# Ein Deutsches Requiem



## tahnak (Jan 19, 2009)

This is a masterwork by Johannes Brahms. His greatest work if you look at the dimension and magnitude.The death of Robert Schumann inspired him to write this. It was a way of giving condolence to those who remain behind on earth after their dead have passed on. Brahms intended this work as a celebration of all humanity even in the face of inevitable death. Brahms claimed that he could have named this his 'Human Requiem'with its focus on comforting the living. The music really comforts whilst still acknowledging the tragedy of death. 
The word 'Requiem' usually refers to the Roman Catholic Mass for the Dead which begins with the Latin phrase, 'Requiem Aeternam Dona Eis Domine' (Grant them eternal rest, O Lord!). Brahms conceived the extra-ordinary idea of creating his own text selecting Biblical passages that do not correspond to the funereal liturgy of any church.
Brahms gives a sombre colour to the first movement by omitting the violins, piccolo, clarinets and timpani entirely and by subdividing the violas and cellos culminating with the utterance of 'selig' (Blessed) to close the movement with harp accompaniment. The second movement begins with a slow march passage in triple meter. The violins enter for the first time and in a high register. The timpani quietly sounds out ominous triplets. The chorus sings in unison first softly then in full voice as the march theme is repeated. This is the music that Brahms had originally composed for and then removed from his early D Minor Symphony. One movement came here and the other three went to the Piano Concerto No. 1. The baritone solo begins the third movement in a dialogue with the chorus. This is a haunting movement. The fourth movement is harmonically in a new world. It is a gentle middle section to the whole work representing sublime tranquillity. The fifth movement brings out the soprano and the contrast to the third movement is striking. The baritone earlier represents grief, doubt and despair. Here, the soprano sings of consolation. The opening of the sixth movement reverts to the uncertainty of the third in harmonic progressions that accompany the baritone's description of the mystery to come, the harmonies ranging from C Minor to F Sharp Minor. Three trombones and tuba announce the great moment.The excitement is extended into a powerful fugue in C Major. A Stretto leads to a final and forceful statement. The final movement is like the first. The basic thematic cell is in double bass and cellos. The sombre orchestral colours of the opening are replaced by reinstatement by the clarinets, the second pair of horns and the violins. The final section of the movement is a magical reworking of material from the opening movement. There is a return to the home key of F Major as the sopranos soar to a brilliant high A Major just like at the end of the first movement. The harps enter and rise to an ethereal conclusion over the final choral murmurs of 'selig' (blessed).
Recommended readings of this work are:
1. Herbert Von Karajan/ Wiener Philharmoniker
2. Fritz Lehmann/Berliner Philharmoniker
3. Robert Shaw/Atlanta Symphony
4. Otto Klemperer/Philharmonia Orchestra
5. Daniel Barenboim/ London Philharmonic
6. Sir Georg Solti/ Chicago Symphony
7. Sir Simon Rattle/ Berliner Philharmoniker


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## Guest (Apr 14, 2010)

Otto Klemperer's recording is stunning - I highly recommend it.

I would add one more recording to the list - Gardiner's recording. Very nice.


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## Art Rock (Nov 28, 2009)

Brahms is one of my top 3 favourite composers, and when I have to choose his best work it is either this or the clarinet quintet.


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## handlebar (Mar 19, 2009)

I agree with all of the above listed recordings. The Gardiner and Klemperer by far the best in my collection of this astounding work. I wish it had more concert hall appearances and recordings.

Jim


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## Guest (Apr 14, 2010)

Art Rock said:


> Brahms is one of my top 3 favourite composers, and when I have to choose his best work it is either this or the clarinet quintet.


I really do enjoy the clarinet quintet. With the exception of "Ein deutsches Requiem," I connect more with his chamber works than his large scale orchestral works. For me, his best work is the 1st Piano Trio. It clicked with me the first time I ever heard it.

How could I forget, though, the Violin and Double Concerti? Fabulous works.

But the Requiem is in a class all by itself. The second movement, "Denn alles Fleisch es ist wie Gras," has the ability to send chills up my spine.

My top 3 choral works for orchestra are Brahms' Requiem, Beethoven's Missa Solemnis (incidentally, I also enjoy Klemperer's and Gardiner's recordings of this work), and Bach's Mass in B Minor. Monumental works.


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## HarpsichordConcerto (Jan 1, 2010)

I have (only) John Eliot Gardiner's version. Reviews seem to consistently suggest it smashes most other versions on recording.


