Johannes Brahms, Es ist ein Ros' entsprungen, organ chorale prelude op.122 no.8: the organ lesson

Learning to play Brahms on the organ, using the chorale preludes opus 122.
This episode includes background information about Brahms performance style.
This episode was recorded in Sandnes Church in Norway. For details of
the organ, see www.rishton.no/...
The series is presented by Dr Tim Rishton www.rishton.eu

[@Thueringerorgel]

Sehr schön!

[@timrishton5871]

Danke! Tim

[@petertyrrell3391]

Do you think the phrase marks are to be taken literally or do they just mean in general play legato? Where these marks end is sometimes in the middle of a word, and Brahms was sensitive to words. Also these supposed phrases sometimes end on a dissonance chord separated from its natural resolution.

[@timrishton5871]

That’s a very good observation. I’ve also been worried for years that the phrases divide up the chorale lines - and, as you say, rather ineptly in terms of the text. Over the years I have sometimes played this piece using the “chorale phrasing”. But - rightly or wrongly - I’ve gone away from that idea and returned to Brahms’ phrasing as marked. There are two main reasons that I’ve done that. Firstly, the pattern of phrase lengths (short, short, long) seems to be deliberate, and was a favourite technique of Beethoven. Secondly, the chorale prelude maintains such an abstract relationship with the chorale melody that - while the chorale melody is there if you really search for it -- the piece almost functions as a fantasia-like reflection on it. In short, the chorale prelude has such a strong individual identity that I’ve come to the conclusion that this overrides respect for the hymn itself. But you certainly have solid grounds for your argument.

[@petertyrrell3391]

I see your point too. This piece is often played at Xmas in GB, and when I hear it then, it makes me feel that Xmas has really arrived!@@timrishton5871