Day 314: Piano Concert No. 2

BrahmsCD8I prefer this piano concerto to Brahms’ first one.

But that’s like saying I prefer Plymouth Gin to Beefeater Gin.

Both are terrific brands of gin. So picking one doesn’t slight the other a whole lot.

This piano concerto seems to be much more full, more dramatic (perhaps overly so, like the soundtrack to a 1940s film noir), and more complex.

However, “complex” also means quite busy. There are a lot of notes flying by on the piano, particularly in Movement II (“Allegro appassionato”). There are also melodic strains of something from one of Beethoven’s works in Movement II, one of his compositions that I number among my favorites. Because I’ve heard it often, and it’s a powerful melody, I picked up on it in Brahms’ piano concerto. I don’t recall off hand what it’s name is. But I hear that same melody in Brahms’ music.

Brahms CD 8 features the following musicians:

Cecile Ousset piano
Jurnjakob Timm cello
Gewandhausorchester Leipzig
Kurt Masur conductor

According to its entry on Wikipedia Piano Concerto No. 2 in B flat Op. 83:

is separated by a gap of 22 years from his first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It is dedicated to his teacher, Eduard Marxsen. The premiere of the concerto was given in Budapest on November 9, 1881, with Brahms as soloist, and was an immediate success. He proceeded to perform the piece in many cities across Europe.

Brahms was 48 when he wrote this piano concerto.

Day 270: Missa Solemnis in D

BeethovenCD75Today’s CD is Missa Solemnis in D Op. 123.

If “Solemnis” means solemn then this is aptly named.

It has a weightiness about it.

And a bigness.

This choir sounds massive.

Believe it or not, even though this is a vocal composition – a mass, no less – I like it.

Choirs this big, with those soaring soprano voices, often give me the chills.

This one definitely did. (And, yes, Missa Solemnis means Solemn Mass.)

According to its entry on Wikipedia, this one of Beethoven’s biggies.

The Missa solemnis in D major, Op. 123, was composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in St. Petersburg, Russia, under the auspices of Beethoven’s patron Prince Nikolai Galitzin; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered one of the composer’s supreme achievements and, along with Bach’s Mass in B minor, one of the most significant Mass settings of the common practice period.

This certainly sounds significant. It’s beautiful.

There are five parts to this composition:

1. Kyrie
2. Gloria
3. Credo
4. Sanctus
5. Agnus Dei

Gloria is stunning – powerful and beautiful.

Of Credo, the Wiki entry tells us it is,

One of the most remarkable movements to come from Beethoven’s pen opens with a chord sequence that will be used again in the movement to effect modulations. The Credo, like the Gloria, is an often disorienting, mad rush through the text. The poignant modal harmonies for the “et incarnatus” yield to ever more expressive heights through the “crucifixus”, and into a remarkable, a cappella setting of the “et resurrexit” that is over almost before it has begun. Most notable about the movement, though, is the closing fugue on “et vitam venturi” that includes one of the most difficult passages in the choral repertoire, when the subject returns at doubled tempo for a thrilling conclusion.

I gotta tell you, this movement is so massive, so overwhelming, that it nearly made me cry. I was that moved.

Performers are:

Anna Tomowa-Sintow soprano
Anelies Burmeister alto
Peter Schreier tenor
Hermann Christian Polster bass

Gerhard Bosse solo violin
Hannes Kastner organ

Rundfunkchor Leipzig

Horst Neumann chorus master

Gewandhausorchester Leipzig
Kurt Masur conductor

According to Wiki, this took Beethoven four years to compose. He started when he was 49 and finished when he was Continue reading