Le Cercle de l’Harmonie – Jérémie Rhorer | Martin Helmchen

"Do you love Brahms?" Françoise Sagan once asked... We think we know the answer in the face of three masterly scores by the man who remains not only one of the most profound melodists, but also one of the most learned composers in the history of music.

Composed in 1873, the classically rigorous Variations on a Theme by Haydn are a demonstration of technique that culminates in the imposing concluding Passacaglia. This formidable 'craft' is an indisputable Brahmsian trademark, and shines through in Symphony No. 3 (1873), with its Olympian first movement, the subtle modulations of the contemplative Andante, with its woodwind timbres, the irresistible melody with Hungarian accents in the third movement and the subdued heroism of the Finale. As for the Piano Concerto No. 1, although it disconcerted the audience of 1859, it drew cries of admiration from Bruckner that have since been universally shared. Remarkably integrated with the orchestra, the soloist's part is by turns vehement and lyrical in the first movement, spiritual and interiorised in the Andante, which has been interpreted as a secret homage to Clara Schumann, and popular and danceable in the brilliant Finale. As a young man "from the North" in the eyes of the Schumanns, Brahms' apprentice began with a master stroke...