He ignored every rule of traditional composition in order to achieve the effect his music should have; the number of voices changes arbitrarily, parallel octaves and fifths abound, all according to the vigorous, elemental force of his inspiration.
As well as Brahms’ 175th birthday in 2008 inspired these recordings in the “Kunsthaus” in Mürzzuschlag. Ronald Fuchs and Chanda VanderHart play, in addition to the two cello sonatas, six Brahms lieder transcriptions in their original keys. The lieder selected have a special connection to both the Streicher piano and with Mürzzuschlag itself. Brahms played severel of them, including “Wie Melodien zieht es mir” with Hermine Spies, and composed both “Sapphische Ode” and “Der Tod, das ist die kühle Nacht” during his time in Mürzzuschlag.
Beata es Maria is made up primarily of vocal music in praise of the Virgin that features three men's voices, a counter tenor, tenor, and bass. It's an especially attractive ensemble, and Charpentier, who is known to have sometimes sung the tenor parts, knew how to make the vocal lines terrifically appealing. The Magnificat that opens the album beautifully illustrates his skill in taking a much-used convention the chaconne, with a harmonic progression that (the composer reports) repeats 89 times and keeping it endlessly intriguing with his inventive handling of the voices.