GMCD 7134

You can order this CD in our E-Shop under Vocal
Read Reviews

MASTER WORKS I
Johannes Brahms

Serenata Voices

Conductor and Director of Music:
David Beavan

Contents:

	Liebeslieder Wälzer Op.52
1.	Rede Mädchen	[1.11]
2.	Am Gesteine rauscht die Flut	[0.42]
3.	O die Frauen	[1.08]
4.	Wie des Abends schöne Röte	[0.46]
5.	Die grüne Hopfenranke	[1.29]
6.	Ein kleiner, hübscher Vogel	[2.26]
7.	Wohl schön bewandt war es	[1.23]
8.	Wenn so lind dein Auge mir	[1.20]
9.	Am Donaustrande	[1.50]
10.	O wie sanft die quelle sich	[0.58]
11.	Nein, es ist nicht auszukommen	[0.51]
12.	Schlosser auf, und mache Schlösser	[0.44]
13.	Vöglein durchrauscht die Luft	[0.52]
14.	Sieh', wie ist die Welle klar	[0.49]
15.	Nachtigall, sie singt so schön	[1.11]
16.	Ein dunkeler Schacht ist Liebe	[1.16]
17.	Nicht wandle, mein Licht	[1.55]
18.	Es bebet das Gesträuche	[1.23]
19.	Rosmarin Op.62 No.1	[1.39]
20.	Waldesnacht Op.62 No.3	[6.30]
21.	Darthulas Grabesgesang Op.42 No.3	[5.13]
22.	Verlorene Jugend Op.104 No.4	[1.52]
23.	Im Herbst Op.104 No.5	[4.30]
24.	Ruf zur Maria Op.22 No.5	[3.10]
25.	Ave Maria Op. 12	[3.52]
26.	Regina Coeli Op.37 No.3	[2.14]
27.	Geistliches Lied Op.30	[6.48]
	Drei Motetten Op.110
28.	Ich aber bin elend	[3.12]
29.	Ach, arme Welt	[2.09]
30.	Wenn wir in höchsten Nöten sein	[3.15]

Total playing time 67:33 - Recorded at Rosslyn Hill Chapel, Hampstead, London 1997

Members of Serenata Voices who took part in this recording:

Sopranos:

Diane Atherton

Ruth Gomme

Caroline Lenton-Ward

Ghislaine Morgan

Katie Peacock

Katy Tansey

Alison Wells

Altos:

Jennifer Higgins

Joya Logan

Cherith Millburn-Fryer

Juliette Pochin

Susanne Spicer

Lindsay Wagstaff

Tenors:

Paul Badley

Gerard OBeirne

Robert Burt

Alan Byers

Simon Davies

Basses:

Stephen Alder

Michael Bundy

Colin Campbell

Christopher Keyte

David Porter Thomas

Soloists:

Jennifer Higgins	in Liebeslieder Waltzer No. 7
Paul Badley	in Liebeslieder Waltzer No. 17
Katy Tansey & Jennifer Higgins	in Regina Coeli

This unique CD is a fine collection of a rare aspect of Brahms’s art - his choral music - which makes a very timely release for the 1997 Brahms Year.

The range of music on this CD is particularly wide - from the ever popular light Liebeslieder Wälzer to the grave solemnity of the Three Motets Opus 110. It also includes Brahms’s lovely early setting of the Ave Maria for female voices alongside some of his most impressive mature choral pieces.

The Serenata Voices give superb performances of these rarely heard works on this CD, under their Conductor and Director of Music, David Beavan, accompanied in the Liebeslieder by Francis Pott and Jeremy Filsell.

The recording is state-of-the-art, and this unique CD will make a most welcome contribution to the Brahms Commemorations.

1. Rede, Mädchen (Oh give answer, beloved Maiden) In Ländler tempo, is the indication as first the men sing, who are answered by the ladies: then all four voices combine.
2. Am Gesteine rauscht die Flut (O’er the rocks the tide beats). This is a more jaunty setting, in gypsy style.
3. O die Frauen (Dark-eyed maiden) As might be expected, this is set for male voices only.
4. Wie des Abends schöne Röte (Like the sunset’s crimson glow). In contrast, this complements the previous setting, being for female voices only.
5. Die grüne Hopfenranke (Thou tender trailing Ivy) This is in the form of what might be termed a dialogue between the female and male voices, joining together at the close.
6. Ein kleiner, hübscher Vogel (Was once a pretty tiny bird). Marked Grazioso, in this setting the tenor takes the lead.
7. Wohl schön bewandt war es (How sweet, how joyous dawned). The first truly solo setting, for soprano (or alto, as Brahms marks the alternative).
8. Wenn so lind dein Auge mir (When thy glance is fond). A fine, fully-choral setting with a delicious counter-subject on the piano.
9. Am Donaustrande (In wood embower’d). The woods are those on the banks of the Danube - here is perhaps the most Viennese of the movements.
10. O wie sant die Quelle sich (Oh how soft you murm’ring stream). In this movement, Brahms displays his customary skill in contrapuntal writing - but with a magically light touch.
11. Nein, es ist nicht auszukommen (No, there is no bearing with this). A certain humour in this feisty setting, being a complaint against the gossip of neighbours.
12. Schlosser auf, und mache Schlösser (Locksmith, ho, a hundred padlocks). The gossipy neighbours are going to be locked up!
13. Vögelein durchrauscht die Luft (Birds in air will stray). This is for female voices only, with piano’s delicate tracery creating a bird-like flight.
14. Sieh’, wie ist der Welle klar (Bright thy sheen, O lucent wave). A setting for male voices only: a similar tracery depicts the waves.
15. Nachtigall, sie singt so schön (Nightingale, thy sweetest song). This time for all four voices, once again the piano recreates the song of the nightingale in counterpoint.
16. Ein dunkeler Schact is liebe (Ah, love is a mine). This is perhaps the most passionate setting in the set - the pain of love.
17. Nicht wand’le, mein Licht (Nay tarry, sweetheart). Marked Mit Ausdruck (with expressive feeling), this is a lyrical tenor solo in slower tempo.
18. Es bebet das Gesträuche (A tremor’s in the branches). This brings the set to a delightful close with the lightest and most magical of settings.

Page revised 27.6.03

MASTER WORKS I Johannes Brahms