Album insights
In the turbulent 1850s, Johannes Brahms cemented his status among leading composers by publishing several works with the support of Schumann. Despite initial struggles and personal setbacks, he found renewed inspiration through studying counterpoint and technical advice from Joachim. Following a brief creative block, Brahms composed a canon Mass, Motette op. 29 No. 2, and the Geistliches Lied.
Brahms faced challenges in gaining recognition for his Missa canonica, completed in the 1850s but only discovered and performed years later due to its intricate polyphony. The Mass, a technical exercise, showcases Brahms' respect for polyphonic masters. Although efforts for a live performance failed, the piece remained untouched until the mid-20th century. Motif echoes in the Motette op. 74 No. 1 hinted at Brahms' dedication to his forgotten canon.
The a cappella constructs of Opus 29 and 74 highlight Brahms's mastery, blending vibrant contrapuntal elements. Geistliches Lied op. 30, a stunning choral piece, showcases Brahms's hidden complex artistry. The Ave Maria, despite its early creation in 1858, reflected Brahms's admiration for women's choir voices. O Heiland, reiss die Himmel auf underlines Brahms's prowess in weaving intricate structures, even if met with mixed reviews from Clara Schumann.
Parallel to Brahms, Rheinberger's disdain for contemporary trends led him to gain notoriety as a composition teacher. Cantus Missae op. 109, his notable double chorus Mass, defied Cäcilian ideals, presenting a uniquely flexible and expressive church piece. Inspired by cori spezzati, Bach, and Mendelssohn, Rheinberger's passion for word painting is evident in Gloria and Credo. His unconventional yet symphonic approach concludes the Mass on a majestic note, showcasing his brilliance as a composer.