Brahms - Schicksalslied (Song of Destiny), Rhapsody for Alto (rf: Wolfgang Sawallisch, Aafje Heynis)

Full album available // Brahms: Ein Deutsches Requiem, The 4 Symphonies, Overtures and Choral Works by Wolfgang Sawallisch
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Johannes Brahms (1833-1897) Vocal works
00:00 Schicksalslied in E-flat Major, Op. 54
14:49 Alto Rhapsody in C minor, Op. 53
Wiener Symphoniker
Wiener Singverein
Contralto: Aafje Heynis
Recorded in 1962, at Vienna
New mastering in 2023 by AB for CMRR
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The "Song of Destiny" and the "Rhapsody for Viola and Male Choir" reveal intimate aspects of Brahms's personality. Two years after the "German Requiem", he wrote the "Song of Destiny" op. 54. In it, he transcribed an emotion that had seized him on reading a poem by Friedrich Hölderlin about antiquity. But he did not hesitate to give his own vision of the text. The first two stanzas deal with the happiness of the gods, who escape destiny and live in eternal clarity. The third is the anguished cry of earthly humanity. Brahms takes up this two-part opposition but, in the words of Claude Rostand, "brings to Hölderlin's question the Christian's answer" by adding a third orchestral part that repeats the hope of consolation.
The "Rhapsody for Viola" Op. 53 dates from 1869. It is even more intimate. It betrays Brahms' deep disappointment, loneliness and even despair at the news of Julie Schumann's marriage. The composer had hoped to marry Clara's daughter, but didn't dare declare himself. The first two stanzas of Goethe's poem, entrusted to the solo viola, are dramatic. Their pathetic tension may be a product of the Romantics' exacerbated tendency towards sensitivity, but it nonetheless reveals the innermost thoughts of the 36-year-old, who saw a new hope of happiness disappearing. To overcome his pain, in the third stanza he turns to the "Father of all love" and confidently asks him for consolation: once again, Brahms closes a dark work with a light of hope. The hymn by the male chorus adopts a popular prayer tone, and ends in serenity.
Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder
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🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic日本…
Johannes Brahms PLAYLIST (reference recordings): • Johannes Brahms (1833-...

[@classicalmusicreference]

Full album available // Brahms: Ein Deutsches Requiem, The 4 Symphonies, Overtures and Choral Works by Wolfgang Sawallisch
🎧 Qobuz (Hi-Res) cutt.ly/1ejOoChL Tidal (Hi-Res) cutt.ly/wejOpeQ4
🎧 Apple Music (Lossless) cutt.ly/KejOpNPb Deezer (Hi-Fi) cutt.ly/0ejOplr4
🎧 Amazon Music (Hi-Res) cutt.ly/3ejOpE4j Spotify (mp3) cutt.ly/3ejOaiuD
🎧 Idagio -- CZcams Music (mp4) cutt.ly/RejOaY5C
Johannes Brahms (1833-1897) Vocal works
00:00 Schicksalslied in E-flat Major, Op. 54
14:49 Alto Rhapsody in C minor, Op. 53
Wiener Symphoniker
Wiener Singverein
Contralto: Aafje Heynis
Recorded in 1962, at Vienna
New mastering in 2023 by AB for CMRR
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
The "Song of Destiny" and the "Rhapsody for Viola and Male Choir" reveal intimate aspects of Brahms's personality. Two years after the "German Requiem", he wrote the "Song of Destiny" op. 54. In it, he transcribed an emotion that had seized him on reading a poem by Friedrich Hölderlin about antiquity. But he did not hesitate to give his own vision of the text. The first two stanzas deal with the happiness of the gods, who escape destiny and live in eternal clarity. The third is the anguished cry of earthly humanity. Brahms takes up this two-part opposition but, in the words of Claude Rostand, "brings to Hölderlin's question the Christian's answer" by adding a third orchestral part that repeats the hope of consolation.
The "Rhapsody for Viola" Op. 53 dates from 1869. It is even more intimate. It betrays Brahms' deep disappointment, loneliness and even despair at the news of Julie Schumann's marriage. The composer had hoped to marry Clara's daughter, but didn't dare declare himself. The first two stanzas of Goethe's poem, entrusted to the solo viola, are dramatic. Their pathetic tension may be a product of the Romantics' exacerbated tendency towards sensitivity, but it nonetheless reveals the innermost thoughts of the 36-year-old, who saw a new hope of happiness disappearing. To overcome his pain, in the third stanza he turns to the "Father of all love" and confidently asks him for consolation: once again, Brahms closes a dark work with a light of hope. The hymn by the male chorus adopts a popular prayer tone, and ends in serenity.
Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder
🎧 Qobuz bit.ly/3o5KqnZ Tidal bit.ly/3z8RMgW
🎧 Deezer bit.ly/3aLZdkK Amazon Music amzn.to/3ckhNAW
🎧 CZcams Music bit.ly/3zbwkb9 Apple Music - Spotify -
🎧 Naspter, Pandora, Anghami, Soundcloud, QQ音乐, LineMusic日本…
Johannes Brahms PLAYLIST (reference recordings): czcams.com/video/J6hCiK1wp3I/video.html

