Herbert von Karajan conducted Brahms's choral masterpiece frequently throughout his long career, but only once on film and with both of these outstanding soloists. This unique document from the 1978 Salzburg Easter Festival was acclaimed by Diapason as "a magical interpretation, prodigiously realized … with a sublime fusion of timbres, a cohesion and, ultimately, a simplicity that are truly unequalled."
Among the major choral-orchestral works of the 19th century, Sir Roger Norrington and his former Orchestra, the Radio-Sinfonieorchester Stuttgart des SWR, have tackled over the years, now finally comes Brahms' "German Requiem." one of the most beautiful and popular sacred music works in the repertoire. Brahms’ contemporaries, including his close friend Clara Schumann were moved with the score and were enthusiastic about it - and it has been a favorite with the general public ever since. Although Biblical texts are used, the piece is not in the standard church-liturgical tradition. It was Brahms‘personal response to "those who mourn"! The central idea of this masterpiece is the reality of human existence. It is precisely this „earthly character“ that Roger Norrington uses to shape his interpretation emphasizing the grave beautify of the music and not religious awe; in this, Norrington draws us close to the composer’s intentions. He is ably supported by soprano soloist Christina Landshamer, basso Florian Boesch, SWR Vokalensemble Stuttgart and the NDR.
MONO • HISTORICAL RECORDINGS FROM 1942-1952. Wilhelm Furtwängler saw “a wild, fantastic and even demonic universe” in the symphonies of Brahms. “Music is not something that is invented and constructed,” he wrote, “but something that grows, emerging … directly from the hands of nature.” With organic development so crucial to Brahms’ music, his symphonies were destined for a prominent place in Furtwängler’s repertoire. Among the other works in this collection are the Violin Concerto with Yehudi Menuhin, and the Piano Concerto No. 2 with Edwin Fischer, both recognised as landmark interpretations.
This is a rather brisk reading of Brahms' masterpiece, the most ambitious work in his output and one of the greatest compositions of its type. Though Herreweghe's tempos often pushed the music to its limits here (except for the first section), the performance never actually sounded fast, or at least not offensively fast. In fact, it challenges the Levine/RCA effort.
Masters, as the name suggests, is a series that concentrates on presenting recordings of the stars of DG's digital catalogue. As Diapason noted: "one does indeed find here the greatest names of the DG catalogue: Abbado, Bernstein, Giulini, Karajan, Argerich, Kremer, Pollini, Ludwig …," not to mention Anne-Sophie Mutter, Mischa Maisky, Giuseppe Sinopoli, Trevor Pinnock, Reinhard Goebel and John Eliot Gardiner…
Widely respected as a pioneer in the field of early music who employed original instruments in performances of Baroque and Classical music, Nikolaus Harnoncourt is also admired for his insightful interpretations of 19th century music. His 2007 recording with the Vienna Philharmonic of Johannes Brahms' Ein deutsches Requiem is characteristic of his handling of the Romantic repertoire, insofar as he clearly knows the best scholarship on performance style, yet neither makes authenticity a fetish nor lets expression suffer through an obsession with period practice…
This is a rather brisk reading of Brahms' masterpiece, the most ambitious work in his output, one of the greatest compositions of its type. When I listen to this piece, I often sit numb, in awe of its profound beauty, of its emotional range and intellectual depth. I hadn't heard it for some time, so this recording occasioned a most welcome reacquaintance. Though Herreweghe's tempos often pushed the music to its limits here (except for the first section), the performance never actually sounded fast, or at least not offensively fast. In fact, it challenges my previous favorite, the Levine/RCA.
For too long a gap in the Brilliant Classics catalogue,we are happy to present a superb recording of Brahms’ sacred masterwork, Ein deutsches Requiem. Brahms’ Requiem, written in German and presenting bible texts selected by Brahms himself, was composed after the death of Brahms’ mother, a shattering experience for him. The dark aspects of Death are relieved by music of great tenderness and intimacy.
Celebrating 80 years of vigorous artistic life with Brahms’ expansive and consoling mass for the dead, Ein deutsches Requiem, the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) under its Chief Conductor Paavo Järvi, is joined by soprano Natalie Dessay, baritone Ludovic Tézier and the Swedish Radio Choir in an interpretation described as “exemplary” by the Frankfurter Allgemeine Zeitung.