Arturo Toscanini, Bernard Haitink, Carl Schuricht, Claudio Abbado, Eugene Ormandy, Herbert Blomstedt, Herbert Kegel, Herbert von Karajan, James Levine, Karl-Friedrich Beringer, Lorin Maazel, Nikolaus Harnoncourt, Otto Klemperer, Paavo Järvi, Philippe Herreweghe, Philippe Jordan, Rudolf Kempe, Semyon Bychkov, Sergiu Celibidache, Willem Mengelberg.
Brahms Ein Deutsches Requiem Best Performances Playlist
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| English: Published in Modern Music and Musicians, University Society, 1918 (Photo credit: Wikipedia) |
Brahms Ein Deutsches Requiem Op.45
I Selig sind, die da Leid tragen (0:00)
II Denn alles Fleisch, es ist wie Gras (10:35)
III Herr, lehre doch mich (25:46)
IV Wie lieblich sind Deine Wohnungen (35:33)
V Ihr habt nun Traurigkeit (40:53)
VI Denn wir haben hie keine bleibende Statt (47:50)
VII Selig sind die Toten, die in dem Herrn sterben (59:29)
2. Semyon Bychkov: Brahms Ein Deutsches Requiem Op.45
WDR Sinfonieorchester Köln - Kölner Philharmonie
3. Herbert Blomstedt: Brahms Ein Deutsches Requiem Op.45
DR SymfoniOrkestret - KoncertKoret - Herbert Blomstedt + Sopran: Camilla Tilling + Baryton: Peter Mattei
4. Philippe Jordan: Brahms Ein Deutsches Requiem Op.45
Soprano: Soile Isokoski
Baritone: Roman Trekel
Arnold Schönberg Chor
Wiener Philharmoniker
Musikverein, Vienna, 1 4/2007
5. Nikolaus Harnoncourt: Brahms Ein Deutsches Requiem Op.45
Wiener Symphoniker, Gruberova, Hampson
6. Sergiu Celibidache: Brahms Ein Deutsches Requiem Op.45
1957
I. "Selig sind, die da Leid tragen"
Chor
II. "Denn alles Fleisch, es ist wie Gras"
Chor
III. "Herr, lehre doch mich"
Bariton-Solo und Chor
IV. "Wie lieblich sind diene Wohnungen"
Chor
V. "Ihr habt nun Traurigkeit"
Sopran-Solo und Chor
VI. "Denn wir haben hie kleine bleibende Statt"
Bariton-Solo und Chor
VII. "Selig sind die Toten"
Chor
Agnes Giebel, Sopran
Hans Hotter, Bariton
Hans Bachem, Orgel
Chor und Sinfonieorchester des
Kölner Rundfunks
Dirigent: Sergiu Celibidache
Köln, 28 October 1957.
7. Arturo Toscanini, 1937 (Live):
Brahms Ein Deutsches Requiem Op.45
Isobel Baillie, sopran
Alexander Sved, baritone
BBC Chorus
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| Johannes Brahms (Photo credit: Walter A. Aue) |
Arturo Toscanini, conductor
Recording Live, 30 october 1937
Queen's Hall, London.
1."Selig sind, die da Leid tragen"
2."Denn alles Fleisch" (Allegro non troppo)
3."Herr, lehre doch mich" (Andante moderato)
4."Wie lieblich sind deine Wohnungen"
5."Ihr habt nun Traurigkeit"
6."Denn wir haben hie keine bleibende Statt"
7."Selig sind die Toten"
8. Willem Mengelberg: Brahms Ein Deutsches Requiem Op.45
A German Requiem, To Words of the Holy Scriptures, Op. 45
(Ein Deutsches Requiem, nach Worten der heiligen Schrift)
I. "Selig sind, die da Leid tragen"
II. "Denn alles Fleisch, es ist wie Gras"
III. "Herr, lehre doch mich"
IV. "Wie lieblich sind diene Wohnungen"
V. "Ihr habt nun Traurigkeit"
VI. "Denn wir haben hie kleine bleibende Statt"
VII. "Selig sind die Toten"
Soprano, Jo Vincent
Baritone, Max Kloos
Amsterdam Toonkunst Choir
Concertgebouw Orchestra
Willem Mengelberg
Recording Live, November 1940, Amsterdam.
