BaL 3.06.23 - Brahms: A German Requiem

[Bryn]

Re #13, the recording in that box is split over two discs, though with modern CD authoring and stamping methods, it could have been crammed onto a single disc of 81'30", or so. Is this the slowest performance of the German Requiem on record?

[Wolfram]

I’ve just finished trawling through my 10 recordings of Ein Deutsches Requiem, and if I were doing BaL, which thankfully I’m not, these would be my choices. Karajan in 1947, as an historical choice and for the significance of the occasion in immediate post-war Vienna. Abbado for a modern recording of a traditional performance. But my top pick would be Frieder Bernius. A really sensitive and heart felt performance. The chamber orchestra allows the woodwinds to shine through the textures and illuminate the wonderful colours in Brahms’ scoring - no dull homogenous gloom in this recording. The smaller scale performance allows the choir to sing the text with real meaning, and the timpani, presumably played with hard sticks, have greater impact in Denn alles Fleisch and Herr, lehre doch mich than in any other recording I have listened to. His speeds are fast, but it doesn’t feel rushed. The young Michael Voller is as moving in his solos as any baritone, apart from Hotter, and Julia Borchert concentrates on delivering the text rather than sacrificing the words to the cause of making a beautiful sound. This is a German Requiem for all those who think they don’t like the Brahms German Requiem.

[oddoneout]

I’ve just finished trawling through my 10 recordings of Ein Deutsches Requiem, and if I were doing BaL, which thankfully I’m not, these would be my choices. Karajan in 1947, as an historical choice and for the significance of the occasion in immediate post-war Vienna. Abbado for a modern recording of a traditional performance. But my top pick would be Frieder Bernius. A really sensitive and heart felt performance. The chamber orchestra allows the woodwinds to shine through the textures and illuminate the wonderful colours in Brahms’ scoring - no dull homogenous gloom in this recording. The smaller scale performance allows the choir to sing the text with real meaning, and the timpani, presumably played with hard sticks, have greater impact in Denn alles Fleisch and Herr, lehre mich than in any other recording I have listened to. His speeds are fast, but it doesn’t feel rushed. The young Michael Voller is as moving in his solos as any baritone, apart from Hotter, and Julia Borchert concentrates on delivering the text rather than sacrificing the words to the cause of making a beautiful sound. This is a German Requiem for all those who think they don’t like the Brahms German Requiem.

Interesting to read your comments about a small force version of the work. Earlier this year R3 broadcast a performance with a small orchestra and also I think small(er) choral forces, and I was amazed at how much more I enjoyed it, and also how much more of what Brahms had written I was able to hear. I tend to find Brahms in general a bit over rich, and the Requiem needing a movement missed out but this was much more digestible. I didn't make a note of the performers unfortunately and can't remember the date, but I've made a note of the Bernius now!

[gurnemanz]

I’ve just finished trawling through my 10 recordings of Ein Deutsches Requiem, and if I were doing BaL, which thankfully I’m not, these would be my choices. Karajan in 1947, as an historical choice and for the significance of the occasion in immediate post-war Vienna. Abbado for a modern recording of a traditional performance. But my top pick would be Frieder Bernius. A really sensitive and heart felt performance. The chamber orchestra allows the woodwinds to shine through the textures and illuminate the wonderful colours in Brahms’ scoring - no dull homogenous gloom in this recording. The smaller scale performance allows the choir to sing the text with real meaning, and the timpani, presumably played with hard sticks, have greater impact in Denn alles Fleisch and Herr, lehre mich than in any other recording I have listened to. His speeds are fast, but it doesn’t feel rushed. The young Michael Voller is as moving in his solos as any baritone, apart from Hotter, and Julia Borchert concentrates on delivering the text rather than sacrificing the words to the cause of making a beautiful sound. This is a German Requiem for all those who think they don’t like the Brahms German Requiem.

Coincidentally, I was listening to Abbado today, new to me as part of the recent DG Brahms Abbado collection. I enjoyed it very much, especially Andreas Schmidt in Herr, lehre doch mich. (He is very good also taking the male songs on the cpo Brahms Lieder edition). I also like that 1947 Vienna Karajan version with Schwarzkopf and Hotter. I imagine the difficult post-war conditions must have contributed to the atmosphere of the rendition - I believe the recording venue was unheated in October.

I definitely hope to follow up the Frieder Bermius recommendation.

[Wolfram]

Coincidentally, I was listening to Abbado today, new to me as part of the recent DG Brahms Abbado collection. I enjoyed it very much, especially Andreas Schmidt in Herr, lehre doch mich. (He is very good also taking the male songs on the cpo Brahms Lieder edition). I also like that 1947 Vienna Karajan version with Schwarzkopf and Hotter. I imagine the difficult post-war conditions must have contributed to the atmosphere of the rendition - I believe the recording venue was unheated in October.

I definitely hope to follow up the Frieder Bermius recommendation.

I also believe that Schwarzkopf sang with the sopranos in the Singverein in that recording to give them a lead and boast their moral in those difficult conditions.

[silvestrione]

I also believe that Schwarzkopf sang with the sopranos in the Singverein in that recording to give them a lead and boast their moral in those difficult conditions.

Interesting Freudian slip!

[Wolfram]

Interesting Freudian slip!

That was a typo, but I really wish I could say that I had done it deliberately.

[pastoralguy]

One of my local charity shops has the EMI Kempe recording but wants £3 for it. A bargain?

[Lordgeous]

One of my local charity shops has the EMI Kempe recording but wants £3 for it. A bargain?

Well it looks l,ike someone there recognises excellence.

[silvestrione]

That was a typo, but I really wish I could say that I had done it deliberately.

[Lordgeous]

The lack of even lawful lossless downloads of either of the Tennstedt recordings (EMI/Warner and BBC Legends) seems bizarre. However, the EMI recording is available, new, in the 14 CD boxed set, "Klaus Tennstedt: The Great EMI Recordings" from amazon.co.uk ( ASIN: B004OUFSOA ) for around £35. That's how I got it, though for £11.99, in 2011. It is also available, used, for under £20, elsewhere on the Internet, https://www.google.com/search?client...EMI+Recordings.

Yes, I picked up a copy for about £17 - pretty good for 14 CDs. Loads of his recordings I've never heard so looking forward to sampling. Wish I'd seen him live in concert. Some of the LPO's own CD concert issues are terrific.

[pastoralguy]

One of my local charity shops has the EMI Kempe recording but wants £3 for it. A bargain?

Well, I popped back and picked it up. It’s quite slow but the playing and singing is very good. The recording is a little congested but acceptable enough.

[Lordgeous]

Well, I popped back and picked it up. It’s quite slow but the playing and singing is very good. The recording is a little congested but acceptable enough.

I have the LP - must give it another listen. Was it ever transferred to CD does anyone know?

[Petrushka]

I have the LP - must give it another listen. Was it ever transferred to CD does anyone know?

?

I'd assumed that that's what PG had just been listening to! It's on EMI Classics 0777 7 64705 2 8 issued in 1993. PG is right about the sound and the recording could do with an up to date remastering (as could Kempe's Meistersinger).

[Lordgeous]

Re-mastered CD transfer on Naxos. Ordered!