the rhythmic accent emerges and surrounds the subject. As the last phrase begins, the piece is enriched with an additional voice, increasing the harmonic density.<\/p>\n

O Traurigkeit (composed 1857, published 1882)<\/strong><\/p>\n

\u2018O Traurigkeit\/o Herzeleid\/ist das nicht zu beklagen\/
\nGott des Vaters einig Kind\/wird ins Grab getragen.\u2019<\/p>\n

This piece, the density of which is certainly comparable to that of op. 122 chorals, is nevertheless a part of the series of pieces written at the epoch when Brahms revised his studies of counterpoint by studying the organ works of Bach. At the same time, he competed with Clara Schumann in organ studies, which led to an amorous friendship that left its traces in the whole life of the composer. In point of fact, it concerned a prelude and fugue. In the first, the choral melody is introduced in the soprano, on a solo stop, accompanied by a quiet movement in triplets. At the end, as an echo, the first phrase is repeated in the sub-dominant key, decrescendo. The fugue is once more very solidly structured, but still remains very tuneful. Here again we find numerous inversions of the subject, likewise also a counter-subject in ascending sixths adding an expressive element. As in the preceding choral, the theme is given in the bass, in long values. This piece is dedicated to a pupil of Brahms, Friedchen Wagner.<\/p>\n

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11 Choral Preludes Op. 122, No. 2: Herzliebster Jesu<\/strong><\/p>\n

\u2018Herzliebster Jesu\/was hast du verbrochen\/dass man ein solch scharf Urteil hat gesprochen\/Was ist die Schuld?\/in was f\u00fcr Missetaten\/Bist du geraten?\u2019<\/p>\n

Here the subject is given in the soprano, slightly ornamented. It is accompanied by a syncopated movement, groups of three quavers without a downbeat, the pedal frequently giving a theme descending at a Tritonus interval (a similar theme is found in the choral \u2018Durch Adams Fall\u2019 in the Orgelb\u00fcchlein of Bach, symbolizing the fall of Adam). The atmosphere diffuses a strong, vigorous indignation. It is a piece of a dramatic rather than passive nature.<\/p>\n

11 Choral Preludes Op. 122, No. 3: O Welt, ich muss dich lassen<\/strong><\/p>\n

\u2018O Welt, ich muss dich lassen\/ich fahr dahin mein Strassen\/ins ewge Vaterland\/Mein Geist will ich aufgeben\/dazu mein Leib und Leben\/befehle in Gottes Gn\u00e4d’ge Hand\u2019<\/p>\n

Theme in the soprano, rather ornamented. The accompaniment is in \u2018sigh motives\u2019: groups of two notes, rising or falling often to be found also in Bach (O Lamm Gottes unschuldig, and many other chorales) when he desires to convey the idea of suffering. In the last phrase, Brahms increases the ornamentation, leaving and returning to the same note four times, in a manner very common to him; no other could have been able to write that ending.<\/p>\n

11 Choral Preludes Op. 122, No. 4: Herzlich tut mich erfreuen<\/strong><\/p>\n

\u2018Herzlich tut mich erfreuen\/die liebe Sommerzeit
\nwenn Gott wird sch\u00f6n verneuen\/alles zur Ewigkeit
\nDen Himmel und die Erde\/wird Gott neu schaffen gar
\nall Kreatur soll werden\/ganz herrlich h\u00fcbsch und klar\u2019<\/p>\n

This slightly joyful piece is entirely written in arpeggios: seeming to relate to the piano rather than the organ. The theme is in the soprano, without ornamentation. In some places, the somewhat hazy effect of the arpeggios is further enhanced by the simultaneous combination of voices arranged in off-beats, a process often found in Brahms\u2019 orchestration.<\/p>\n

11 Choral Preludes Op. 122, No. 5: Schm\u00fccke dich, o liebe Seele<\/strong><\/p>\n

\u2018Schm\u00fccke dich, o liebe Seele\/lass die dunkle S\u00fcndenh\u00f6hle
\nkomm ans helle Licht gegangen\/fange herrlich an zu prangen!
\nDenn der Herr voll Heil und Gnaden\/will dich jetzt zu Gaste laden
\nder den Himmel kann verwalten\/will jetzt Herberg in dir halten.\u2019<\/p>\n

A gentle light illumines the piece, the theme in the soprano, without ornamentation, and supported by two voices responding to each other, in semiquavers, On a motive derived from the first phrase of the choral.<\/p>\n

11 Choral Preludes Op. 122, No. 6: O wie selig seid ihr doch, ihr Frommen<\/strong><\/p>\n

\u2018O wie selig seid ihr doch, ihr Frommen
\ndie ihr durch den Tod zu Gott gekommen
\nIhr seid entgangen aller Not, die uns noch hat gefangen.\u2019<\/p>\n