9. Rudolf Kempe: Brahms Ein Deutsches Requiem Op.45
10. Karl-Friedrich Beringer: Brahms Ein Deutsches Requiem Op.45
(Juliane Banse, Soprano Stephan Genz, Bariton;
Windsbacher Knabenchor Deutsches Symphonie-
Orchester Berlin: Karl-Friedrich Beringer) die Ehre Gottes"
(Windsbacher Knabenchor: Karl-Friedrich Beringer 1 Coro - „Selig sind, die da Leid tragen" (Moderatamente lento con espressione)
2 Coro - „Denn alles Fleisch, es ist wie Gras" (Allegro non troppo)
3 Bariton solo e coro - „Herr, lehre doch mich" (Andante moderato)
4 Coro - „Wie lieblich sind deine Wohnungen" (Moderatamente mosso)
5 Soprano solo e coro - „Ihr habt nun Traurigkeit"
6 Bariton solo e coro - „Denn wir haben hie keine bleibende Statt" (Andante, vivace, allegro)
7 Coro - „Selig sind die Toten" (Solenne)
11. Bernard Haitink: Brahms Ein Deutsches Requiem Op.45
Orchester: Wiener Philharmoniker
Chorus Master: Norbert Balatsch
Solists:
Gundula Janowitz, soprano
Tom Krause, bariton
1- 'Selig sind, die da Leid tragen' : Chorus [ 00:00-12'17"]
(ziemlich langsam und mit ausdruck / muito lento e com expressão)
2- 'Denn alles Fleisch, es ist wie Gras' : Chorus [ 12:25 ]
(langsam, marschmässig / allegro ma non troppo)
3- 'Herr, lehre doch mich' : Solo-Bariton, Chorus [ 28:34 ]
(andante moderato)
4- 'Wie lieblich sind Deine Wohnungen' : Chorus [ 39:06 ]
(mässig begwet / moderato presto)
5- 'Ihr habt nun Traurigkeit' : Solo-Soprano, Chorus [ 44:24 ]
(langsam / lento)
6- 'Denn wir haben hie keine bleibend Statt' : Solo-Bariton, Chorus [ 52:55 ]
(andante-vivace-allegro)
7- 'Selig sind die Toten, die in den Herren sterben' : Chorus [01:04:00 ]
(feierlich-solemne)
12. James Levine: Brahms Ein deutsches Requiem - Denn wir haben hie keine bleibende Statt
Karajan memorial concert 1989
José van Dam
13. Philippe Herreweghe: Brahms Ein Deutsches Requiem, 3,4,5,6/7
Herr, lehre doch mich, ("O Panie, pozwól mi poznać")
Wie lieblich sind deine Wohnungen ("Jak miłe są przybytki Twoje, Panie")
Ihr habt nun Traurigkeit ("Teraz się wprawdzie smucicie")
Denn wir haben hier keine bleibende Statt ("Albowiem nie mamy tu miasta trwającego")
Christiane Oelze (Soprano), Gerald Finley (Baritone)
Orchestra/Ensemble: Collegium Vocale, Champs-Élysées Orchestra, La Chapelle Royale Paris
14. Carl Schuricht: Brahms Ein Deutsches Requiem Op.45
Elfriede Trotschel (Soprano)
Heinz Rehfuss (Baritone)
French National Radio Choir
Orchestre National de France
Rec.1955
15. Herbert von Karajan: Brahms Ein Deutsches Requiem Op.45
Van Dam, Battle
Wiener Philharmoniker
16. Eugene Ormandy: Brahms Ein Deutsches Requiem Op.45
the Philadelphia Philharmonic, The Morman Tabernacle Choir,
with Jerome Hines and Phyllis Curtin as soloists.
17. Lorin Maazel: Brahms Ein Deutsches Requiem Op. 45
New Philarmonia Orchestra
18. Otto Klemperer: Brahms Ein Deutsches Requiem Op. 45
for soprano and baritone solo, chorus and orchestra.
