Orchestre des Champs-Elysées
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Collegium Vocale Gent
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Philippe Herreweghe
conductor
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Hanna-Elisabeth Müller
soprano
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Okka von der Damerau
mezzo-soprano
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Maximilian Schmitt
tenor
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Tareq Nazmi
bass
Johannes Brahms (1833-1897)
“Schicksalslied” (“Song of Destiny”), Op. 54
Two Motets, Op. 74
“Gesang der Parzen” (“Song of the Fates”), Op. 89
Anton Bruckner (1824-1896)
Te Deum in C major, WAB 45
When Philippe Herreweghe and his ensembles combine choral works by Johannes Brahms and Anton Bruckner, it’s not just two different schools of music that collide with each other, but two worlds of faith. On the one hand we have the North German Protestant and freethinker Brahms, who repeatedly addressed humanity’s alienation and vulnerability; on the other is Bruckner, the devout Catholic from Upper Austria with his steadfast faith in God. Brahms described the Two Motets (Op. 74) as “a little treatise on the great ‘Why,’” while “Gesang der Parzen” (“Song of the Fates”) even expresses an attitude of distrust toward the gods. Bruckner, in contrast, strictly abided by the liturgy, sculpting an inviolable sense of assurance at the end of his Te Deum with sounds of brazen power: “Non confundar in aeternum”/“Let me never be confounded.”
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