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## TWhite (Feb 23, 2010)

I still treasure my Klemperer recording of this magnificent work--especially the soloists. Brahms is pretty much the mid to late Romantic German composer that I love the most, and this work, while still relatively 'early' in his compositional career, is simply one of the finest he has given us, IMO. The choral/orchestral writing is absolutely impeccable and constantly inspired, the texts he chose could not be improved upon, and the work as a whole is both musically and psychologically among the most satisfying I have ever heard. 

This probably sounds extremely 'corny', but after listening to the German Requiem, I always feel 'at peace' both with the world and myself. 

It's a great work. Absolutely great.

Tom


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## Guest (Apr 15, 2010)

HarpsichordConcerto said:


> I have (only) John Eliot Gardiner's version. Reviews seem to consistently suggest it smashes most other versions on recording.


Hmmm, I like it, but I wouldn't say it smashes most others. For me, the Klemperer does that. It is outstanding. Klemperer just does the emotion so much better than Gardiner, and this is emotions gone wild. End of life, contemplating the hereafter, the death of friends/loved ones, our own mortality. Gardiner is great - but not the greatest with this work.


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## StlukesguildOhio (Dec 25, 2006)

I must pick up the Klemperer recording. I already have the Gardiner and Solti. The _Deutsches Requiem_ has some personal associations for me that will always make it even more than already is... in spite of the fact that I prefer Faure's_ Requiem_.


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## Guest (Apr 15, 2010)

StlukesguildOhio said:


> I must pick up the Klemperer recording. I already have the Gardiner and Solti. The _Deutsches Requiem_ has some personal associations for me that will always make it even more than already is... in spite of the fact that I prefer Faure's_ Requiem_.


You won't regret the Klemperer recording. In addition, Kubelik's live recording on Audite is well worth looking into.

I just recently discovered the Faure Requiem - very nice. A very different feel from other Requiems.


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## muxamed (Feb 20, 2010)

I second the Klemperer recommendation. That performance is transcendental. Schwarzkopf and Fischer-Dieskau are simply amazing.


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## Siegfried (Dec 15, 2009)

The choir absolutely shines in Tennstedt/LSO (coupled with Jochum's Brahms 4th). Imposing and soulful.


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## SixFootScowl (Oct 17, 2011)

In case anyone is interested, there is this English adaptation:


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## Pugg (Aug 8, 2014)

Give me the German version( Giuseppe Sinopoli )any day of the week.


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## SixFootScowl (Oct 17, 2011)

Pugg said:


> Give me the German version( Giuseppe Sinopoli )any day of the week.


This is for variety. I have Karajan with Janowitz as my main one.


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## Ekim the Insubordinate (May 24, 2015)

I've heard that Shaw English adaptation - I didn't care for it at all. I don't think that understanding the words is essential for appreciating this work, and if I want to understand them, I can look for a translation. But give me the music in the original German.

I like the Klemperer as well.


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## Vaneyes (May 11, 2010)




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## syan (Jun 10, 2017)

The Klemperer is an excellent recommendation but after the Kempe with BPO if you don't mind the MONO sound. Originally on EMI now on Naxos !


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## Pugg (Aug 8, 2014)

syan said:


> The Klemperer is an excellent recommendation but after the Kempe with BPO if you don't mind the MONO sound. Originally on EMI now on Naxos !


Thanks for the comments and welcome to TaklClassical.


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## crispi (Jun 14, 2018)

Another vote for the Gardiner. It’s my favourite. Klemperer second. I used to like Karajan’s from the ‘60s as well for its atmosphere, but my opinion of it has diminished in time—I find the choir sounds rather bad.


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## Josquin13 (Nov 7, 2017)

With Gardiner as an exception, I don't generally go for conductors that take the opening movement on the fast side. As I prefer middle of the road to slow tempi in this sublime movement (& especially live in concert). Therefore, my 5 favorite recordings of Brahms' German Requiem are: Klemperer, Sawallisch (on Orfeo, with Margaret Price), Haitink in Vienna (with Gundula Janowitz & Tom Krause), Celibidache in Munich (with Arleen Auger--who along with Price & Janowitz, I'd consider among the best of the best: both with Celi & Robert Shaw), and Sir Colin Davis in Bavaria. I also like Gardiner, and Previn LSO live (although Previn's 1st RPO recording has a preferable soprano in Margaret Price)--both for different reasons. I've yet to hear Kempe's mono or Sawallisch's 1st recording with the Vienna Symphony Orchestra.





https://www.amazon.com/Brahms-Ein-D...6135&sr=1-1&keywords=Klemperer+brahms+requiem





https://www.amazon.com/Brahms-deuts...702&sr=1-1&keywords=sawallisch+brahms+requiem


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## SixFootScowl (Oct 17, 2011)

Here is a chamber orchestra version:


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