Johannes Brahms () .. (10) Herzlich tut mich verlangen (second setting): Cantus firmus in pedal with flowing semiquaver accompaniment. Results 1 – 10 of 38 This page lists all recordings of Chorale Prelude Op. No. 9 ‘Herzlich tut mich verlangen’ by Johannes Brahms (). Results 1 – 10 of 49 This page lists all recordings of Chorale Prelude Op. No. 10 ‘Herzlich tut mich verlangen’ by Johannes Brahms ().
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Cantus firmus in the pedal with imitative interludes in the manuals, in motet rut. Again cantus firmus in upper part, but this time with brief interludes.
A richly chromatic sighing motif in accompaniment.
Melody in top part with more extended interludes. The figuration is somewhat pianistic with typically Brahmsian cross-rhythms. Unadorned chorale melody in upper part with two free-flowing contrapuntal lines underneath. Similar to previous number but the accompanying texture is fuller and more harmonically based.
Another movement in motet style in which the chorale migrates between the different voices. Unlike all the other preludes in the set there is no obvious Bach model for this setting. It is a harmonic meditation on the chorale in a consistent four-part texture until the vfrlangen bar — the chorale is rendered virtually undetectable by the constant use of expressive appoggiaturas. Decorated melody in upper voice with motivic working underneath.
Eleven Chorale Preludes – Wikipedia
Cantus firmus in pedal with flowing semiquaver accompaniment. A relatively straightforward harmonisation of the lines of the chorale, broken up by answering phrases which echo the final notes of each evrlangen. Cantus firmus im Pedal mit imitativen Zwischenspielen in den Manualen — Motettenstil.
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11 Chorale Preludes, Op.122 (Brahms, Johannes)
Eleven Choral Preludes, Op composer. June Total duration: The gruelling forty-hour journey which he undertook to attend her funeral undoubtedly took its toll on his own health; the liver cancer that would end his life in April of the following year was already far advanced, and he spent much of his time putting his affairs in order.
It is intensely private music, and while certain of the chorales he chose treat of death, the collection is not exclusively to do with endings. Even in the pieces about death, particularly the final setting of O Welt ich muss brrahms lassen the emphasis is on the bliss and transcendence which will come beyond mortal life.
Although in a letter he did refer to them as being not for publication, he did not destroy the manuscript as he had done much other material, and he did have a fair copy made of the first seven preludes; his friend and editor Mandyczewski took this as an indication that he may have been planning to add further pieces. They were finally published in