Brahms: Ein Deutsches Requiem, Op. 45 (A German Requiem)

During the sixties Sergiu Celibidache recorded a series of live events conducting RAI orchestra.

One of his first major productions was Brahms’ Ein Deustches Requiem op. 45 recorded in 1960 in Milan, performed by two extraordinary soloists such as Hermann Prey and Agnes Giebel.

This performance has a particular intensity, as it was given in September 2010 as a memorial concert for Dominik Brunner who died defending four children from attackers on a Munich commuter train. The first-class soloists are Ruth Ziesak soprano and Konrad Jarnot baritone.

Brahms broke the bounds of tradition with his German-language Requiem. On this recording, Germany’s oldest radio chorus, made up of 64 full time professional singers, under its conductor Simon Halsey, demonstrates clearly why it received a Grammy for its recording of the Brahms Requiem with the Berlin Philharmonic Orchestra. The unfamiliar sound of two pianos in place of an orchestra makes this recording very special.

The same choir, Rundfunkchor Berlin, recently recorded this work for Deutsche Grammophon but was not satisfied with the result. This is probably the best choir for this repertoire in the world and it was keen on re-recording this work for PentaTone. Janowski proves how well he understands the repertoire.

Newly appointed as the London Philharmonic Orchestra’s Principal Guest Conductor after just one appearance with the ensemble, Yannick Nézet-Séguin came to London in April 2009 to conduct Brahms’s profound A German Requiem. He presided over a performance of rare reflection and inevitability at the Royal Festival Hall that prompted an extraordinary silence from a capacity audience. In the young Canadian’s hands, Brahms’s uplifting choral masterpiece is marked by astutely judged tempi, emphasising the drama and the moment and drawing in and immersing the listener into this live concert recording.

Press acclaim:

‘Under the conspicuously talented Yannick Nezet-Seguin it shone, it thundered, it inspired awe and consolation in equal measure. I can’t honestly remember when it last sounded so all-enveloping...With wonderfully sensitive and articulate singing from the London Philharmonic Choir the fine balance between the work’s deep and abiding compassion and its death-defying exultation was memorably achieved. Awe was duly forthcoming as the mighty cortege of “Denn alles Fleisch, es ist wie Gras” rolled out, low horns and pounding timpani accentuating its black splendour, and those fugal codas were properly rollocking, hopeful affairs – blasts from the past powering towards the future.’ The Independent, April 2009

‘The choral singing was wonderfully intense, and soloists Elizabeth Watts and Stéphane Degout were both outstanding. The long silence at its close, which no one dared fracture with applause, was testament to its impact.’ The Guardian, April 2009

A highlight of John Eliot Gardiner’s pioneering account of Ein deutsches Requiem is the thrilling choral singing which distinguishes so many of his performances. Charlotte Margiono is the ethereal soprano soloist in this recording which is now at mid-price for the first time. Booklet contains sung text in German and English.