Johannes Brahms 24 Bit

Dejan Lazić's "Liaisons" Series is a double-portrait series. It always combines two composers in order to explore more thoroughly their musical worlds, the way they inspired and were inspired by, as well as to find their common denominators and bring them closer to each other. The second part of the series features the works by Robert Schumann and Johannes Brahms.

Violinist Ning Feng is recognised internationally as an artist of great lyricism, innate musicality and stunning virtuosity. Together with pianist Zee Zee he presents the Sonatas for Violin and Piano by Johannes Brahms: Sonata No. 1 in G, Op. 78, Sonata No. 2 in A, Op. 100, and Sonata No. 3 in D minor, Op. 108.

The emotive young American tenor Eric Ferring delivers a moving and ambitious collection of art songs with a chamber music emphasis. In this follow-up release to his acclaimed debut album No Choice but Love (Lexicon Classics), Ferring is joined to great effect by pianist Madeline Slettedahl and the French ensemble Quatuor Agate.

Der junge, hochbegabte Johannes Brahms veröffentlichte sein Opus 1, eine Klaviersonate, mit 20 Jahren. Im sinfonischen Bereich war er jedoch ein Spätentwickler, weil er sich immer im Schatten des großen Vorbilds Beethoven wähnte.

Als der Bariton Milan Siljanov den Entschluss fasste, sein erstes Liederalbum aufzunehmen, waren ihm die Komponisten, die darauf verewigt werden sollten, sofort klar.

During the eighteenth century the cello gradually emerged from the anonymity of the continuo group, and by the beginning of the Romantic era the instrument had become an indispensable tool for composers. Robert Schumann, who had himself taken cello lessons, was very fond of it, describing is as a ‘beautiful instrument’; and Johannes Brahms, who acquired considerable skill as a cellist, praised its ‘masculine, serious character’. It is therefore to be hoped that neither composer would object to Christian Poltéra’s sensitive adaptations of their works. Schumann and Brahms wrote three violin sonatas each, both choosing D minor as the key of one of them.

Johannes Brahms drew texts from various Biblical sources for his Deutsches Requiem . As we hear in his choral music, he had a passion for polyphony and was inspired by models from the great Lutheran tradition of the late Renaissance and the Baroque. Ricercar and Vox Luminis have explored this early repertoire with the same passion for many years now, although with no less admiration for Brahms's masterpiece.

Daniel Reuss and his Cappella Amsterdam are focussing on Brahms’ later choral works with this album. The famous German Requiem must not be allowed to overshadow the wide variety of choral music Brahms wrote throughout his career. Daniel Reuss and his Cappella Amsterdam are our expert guides in a programme that takes in sacred a cappella motets by turns austere (opp.74 and 110) and resplendent (op.109), secular quartets with piano (opp.92 and 112), and songs for six-part unaccompanied chorus (op.104).