Konstantin Volostnov - Brahms: Complete Organ Works (2023) [Hi-Res]
Artist: Konstantin Volostnov
Title: Brahms: Complete Organ Works
Year Of Release: 2023
Label: Naxos
Genre: Classical
Quality: FLAC (tracks) / 24bit-44.1kHz FLAC (tracks+booklet)
Total Time: 01:07:13
Total Size: 240 / 622 MB
WebSite: Album Preview
Tracklist:Title: Brahms: Complete Organ Works
Year Of Release: 2023
Label: Naxos
Genre: Classical
Quality: FLAC (tracks) / 24bit-44.1kHz FLAC (tracks+booklet)
Total Time: 01:07:13
Total Size: 240 / 622 MB
WebSite: Album Preview
1. Prelude & Fugue in A Minor, WoO 9: I. Prelude (2:09)
2. Prelude & Fugue in A Minor, WoO 9: II. Fugue (3:49)
3. Fugue in A-Flat Minor, WoO 8 (6:47)
4. Prelude & Fugue in G Minor, WoO 10: I. Prelude (3:30)
5. Prelude & Fugue in G Minor, WoO 10: II. Fugue (3:58)
6. Choral Prelude & Fugue on "O Traurigkeit, o Herzeleid", WoO 7: I. Prelude (2:02)
7. Choral Prelude & Fugue on "O Traurigkeit, o Herzeleid", WoO 7: II. Fugue (5:00)
8. 11 Chorale Preludes, Op. 122: No. 1, Mein Jesu, der du mich (4:23)
9. 11 Chorale Preludes, Op. 122: No. 2, Herzliebster Jesu (2:42)
10. 11 Chorale Preludes, Op. 122: No. 3, O Welt, ich muss dich lassen (2:39)
11. 11 Chorale Preludes, Op. 122: No. 4, Herzlich tut mich erfreuen (2:14)
12. 11 Chorale Preludes, Op. 122: No. 5, Schmücke dich, o liebe Seele (1) (2:24)
13. 11 Chorale Preludes, Op. 122: No. 6, O wie selig seid ihr doch, ihr Frommen (1:36)
14. 11 Chorale Preludes, Op. 122: No. 7, O Gott, du frommer Gott (5:23)
15. 11 Chorale Preludes, Op. 122: No. 8, Es ist ein Ros' entsprungen (2:59)
16. 11 Chorale Preludes, Op. 122: No. 9, Herzlich tut mich verlangen (2:09)
17. 11 Chorale Preludes, Op. 122: No. 10, Herzlich tut mich verlangen (1) (3:46)
18. 11 Chorale Preludes, Op. 122: No. 11, O Welt, ich muss dich lassen (3:36)
19. 11 Chorale Preludes, Op. 122: No. 5, Schmücke dich, o liebe Seele (2) (2:29)
20. 11 Chorale Preludes, Op. 122: No. 10, Herzlich tut mich verlangen (2) (3:45)
In contrast to the grand scale and public profile of his orchestral and choral works, Johannes Brahms saw the organ as an instrument ‘for home use’, and one in which he confided his most intimate feelings. The earlier pieces were exercises in counterpoint inspired by Brahms’ friendship with Clara Schumann and, despite their academic titles, they are infused with distinctive musical ideas and lyrical expressiveness. The later Chorale Preludes with their themes of suffering and death can be seen as autobiographical, the elder Brahms seeking spiritual strength in the ‘pure style’ of the Protestant tradition.
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