Brahms, J.: Symphony No. 3 (Remastered) The Monteverdi Choir, Orchestre Révolutionnaire et Romantique & Sir John Eliot Gardiner

• Johannes Brahms (1833-1897):
• 1 5 Lieder, Op. 41: No. 1. Ich schwing mein Horn ins Jammertal 04:23
• 2 4 Gesange, Op. 17 (text by F. Ruperti): No. 1. Es tont ein voller Harfenklang 03:19
• 3 5 Gesange, Op. 104: No. 1. Nachtwache I 03:06
• 4 13 Canons, Op. 113 (Ruckert settings only): No. 13. Einformig ist der Liebe Gram 02:40
• 5 Gesang der Parzen, Op. 89 11:15
• 6 Symphony No. 3 in F Major, Op. 90: I. Allegro con brio - Un poco sostenuto 11:30
• 7 Symphony No. 3 in F Major, Op. 90: II. Andante 08:25
• 8 Symphony No. 3 in F Major, Op. 90: III. Poco allegretto 05:54
• 9 Symphony No. 3 in F Major, Op. 90: IV. Allegro - Un poco sostenuto 07:40
• 10 Nänie, Op. 82: Nanie, Op. 82 12:01
• Total Runtime 01:10:13

Info zu Brahms, J.: Symphony No. 3 (Remastered)

Recording locations: Recorded live at the Salle Pleyel, Paris and Royal Festival Hall, London.

Soli Deo Gloria is proud to release the third installment in the successful Brahms Symphony series which sees John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique explore the music of Johannes Brahms.

The choral pieces on this release demonstrate beautifully the extent to which choral thinking permeates Brahms’ orchestral writing. Gardiner states that ‘just as there is choral thinking evident in his symphonies, surely there are also signs of orchestral thinking embedded within his choral writing.’ Both Nänie and Gesang der Parzen show fascinating links with Brahms’ last two symphonies Parzen sharing with the Third not just an adjacent opus number but an immensely powerful orchestral opening, with passing references to ‘early music’ styles next to passages of the most advanced harmony.

Einförmig ist der Liebe Gram, an irresistible little piece written for women’s voices, sees Brahms take the final song from Schubert’s Winterreise and turn it into a haunting six-part canon. Another example of Brahms forging links with a revered predecessor.

Written nearly six years after Brahms completed his Second Symphony, his third symphony was described by Hans Richter on its premiere as Brahms’ ‘Erioica’. A friend of Brahms and music critic at the time, Eduard Hanslick, wrote: “Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect”

"It’s hard to under-emphasise the lift Gardiner’s historically informed performance has given to Brahms’s Third Symphony" (Classic FM)

"Taking up more than half the disc, the choral items are its obvious glory… Gardiner sets his face against anything that could be construed as false consolation. In his element in Song of the Fates, he gives the sublime Nänie an unusually taut, sharp-edged feel." (Gramophone)

"…urgent, magnificently angry… This is Gardiner at his penetrating, combative best, making contact with the music's heartbeat in a way that sounds both radical and natural… (BBC Music Magazine)

The Monteverdi Choir
Orchestre Revolutionnaire et Romantique
Sir John Eliot Gardiner, conductor

The Monteverdi Choir
World-class instrumentalists and singers of many different nationalities come together to share in the distinctive vision of our Founder and Artistic Director, John Eliot Gardiner, in ground-breaking projects that span eight centuries of musical masterpieces.

From the monumental to the intimate, from sacred music to opera, from early music to the 20th century, often in unexpected combinations, in each of our projects we strive for excellence. Possessed of an instantly recognisable core sound, the three ensembles are in constant renewal and evolution.

Alongside our performance and project work, The Monteverdi Choir and Orchestras (MCO) is committed to providing opportunities for professional development and education. We believe passionately in nurturing future generations of players and singers and developing emerging talent. Our Monteverdi Apprentice Programme enables outstanding young musicians to spend an entire year training and performing with our three world-class ensembles, under the direction of John Eliot Gardiner.

In addition, we run an Arts Management Training Programme to support those wishing to pursue a career in arts administration. Previous trainees have gone on to secure positions with major arts organisations including the Royal Opera House, Sage Gateshead and The Orchestra of the Age of Enlightenment.

As part of our education and outreach work, we have worked with Bristol Plays Music on a project that tied in with our Monteverdi 450 celebrations, and gave local school children and university students an insight of what we do, through vocal workshops, talks with members of our ensembles and attendance at dress rehearsals. This collaboration has been recently nominated for the ‘Best Music Education Initiative’ in the latest Rhinegold Music Teacher Awards.

It is our long-term ambition to continue education projects of this nature as we seek to inspire future generations of music-makers by sharing our knowledge and expertise.

Orchestre Revolutionnaire et Romantique
Founded in 1989 by John Eliot Gardiner, the ORR aims to bring the stylistic fidelity and intensity of expression of the renowned English Baroque Soloists to the music of the 19th and early 20th centuries.

From its inception the ORR has won plaudits internationally, notably for its interpretation of the works of Beethoven, which it performed extensively and recorded for Deutsche Grammophon in the 1990s. The orchestra has recently returned to this repertoire with successful tours of Beethoven symphonies and Missa Solemnis in Europe and the USA, including a live recording of Missa Solemnis by the company’s own record label, Soli Deo Gloria.

