Symphony No 3 in F major / Nänie von Friedrich Schiller, Op. 82 / Gesang der Parzen, Op. 89/ etc

MARBECKS STAFF PICK: CD OF THE YEAR 2009

"…urgent, magnificently angry… This is Gardiner at his penetrating, combative best, making contact with the music's heartbeat in a way that sounds both radical and natural…"
BBC Music Magazine, November 2009 *****

"Taking up more than half the disc, the choral items are its obvious glory… Gardiner sets his face against anything that could be construed as false consolation. In his element in Song of the Fates, he gives the sublime Nänie an unusually taut, sharp-edged feel."
Gramophone Magazine, November 2009

Soli Deo Gloria is proud to release the third instalment in the successful Brahms Symphony series which sees John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique explore the music of Johannes Brahms.

The choral pieces on this release demonstrate beautifully the extent to which choral thinking permeates Brahms' orchestral writing. Gardiner states that 'just as there is choral thinking evident in his symphonies, surely there are also signs of orchestral thinking embedded within his choral writing.' Both Nänie and Gesang der Parzen show fascinating links with Brahms' last two symphonies Parzen sharing with the Third not just an adjacent opus number but an immensely powerful orchestral opening, with passing references to 'early music' styles next to passages of the most advanced harmony.

Einförmig ist der Liebe Gram, an irresistible little piece written for women's voices, sees Brahms take the final song from Schubert's Winterreise and turn it into a haunting six-part canon. Another example of Brahms forging links with a revered predecessor.

Written nearly six years after Brahms completed his Second Symphony, his third symphony was described by Hans Richter on its premiere as Brahms' 'Eroica'. A friend of Brahms and music critic at the time, Eduard Hanslick, wrote: "Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect"