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Fauré Brahms Langlais Kansas City Chorale 2019
The Kansas City Chorale performs Fauré Requiem, Brahms Geistliches Lied, Mozart Regina Coeli, and Langlais Messe Solennelle at Village Presbyterian Church in October 2019. Featured artist: Elisa Bickers, organ
Johannes Brahms Johann Sebastian Bach Beethoven Bülow William Shakespeare Schlegel Gärtner Macpherson Everson Nielsen Kansas City Chorale 1564 1616 1736 1744 1767 1788 1796 1803 1805 1833 1845 1857 1860 1867 1897
Johannes Brahms (7 May 1833 – 3 April 1897) was a German composer and pianist of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer are such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. 4 Songs, Op. 17 (1860) for female choir, 2 horns and harp. 1. Es tönt ein voller Harfenklang Poco Adagio, con molto espressione (C major) - Friedrich Ruperti (1805–1867) 2. Lied von Shakespeare Andante (E-flat major) (4:00) August Wilhelm Schlegel (1767–1845), after William Shakespeare +••.••(...)) 3. Der Gärtner Allegretto (E-flat major) (5:35) Joseph von Eichendorff (1788–1857) 4. Gesang aus Fingal Andante (C minor) (8:30) Johann Gottfried Herder +••.••(...)), after James Macpherson (1736–1796) as Ossian Dan Everson & Steve Multer, horns Erik C. Nielsen, harp Kansas City Chorale conducted by Charles Bruffy These four choral songs have the paradoxical distinction of both beginning the excellent line of secular part songs by Brahms and being completely unique within that output. Written for three-part women’s chorus throughout (except for a brief four-part a cappella passage in the middle section of No. 4), the choral style does anticipate somewhat that of the later a cappella part songs for mixed chorus (Opp. 42, 62, 93a, and 104). Op. 17, however, is set apart not only by being accompanied, but by the nature of that accompaniment: the exceedingly romantic combination of two horns and harp. The latter was an instrument to which Brahms would rarely again turn (only in the German Requiem, Op. 45 and in the Nänie, Op. 82, and in none of the symphonies). He remarked that he was not particularly fond of the instrument when it had to go and “make an effect.” In contrast, he always wrote effectively for horns, despite refusing to compose for the new valve instrument. The highly diverse texts lend themselves well to this combination. The harp’s characteristic arpeggios are prominent in Nos. 1 and 3. Both of these songs use the horns sparingly. No 1 restricts itself to one horn in a very specific role. Nos. 2 and 4 exploit the characteristic natural horn harmonies, known as “horn fifths,” to great effect. In these two songs, the harp is mostly restricted to block chords. The choral writing is relatively simple. Multi-voice counterpoint is kept at a minimum, the three parts singing mostly in block harmonies.
Joseph Gabriel Rheinberger Bach Kansas City Chorale 1839 1901
Joseph Gabriel Rheinberger +••.••(...)) Mass in E flat major, Op. 109 I. Kyrie. Moderato - 00:00 II. Gloria. Allegro moderato - 04:11 III. Credo. [ ] - Più mosso - 07:32 IV. Sanctus. Lento - 12:30 V. Benedictus. Andantino - 14:45 VI. Agnus Dei. Lento - Poco più mosso - 17:05 Phoenix Bach Choir Kansas City Chorale Charles Bruffy, Conductor
Joseph Rheinberger Bach Kansas City Chorale 1839 1901 2007
Joseph Rheinberger +••.••(...)) Oster-Hymne, Op.134, para ocho voces (doble coro), para iglesia y concierto. Con motto - Andante molto - Poco meno mosso - Maestoso allegro - Largo. Charles Bruffy (Conductor) Phoenix Bach Choir Kansas City Chorale 2007
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