The Orchestra has been internationally recognised for its interpretations of all the major early Romantic composers, starting with Hector Berlioz. They performed and recorded his Symphonie Fantastique in the hall of the old Paris Conservatoire, where the very first performance took place in 1830. In 1993, together with the Monteverdi Choir, the orchestra gave the first modern performances of the newly-rediscovered Messe Solennelle. They later joined forces to perform L’Enfance du Christ at the Proms as well as the first complete staged performances in France of Berlioz’s masterpiece Les Troyens, given at the Théâtre du Châtelet in Paris.

Other critically-acclaimed initiatives have included a project entitled ‘Schumann Revealed’ given at the Barbican, including recordings of the complete Schumann symphonies and Das Paradies und die Peri. In 2007/8 ‘Brahms: Roots and Memory’ given at the Salle Pleyel and the Royal Festival Hall, setting Brahms’ four symphonies in the context of his most significant choral works and music of the 16th to 19th centuries that Brahms himself transcribed and conducted.

Operas by Weber (Oberon and Le Freyschütz), Bizet (Carmen), Chabrier (L’Etoile), Verdi (Falstaff) and Debussy (Pelléas et Mélisande) have also been performed in new productions in France, Italy and London.

Most recently the ORR has been focusing again on Berlioz, performing Berlioz’s Symphony Fantastique and Beethoven’s Symphony No. 5 at the BBC Proms 2015, followed by performances at the Edinburgh International Festival and Festival Berlioz of Berlioz’s Lélio and Symphony Fantastique. In 2016 they returned to the Proms with Berlioz’s Roméo et Juliette as part of the Shakespeare 400 celebrations. More recently the Orchestra toured a programme of Beethoven, Schubert and Brahms with renowned concert pianist Kristian Bezuidenhout.

In 2017, the Orchestra once again returned to the music of Berlioz via performances of his monumental La Damnation de Faust at the BBC Proms and Festival Berlioz.

The Orchestre Révolutionnaire et Romantique is under the patronage of HRH The Prince of Wales.

Sir John Eliot Gardiner
stands as an international leader in today's musical life, respected as one of the world's most innovative and dynamic musicians, constantly at the forefront of enlightened interpretation. His work as Artistic Director of his Monteverdi Choir, English Baroque Soloists and Orchestre Révolutionnaire et Romantique has marked him out as a central figure in the early music revival and a pioneer of historically informed performance. As a regular guest of the world's leading symphony orchestras, such as the London Symphony Orchestra, Symphonieorchester des Bayerischen Rundfunks, Royal Concertgebouw Orchestra and Gewandhausorchester Leipzig, Gardiner conducts repertoire from the 17th to the 20th century.

The extent of Gardiner's repertoire is illustrated in the extensive catalogue of award-winning recordings with his own ensembles and leading orchestras including the Vienna Philharmonic on major labels (including Decca, Philips, Erato and 30 recordings for Deutsche Grammophon), as wide-ranging as Mozart, Schumann, Berlioz, Elgar and Kurt Weill, in addition to works by Renaissance and Baroque composers. Since 2005 the Monteverdi ensembles have recorded on their independent label, Soli Deo Gloria, established to release the live recordings made during Gardiner’s Bach Cantata Pilgrimage in 2000, for which he received Gramophone’s 2011 Special Achievement Award and a Diapason d’or de l’année 2012. His many recording accolades include two GRAMMY awards and he has received more Gramophone Awards than any other living artist.

Gardiner's long relationship with the LSO has led to complete symphony cycles and numerous recordings on LSO Live, most recently of Mendelssohn concluding in 2017, and beginning this season of Schumann, which they take on a ten-concert tour of Europe. Other guest conducting highlights this season include Schumann with the Symphonieorchester des Bayerischen Rundfunks and Verdi Requiem with the Tonhalle-Orchester Zürich and Monteverdi Choir. He returned in 2016 to the Berliner Philharmoniker for semi-staged performances of Stravinsky Oedipus Rex.

Alongside performances at the Salzburg Mozartwoche, Concertgebouw, Barbican Hall and Bachfest Leipzig, Gardiner and the Monteverdi ensembles this autumn conclude their celebration of the 450th anniversary of the birth of Monteverdi with staged performances of his three surviving operas at the Berlin Festival, Paris Philharmonie, Harris Theater Chicago and Lincoln Center. Gardiner has conducted opera at the Wiener Staatsoper, Teatro alla Scala, Milan, Opéra national de Paris and Royal Opera House, Covent Garden, where he has appeared regularly since his debut in 1973. From 1983 to 1988 he was artistic director of Opéra de Lyon, where he founded its new orchestra.

Gardiner’s book, Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach, was published in October 2013 by Allen Lane, leading to the Prix des Muses award (Singer-Polignac). In 2014 Gardiner became the first ever President of the Bach-Archiv Leipzig. Among numerous awards in recognition of his work, Sir John Eliot Gardiner holds honorary doctorates from the Royal College of Music, New England Conservatory of Music, the universities of Lyon, Cremona, St Andrews and King’s College, Cambridge where he himself studied and is now an Honorary Fellow; he is also an Honorary Fellow of King’s College, London and the British Academy, and an Honorary Member of the Royal Academy of Music, who awarded him their prestigious Bach Prize in 2008; he became the inaugural Christoph Wolff Distinguished Visiting Scholar at Harvard University in 2014/15 and was awarded the Concertgebouw Prize in January 2016. Gardiner was made Chevalier de la Légion d'honneur in 2011 and was given the Order of Merit of the Federal Republic of Germany in 2005. In the UK, he was made a Commander of the British Empire in 1990 and awarded a knighthood for his services to music in the 1998 Queen’s Birthday Honours List.

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