[@classicalmusicreference]

The "Song of Destiny" and the "Rhapsody for Viola and Male Choir" reveal intimate aspects of Brahms's personality. Two years after the "German Requiem", he wrote the "Song of Destiny" op. 54. In it, he transcribed an emotion that had seized him on reading a poem by Friedrich Hölderlin about antiquity. But he did not hesitate to give his own vision of the text. The first two stanzas deal with the happiness of the gods, who escape destiny and live in eternal clarity. The third is the anguished cry of earthly humanity. Brahms takes up this two-part opposition but, in the words of Claude Rostand, "brings to Hölderlin's question the Christian's answer" by adding a third orchestral part that repeats the hope of consolation.
The "Rhapsody for Viola" Op. 53 dates from 1869. It is even more intimate. It betrays Brahms' deep disappointment, loneliness and even despair at the news of Julie Schumann's marriage. The composer had hoped to marry Clara's daughter, but didn't dare declare himself. The first two stanzas of Goethe's poem, entrusted to the solo viola, are dramatic. Their pathetic tension may be a product of the Romantics' exacerbated tendency towards sensitivity, but it nonetheless reveals the innermost thoughts of the 36-year-old, who saw a new hope of happiness disappearing. To overcome his pain, in the third stanza he turns to the "Father of all love" and confidently asks him for consolation: once again, Brahms closes a dark work with a light of hope. The hymn by the male chorus adopts a popular prayer tone, and ends in serenity.
🔊 Discover our new website: www.classicalmusicreference.com/
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr

[@user-qd1mz3qn9t]

Love the background !

[@bach4572]

여기는 비가옵니다. 빗소리와 함께듣는 브람스, 깊이 와 닿습니다. 감사합니다❤

[@notaire2]

Wunderschöne und tiefempfundene Interpretation dieser beiden spätromantischen und perfekt komponierten Vokalwerke mit gut harmonisierten Stimmen des ausgezeichneten Chors und tiefer Stimme der genialen Solistin sowie gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der intelligente und ebenso geniale Dirigent leitet das ebenso ausgezeichnete Orchester im gut analysierten Tempo und mit möglichst effektiver Dynamik. Wunderbar vom Anfang bis zum Ende!

[@littlenomad]

Beautiful!

[@ingemayodon5128]

Fritz Wunderlich a chanté sous Sawallisch en 60 - Don Giovanni - Oper Köln, avec Prey, Crass, Mathis, Grümmer et Hillebrecht. Je possède le CD.
La musique de Brahms et le tableau sont magnifiques.
Merci beaucoup et salutations de Montréal, Qc, Canada

[@steveegallo3384]

@ingemayodon5128 ---- Oui...BRAVO....et d'Acapulco aussi!

[@pb7784]

Ich liebe Brahms, herrlich, vielen Dank ❤

[@daisuke6072]

Inspiring. A world of serenity and bliss beyond human strife and suffering.

[@johnwatson8323]

👍👍👍👍👍

[@fernandofernandezgar]

Ohhh Aafje Heynis...

[@franz5289]

Oui !!! Cependant pour moi (et bien d'autres) la voix de Kathleen Ferrier demeure à jamais liée à cette oeuvre czcams.com/video/P7S162WFNI8/video.html

[@classicalmusicreference]

Of course@@franz5289

[@Sellouth]

Merci beaucoup. Pourrions nous avoir le titre de la peinture svp? merci

[@classicalmusicreference]

Avec plaisir ! Valentin Ruths (1825-1905) Das Baumhaus am Hamburger Hafen. 1850

[@RechtsstaatBRD]

Fortunately, serious choirs these days no longer have such an exaggerated tremolo that only makes the high notes messy.