Baritone Vocals -- Dietrich Fischer-Dieskau
Chorus -- Philharmonia Chorus London
Chorus Master [Chorleiter] -- R. Schmid
Composed By -- Johannes Brahms
Conductor -- Otto Klemperer
Orchestra -- Philharmonia Orchestra London
Organ -- Ralph Downes
Soprano Vocals -- Elisabeth Schwarzkopf.
I. "Selig sind, die da Leid tragen"
II. "Denn alles Fleisch, es ist wie Gras"
III. "Herr, lehre doch mich"
IV. "Wie lieblich sind diene Wohnungen"
V. "Ihr habt nun Traurigkeit"
VI. "Denn wir haben hier kleine bleibende Statt"
VII. "Selig sind die Toten"
Composition Year 1865--68.
19. Herbert Kegel: Brahms Ein Deutsches Requiem, Op. 45
20. Claudio Abbado: Brahms Ein Deutsches Requiem, Op. 45
In addition to soprano and baritone soloists and mixed chorus, A German Requiem is scored for:
woodwind: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and contrabassoon (contrabassoon ad libitum)
brass: 4 horns, 2 trumpets, 3 trombones, tuba
percussion: timpani
strings and harp (one part, preferably doubled)
organ (ad libitum)
Brahms's mother died in February 1865, a loss that caused him much grief and may well have inspired Ein deutsches Requiem. Brahms's lingering feelings over Robert Schumann's death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain.
His original conception was for a work of six movements; according to their eventual places in the final version, these were movements 1--4 and 6--7. By the end of April 1865, Brahms had completed the first, second, and fourth movements. The second movement used some previously abandoned musical material written in 1854, the year of Schumann's mental collapse and attempted suicide, and of Brahms's move to Düsseldorf to assist Clara Schumann and her young children.
Brahms completed all but what is now the fifth movement by August 1866. Johann Herbeck conducted the first three movements in Vienna on 1 December 1867. This partial premiere went poorly due to a misunderstanding in the timpanist's score. Sections marked as pf were played as f or ff, essentially drowning out the rest of the ensemble in the fugal section of the third movement. The first performance of the six movements premiered in the Bremen Cathedral six months later on Good Friday, 10 April 1868, with Brahms conducting and Julius Stockhausen as the baritone soloist. The performance was a great success and marked a turning point in his career.
In May 1868 Brahms composed an additional movement, which became the fifth movement within the final work. The new movement, which was scored for soprano soloist and choir, was first sung in Zürich on 12 September 1868 by Ida Suter-Weber, with Friedrich Hegar conducting the Tonhalle Orchester Zürich. The final, seven-movement version of A German Requiem was premiered in Leipzig on 18 February 1869 with Carl Reinecke conducting the Gewandhaus Orchestra and Chorus, and soloists Emilie Bellingrath-Wagner and Franz Krükl.
Brahms assembled the libretto himself. In contrast to the traditional Roman Catholic Requiem Mass, which employs a standardized text in Latin, the text is derived from the German Luther Bible.
Brahms's first known use of the title Ein deutsches Requiem was in an 1865 letter to Clara Schumann in which he wrote that he intended the piece to be "eine Art deutsches Requiem" (a sort of German Requiem). Brahms was quite moved when he found out years later that Robert Schumann had planned a work of the same name. German refers primarily to the language rather than the intended audience. Brahms told Carl Martin Reinthaler, director of music at the Bremen Cathedral, that he would have gladly called the work "Ein menschliches Requiem" (A human Requiem).
Although the Requiem Mass in the Roman Catholic liturgy begins with prayers for the dead ("Grant them eternal rest, O Lord"), A German Requiem focuses on the living, beginning with the text "Blessed are they that mourn, for they shall be comforted." from the Beatitudes. This theme—transition from anxiety to comfort—recurs in all the following movements except movements 4 and 7, the central one and the final one. Although the idea of the Lord is the source of the comfort, the sympathetic humanism persists through the work.
Brahms purposely omitted Christian dogma. In his correspondence with Carl Reinthaler, when Reinthaler expressed concern over this, Brahms refused to add references to "the redeeming death of the Lord", as Reinthaler described it, such as John 3:16. In the Bremen performance of the piece, Reinthaler took the liberty of inserting the aria "I know that my Redeemer liveth" from Handel's Messiah to satisfy the clergy.
