Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
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CD Details
Brand: ShawEdition: Music CD
CD Release Date: 1990-10-25
Music Label: Telarc
Soundtracks:
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Selig sind, die da Leid tragen
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Denn alles Fleisch
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Herr, lehre doch mich
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Wie lieblich sind deine Wohnungen
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Ihr habt nun Traurigkeit
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Denn wir haben hie
- Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45: Selig sind die Toten
Music reviews of Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
Music Review: A stirring, noble underrated achievement
Rating: 4 Stars
I agree with David Horowitz, my favorite reviewer, that Robert Shaw occasionally rose to the hieghts on the podium with both chorus AND orchestra. We generally find choral conductors lacking in the instrumental department, but Shaw here does quite well, as I also think he does with the Berlioz Requiem, Boito's prologue to Mephistopheles AND Mahler's 8th. All with the Atlanta forces on Telarc. This 1993 recording teaches us just how good a choral composer Brahms was, and that the real heart of any requiem IS the massed voices. They represent us, in suplication to our Heavenly Father on the behalf of our dearly departed. If you believe, as I do, that you can, ney have a duty to pray for the dead, then this kind of music becomes an almost everyday prayer for you, for St. Augustine, I think, said "he who sings, prays twice." This cd certainly does that!
Brahm composed his German Requiem in the 1860's, adding to it over the years and building to it's final 7 movement form by the time of it's Liepzid premiere 2-18-1869 with Carl Reinecke conducting. Brams' close friend Dr. Theodor Billroth, of surgical gastrointestinal bypass fame, loved it and understood it. Much of the Viennese press thought it too austere and uncomprehendable. Nonsence!!! It is simply great music, here performed by a great chorus and orchestra under a choral conductor's conductor. The darkness of the 1st movement, utilizing only sub-dived celli and violas with a beautifully proclaimitory harp accompanying the eatherial chorus intoning "Blessed are they that mourn...". Before they are done, we have been transported to an otherworldly realm.
The 2nd movemnt's return of the remaining orchestra follows the march-like tympani and a noble and dignified chorus in a stern and dirge-like funeral march that swells at "the ransomed of the Lord,,," and descends into tranquility. I could simply listen to that tympani and harp all day!
Part 2 features the fine baritone voice of Richard Stillwell and massed choir warning us of fear and doubt until the soloist declares "my hope is in the Lord" and on low notes, these artists build to a radiant climax with a double fugue for chorus and orchestra seperately which begins at "the souls of the righteous." This is where the tympanist, in the 1867 partial performance got a bit carried away. Sir Thomas Beecham once said, "Never look encouragingly at eith the brass OR the percussion!!" Shaw knows better. This is, if you're listening to this work for the first time, (and boy do I envy you!) probalbly the high point of the entire work. Not so, my friend, there is more to come.
"How lovely are Thy resting places" is a passage I've used on many funeral cards of family and and friends, because I believe in my soul. So did Brahms, apparently, and so do these wonderful voices. It is simply a respite between two grand and stupendous sections that allow us to catch our breathes. Part 5 follows with the delicate and sweet voice of soprano Arleen Auger. She always seem to know just how much intonation to use on any text she's working with. This is a very personal passage, Brahms taking it to heart as he felt his mother's spirit touching his from beyond the grave.
Our baritone returns to inform us that we shall be changed in the twinkling of an eye at the sound of the trumpet. This is the ressurection and it's intended magnificent effect is treated with all of the composer's orchestral and choral skill. It builds and builds with grand emphasis on "zu nehmen Preis und Ehre und Kraft.." (to recieve glory and honor and power). The vocal and instrumental emphasis placed on each word is breathtaking and really shows the perfection of construction Brahms reached. The reaction of those present at the 1869 premiere must have been one of jaw dropping awe. And just think, the composer was only 35 years old at this time, with the violin concerto, the 2nd piano concerto, all 4 symphonies and even more great chamber music still in the future!!
The 7th and final movement, borrows much from the 1st, but now, with the comforting of the earthly family accomplished, we turn to console and reassure the dead. The German Requiem is more for us, left behind, than for he or she headed to God. It bears a striking departure from Catholic theology, but then so does Lutheranism. Brahms was not, we think, a practising or devout Lutheran, but he must hac beelieved in God's infinite mercy. How else could he have written music of such profundity and strength? Some scholars would have us believe otherwise, as with Faure or even Mozart. I have my doubts. Music like this rises above the inner recesses of the soul. It is more than just art for the sake of art. I would rely on St Augustine more than any of the great musical historians and researchers. Any way, if you act fast, you can get this classic for a song, here at Amazon. Less than $8.00. I assure you, you will be pleased
Description of Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw
Robert Shaw, despite being a fine choral conductor, was often a pretty boring interpreter--like most choral conductors, in fact. However, there were times that he really put everything together, particularly in his many fine recordings for Telarc, and this is one of the best. Of course, it helps that the music itself is largely pretty subdued, but Shaw directs a performance of exemplary clarity and genuine nobility of utterance. Gorgeous recorded sound too. --David HurwitzGeneral CDs
- Styles > Classical
- Featured Composers, A-Z > ( B ) > Brahms, Johannes
- Featured Performers, A-Z > ( A ) > Atlanta Symphony Orchestra
- Historical Periods > Early Music
- Modern, 20th, & 21st Century > General Modern
- Symphonies > General
- Opera & Vocal > General
- Vocal Non-Opera > Requiems
- Brahms, Johannes - Works by Brahms
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