Brahms: An English Requiem

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Their ‘How lovely is thy dwelling-place’ has a nimble, self-effacing sweetness…Bevan consoles with richly penetrating ardour…Pianists Richard Uttley and James Baillieu glide ably through, generating... — BBC Music Magazine, Christmas 2017, 4 out of 5 stars More…

Release Date: 17th Nov 2017
Catalogue No: DCD34195
Label: Delphian
Length: 65 minutes

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Delphian

Special offer ends: 08/05/2024

This release includes a digital booklet

Delphian

Special offer ends: 08/05/2024

Brahms: Ein Deutsches Requiem, Op. 45

Work length1:05:11

$10.50

$14.70

$18.30

James Baillieu (piano), Richard Uttley (piano), Joseph Fort, Marcus Farnsworth (baritone), Mary Bevan (soprano)
The Choir of King's College, London
Recorded: 7-9 April 2017
Recording Venue: Trinity School, Croydon

I. Blessed Are They That Mourn

Track length9:17

$1.50

$2.10

$2.60

II. Behold, All Flesh Is as the Grass

Track length13:50

$2.00

$2.80

$3.50

III. Lord, Make Me to Know the Measure of My Days

Track length9:59

$1.50

$2.10

$2.60

IV. How Lovely Is Thy Dwelling Place

Track length5:00

$1.00

$1.40

$1.75

V. Ye Now Are Sorrowful

Track length6:03

$1.00

$1.40

$1.75

VI. Here on Earth Have We No Continuing Place

Track length11:47

$2.00

$2.80

$3.50

VII. Blessed Are the Dead Which Die in the Lord

Track length9:15

$1.50

$2.10

$2.60

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Since its London premiere in 1871, Brahms’s German Requiem has enjoyed immense popularity in the UK, in both its orchestral and chamber versions. But the setting we know today is not the one that nineteenth-century British audiences knew and loved. The work was rarely performed here in German; rather, it was almost always sung in an English translation, and was even known by some as An English Requiem.

In its sixth Delphian recording, The Choir of King’s College London revives the nineteenth-century English setting in which Brahms’s masterpiece established itself as a favourite among its earliest British audiences. Under its new director Joseph Fort, the choir is joined by pianists James Baillieu and Richard Uttley, and soloists Mary Bevan and Marcus Farnsworth.

Reviews

Christmas 2017

Their ‘How lovely is thy dwelling-place’ has a nimble, self-effacing sweetness…Bevan consoles with richly penetrating ardour…Pianists Richard Uttley and James Baillieu glide ably through, generating impressive momentum in ‘Behold, all flesh is as the grass’…It’s modest, unshowy. Brahms without grandeur, Brahms translated.

May 2018

The Choir of King’s College London sing with such relaxed assuredness that one almost feels they have been reunited with an old friend. The intonation on ‘Behold, all flesh is as the grass’ and the climactic ‘Blessed are the dead which die in the Lord’ is English choral singing at its best, and Joseph Fort keeps the pace steady and neither hurried nor mournfully drawn-out. A model recovery of a much-loved piece in its original costume.

December 2017

A well-paced account that achieves a calm and noble strength of expression in the symmetrical outer pillars.

April 2018

[The performance] really is pretty good ... it has plenty of excitement with the plunging pianos bringing out the string figurations to massive effect.

26th November 2017

This recording uses similar forces to those who gathered in a fashionable Wimpole Street drawing room in 1871, but revises the piano part to more closely reflect the textures of Brahms’s orchestration. This produces an intimate, highly charged chamber performance, brightly, but sometimes too lightly, sung by this young choir, with exemplary enunciation.

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