Theme in the soprano. Counterpoint somewhat complicated, but always fluid, evoking the unhappy ties that hold us in bondage. A final crescendo terminating on a brilliant D major symbolizes ultimate freedom.<\/p>\n

11 Choral Preludes Op. 122, No. 7: O Gott, du frommer Gott<\/strong><\/p>\n

\u2018O Gott, du frommer Gott\/du Brunnquell aller Gaben
\nohn\u2019 den nichts ist was ist\/von dem wir alles haben
\ngesunden Leib gib\u2019 mir\/und dass in solchem Leib
\nein unverletzte Seel\/und rein Gewissen bleib!\u2019<\/p>\n

The texture of this choral recalls certain piano pieces of Brahms with a rhythmic formula used frequently by him (two groups of voices answering each other in dotted rhythms). In the preparation preceding the introduction of the theme, certain expressive inflections are repeated like supplications. The theme appears at different pitches, mostly in the soprano. Towards the end, the supplication motives become more and more expressive, then the piece seems to die, as if the suppliant were exhausted. But in turn, the last phrase is loud, confident that the prayer will be granted.<\/p>\n

11 Choral Preludes Op. 122, No. 8: Es ist ein Ros\u2019 entsprungen<\/strong><\/p>\n

\u2018Es ist ein Ros\u2019 entsprungen\/aus einer Wurzel zart
\nwie uns die Alten sungen\/von Jesse war die Art
\nund hat ein Bl\u00fcmlein bracht Mitten im harten Winter\/wohl zu der halben Nacht.\u2019<\/p>\n

The Christmas Season is evoked in this choral whose atmosphere contrasts with that, more gloomy, of the majority of the others. This pastoral, soft, piece introduces us to a very ornate theme, often concealed in the tenor. Thus is the mystery of the incarnation of Christ, come on Earth at Christmas; thus is his hidden presence, although constant.<\/p>\n

11 Choral Preludes Op. 122, No. 9 & No. 10: Herzlich tut mich verlangen<\/strong><\/p>\n

\u2018Herzlich tut mich verlangen\/nach einem selgen End
\nweil ich hie bin umfangen\/mit Tr\u00fcbsal und Elend
\nIch hab Lust abzuscheiden\/von dieser argen Welt
\nsehn mich nach ewgen Freuden\/o Jesu, komm nur bald!\u2019<\/p>\n

These two chorals form the heart of this cycle and they therein express most directly its philosophy. The composer\u2019s prayer asking to leave this world is expressed in two different ways: the first one, intense, strong. The theme is ornated in the upper voice, but on the same keyboard as the accompaniment, whose texture is similar to it: a form clearly invented by Brahms, while Bach is recalled to us in the rhythmic ostinato of the pedal. The second one, sublime, features the theme in the tenor, in a texture of arpeggiated semiquavers mingled with repeated notes in the Bass, a movement which seems inexorable and continuous, and dies little by little. This piece is one of those nearest to Brahms\u2019 pianistic language, with characteristic parallel sixths and harmonic false-relations movements.<\/p>\n

11 Choral Preludes Op. 122, No. 11: O Welt, ich muss dich lassen<\/strong><\/p>\n

\u2018O Welt, ich muss dich lassen\/ich fahr dahin mein Strassen\/ins ewge Vaterland\/Mein Geist will ich aufgeben\/dazu mein Leib und Leben\/befehln in Gottes gnad\u2019ge Hand\u2019<\/p>\n

To sum up the whole suite of chorals, this piece introduces us to the theme in a series of triple echoes, as if a voice was reaching us from an ever-longer distance. At the end, a brief final interlude recalls the German Requiem of the composer. The cycle ends in a luminous and mysterious peace.<\/p>\n

Prelude in C major, Anton Bruckner<\/strong><\/p>\n

Here we forget the legendary disputes which opposed Brahms to Bruckner, surrounded by their partisans, in order to add to this recording a short piece of 27 measures, but whose intensity and symphonic quality form a veritable chef-d\u2019oeuvre. One\u2019s ear has to be well attuned to the Symphonies to well \u2018orchestrate\u2019 this organ piece, because it is extremely subtle, in spite of its apparent simplicity. The organ of Sainte-Claire, even thought it is not a great symphonic instrument, has all the necessary qualities to interpret this music. The piece, published posthumously, is dedicated to Mr. Joseph Dierndorfer, one of Bruckner\u2019s admirers, and probably dates 1884, when the composer was in his sixties.<\/p>\n

Guy Bovet<\/em><\/p>\n

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