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Brahms (1 833 - 1897) Complete Organ Works Prelude and Fugue in G Minor Fugue in a Flat Minor Eleven Chorale Preludes, Op

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Brahms (1 833 - 1897) Complete Organ Works Prelude and Fugue in G Minor Fugue in a Flat Minor Eleven Chorale Preludes, Op BRARMS Complete Organ Works Eleven Chorale Preludes Two Preludes and Fugues Chorale Prelude and Fugue Johannes Brahms (1 833 - 1897) Complete Organ Works Prelude and Fugue in G Minor Fugue in A Flat Minor Eleven Chorale Preludes, Op. 122 Chorale Prelude and Fugue on 0 Traurigkeit, o Herzeleid ("0Heartbreak, 0 Sadness") Prelude and Fugue in A Minor Most listeners do not think of Johannes Brahms (1833 - 1897) as a composer of organ music, for the works that first come to mind are the symphonies, concertos, piano pieces, songs, and chamber music - or perhaps the German Reauiern. Yet, the very last compositions from the Den of Brahms were a set of chorale preludes f& organ, published posthumously in 1902. Curiously enough, his only previous compositions for this instrument originated much earlier. In the 1850s, when Brahms was still a young pianist and composer, he mentioned his aspirations to become an "organ virtuoso". Although he found the complex instrument more difficult to master than he had anticipated, he began to compose for it in earnest. Among his first attempts were two preludes and fugues, a conscious emulation of a form developed in the Baroque era but filtered through Brahms's own harmonic language. He regarded both works as novice projects not worthy of publication and apparently thought that the manuscripts had been destroyed. They were discovered much later, however, and published in 1927, thirty years after his death. The Prelude and Fugue in G Minor, the second and more mature of the two, was written in 1857. The flamboyant prelude recalls the rhapsodic style of praeludia and toccatas by earlier German composers like Buxtehude or even the young J. S. Bach. Brahms was an avid student of pre-19th-century music, and it is by no means coincidental that he often chose archaic musical forms for his own writing. Counterpoint, especially canon and fugue, absorbed the attention of Brahms during this period in particular. The first version of his Fugue in A flat minor, completed in 1856, was later revised and published in 1864 (as a supplement to the journal Allgemeine musikalische ~eitung). The accompanying-prelude in this rarelv used kev has been lost - if indeed it was ever completed - but the quiet fugue: marked jangsam, stands on its own as a masterf"lly crafted and deeply 6ltcreation. ~rahms'scontrapuntal ingenuity is revealed even from the outset, as the highly expressive main subject is answered by its own inversion. After the 1850s Brahms abandoned composition for the organ, other than revision of older pieces for publication, but toward the end of his life and just before the impending death of his close friend Clara Schumann, Brahms once again turned his attention to the organ. The resultingEleven Chorale Preludes, finished in May and June of 1896, are a high point in German Romantic organ literature. Most are rather short and similar in format to pieces in the Orgelbuchlein, J. S. Bach's cycle of 45 chorale preludes for the liturgical year; that is, the phrases of the chorale melody, plain or embellished, are not separated by long interludes. A notable exception opens Brahms's set, however. Mein Jesu, derdumich, a more extended treatment cast in the Baroque mold of the Pachelbel-style chorale prelude, adumbrates each phrase of the hymn tune with fugal imitation of a subject derived from that phrase. Brahms was particularly fond of the chorales 0 Welt, ich muss dich lassen and Herzlich tut mich verlangen, and he ~rovidedtwo contrastina settinas of each. Like HerzliebsterJesuand Herzlich iut mich erfreuen, theiriexts a;e concerned with final matters: the passion of Jesus Christ, death, and the afterlife. Just beyond the midpoint of the collection comes 0 Gott, du frommer Gott, a powerful work in which the tune sounds mezza voce from a subsidiary manual until the final phrase. Balancing the ponderous textures thatcharacterize mostof these preludes are threesomewhat more subdued ones without pedal: 0 wie selig seidihr doch, ihr Frommen, yet another reflectionon death and eternitv: the lovelvcommunion hvmnSchmijcke dich, o liebe Seele, and the gentle chiistmas tuie Es ist ein floilentsprungen. In 1857, years before he was to focus on things eternal in several of his Eleven Chorale Preludes, Brahms had already written a beautiful Chorale Prelude on 0 Traurigkeit, o Herzeleid. A Fugue based on this chorale tune was appended sometime later, and a revised version of the chorale prelude followed by the fugue was published in 1882, once again as a musical supplement to a periodical, Musikalisches Wochenblatt. The subject of the fugue is derived from the hymn tune, while the unadorned chorale appears in long notes in the pedal. Like the Fugue in A flat minor, it is slow, marked adagio, and the answer to the subject is similarly inverted. The Prelude andFugue in A Minor, ostensibly Brahms's first essay in organ comoosition. was sent to Clara Schumann as a aifttocelebrate his own birthdav in 1856. what it lacks in maturity and polish: it more than makes up for i;l youthful energy and impetuosity, but not at the expense of experimentat/onwith time-honoured contraountal devices. More soecificallv. the fuaue subiect - already foreshadowed in the pedal line of the'brief preiude - appears aiso in inversion, just preceding still another transformation by augmekation. As in manv of Bach's earlv oreludes and fuaues. Brahms's counterooint dissolves tow&d the end into he free style of theprel'ude, and the final siatement of the subject is nearly buried under a furious flurry of notes. O 1994 Robert Parkins Robert Park,ins The American organist Robert Parkins studied at the University of Cincinnati with Gerre Hancock and at Yale University with Charles Krigbaum, Michael Schneider, and harpsichordist Ralph Kirkpatrick. As a Fulbright scholar he pursued further study with Anton Heiller in Vienna. He has concertized throughout the United States, in Central America, and in Europe, specializing in early Iberian keyboard literature and German Romantic organ music. His solo recordinasinclude Spanish and Portuguese music performed on the organ and harpsichord, as well as organ works by Mendelssohn and Brahrns. He is currentlv Universitv Oraanist and Associate Professor of the Practice of Music Johannes Brahms Samtliche Werke fur Orgel DaO Johannes Brahms zu Beginn seiner kompositorischen Laufbahn einige Werke fur die Orgel geschrieben hat, ist nur allzu verstandlich. Seit er sich 1853 - aus Hamburg kommend - als Freund der Familie Schumann vorubergehend in Dusseldorf niedergelassen hatte, befaOte er sich intensiv mit den Regeln des strengen Satzes, und dazu gehoren nun ma1 der Kanon und die Fuge als besondersanspruchsvollesatztechnischeAufgaben. Soentstanden inden Jahren 1856157die Praludienund Fugen a-moll ("Meiner lieben Clara zum 7. Mai 1856) und g-moll, ferner eine Fuge as-moll und das Choralvorspiel uber "0 Traurigkeit, o Herzeleid", dem man als einziger Orgelkomposition dieser Studienzeit einen qewissermaOen reliqiosen Gehalt zubilligen kann, denn es besteht vermutlichein usa am men hang mit dem Tod Robert Schumanns,der nach zweieinhalbiahriaem, - Aufenthalt in der Irrenanstalt Endenich bei Bonn gestorben war. Der Blickauf das barockevorbild Johann Sebastian Bach ist allen genannten WerkenqemeinsamundcharakteristischfurdenKomoonisten Johannes Brahms. der sich;eitlebens immer weiter in die Welt der ~ltenMeister vertiefte und bei seiner Suche nach historischen Anregungen noch weit hinter den Leipziger Thomaskantor zuruckaina: Heinrich Schutz (1585-1 672) etwa war ihm ebenso bedeutsam wie ales st ha, und die alten ~eihnikenschlugen sich im Laufe der Jahre in zahlreichen Werken nieder- in den Fest- und ~edenks~ruchen(1890) ebenso wie etwa in der ebenfalls aus der Dusseldorfer Fruhzeit stammenden Missacanonica, in dem grandiosen Finale dervierten Symphonie und in den Vier ersten Gesangen op. 121. Wahrenddiefruhen Orgelwerkehauptsachlich wegen ihresstudiencharakters interessant und aufschluOreich fur Brahms' musikalische Entwickluna sind, beanspruchendieelf Choralvorspieleop.122 ihren eigenen Rang schon insofern, als sie das letzte Werk des damals schon schwerkranken Kom~onisten darstellen undzusammen mitden ~rnsten~esan~en noch einmal dieeigenartige Religiositat ihres Schopfers wiederspiegeln. Fur Johannes Brahms war der Umgang mit dem Alten und dem Neuen Testamentschon in der Kindheitvertraut, wobei er bemerkenswerterweisetrotz seiner protestantischen Konfession sich nicht auf Dogrnen festlegen lie& Die ganz personliche, von dereigenen PhilosophiegepragteAuswahl etwaderTexte fur "Ein deutsches Requiem"spricht ebensodavon wie die keineswegs zufallige Zusammenstellung der Kirchenlieder, die das Opus ultimum bilden sollten. Wahrend man in der Anordnung der Titel einerseits die Reflexion uber den eigenen Abschied erkennen kann, gibt es andererseits einen unmittelbaren B~ZU~zu der person, derfast auf den~aggenau dreiRig Jahre zuvor Praludium und Fuaea-moll aewidmetworden waren. Auf einem Kalenderblattfurden Monat Mai 1896 verme;kt Brahrns drei wichtige Daten: "Wien ~ierernsteGesange fur BaOstimme 20. Clara Schumann Tod lschl Sieben Choralvorspiele." SoschlieOtsich der Kreis von den fruhen Studien und dem aanzoffensichtlich als Trauermusik um den Freund und Gijnner geschriebekn Vorspiel zu "0 Trauriakeit" bis hin zu dem Nachruf auf die nach wie vorverehrte Freundin. die in ~rahis'gesamtem Leben eine so bedeutende Rolle gespielt hat. 0 1994 Cris Posslac Johannes Brahms lntegrale de I'oeuvre pour orgue Jour beni dans la vie de Brahms que
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