Brahms: Ein Deutsches Requiem

Product description ------------------- SDG 706; SOLI DEO GLORIA; Classica vocale Sacra Messe Review ------ Though ostensibly an ardent Romantic, Brahms had a great interest in the music of the past, especially that of 17th century composer Heinrich Schütz. Though not always immediately obvious, a surprising a of Brahms' own music is influenced by Schütz's style and techniques. His German Requiem of 1869 consciously sets texts which had previously been used by his forebear over 200 years earlier – so the chance to compare these works on the same album is very welcome. The warmth and clarity of John Eliot Gardiner's Monteverdi Choir makes it a compelling exponent of the two Schütz works presented here, in live 2007 performances from London and Paris. A year later in Edinburgh, the Brahms begins beautifully with an even richer choral sound, effectively contrasted with the relatively abrasive, vibrato-less gut strings of the Orchestre Révolutionnaire et Romantique – providing a piquancy absent from many urbanely smooth modern instrument versions. The second movement, Denn alles Fleisch, can often get bogged down with overbearing morbidity. Not so here, thanks to Gardiner's agile, slow-waltz tempo and choral dexterity. The initial, well-enunciated, chorus entry has an arresting intensity, although the curiously tame climax of Gardiner's crescendo does not match the earth-shattering force of many performances. The brisk, forthright march of the concluding fugue makes up for a lack of gravitas with sheer exhilaration, but the third-movement fugue is more successful – free-flowing and well-grounded, it builds powerfully. Gardiner adopts a relatively steady tempo for the sublime Wie lieblich sind deine Wohnungen, creating an ethereal ebb and flow with romantic rubato and portamento. The choir is a shade too English-sounding here, at odds with the relaxed radiance the movement requires, but it is an improvement on his 1991 Philips studio . The tempestuous episodes in the sixth movement are thrillingly dramatic, and the work's luminous close brings a genuine sense of repose. The Achilles heel of many Gardiner s is his choice of young ‘up-and-coming’ vocal soloists. In this case, sadly neither the soprano nor baritone are up to the job, letting down what is otherwise a highly rewarding account of the German Requiem realised in a carefully considered, mature and generally persuasive attempt at late 19th century performance practice. --Graham Rogers Find more music at the BBC ( http://www.bbc.co.uk/go/syn//albumreviews/-/music/ ) This link will take you off in a new window P.when('A').execute(function(A) { A.on('a:expander:toggle_description:toggle:collapse', function(data) { window.scroll(0, data.expander.$expander[0].offsetTop-100); }); }); Review ------ Another triumph for Sir John Eliot Gardiner... The symphony surges forward, newly illuminated, wonderfully alive, dappled with the unfiltered colours only possible with period instruments --The Times There has never previously been a which so vividly magics the work out of its own private hinterland for our delectation and awe. --Gramophone Does the world need another of Brahms's German Requiem? A glance at shows there are dozens available, from big, broad Karajan and the Berlin Phil to finely focused Harry Christophers and the Sixteen. Yet John Eliot Gardiner convinces us that there is room for one more, even of a performance he and his garlanded choir gave four years ago at the Usher Hall, Edinburgh. The choral ensemble is superb; intonation perfect. Gardiner's instrumentalists' meticulous attention to authentic performance style adds a further dimension to a glorious reading of this beautiful piece. Highly recommended. --Observer,26/02/12 Schultz's radiant Psalm 84, gloriously sung by the Monterverdi Choir, almost steals the show here on a disc that emphasises Brahms's interest in early music by pairing his German Requiem with settings of similar text.The Requiem is more popular with performers than the critics-more fun to conduct or sing than to hear.Gardiner's superb choir and period-instrument orchestra certainly liven it up.The big C major fugue is particularly rousing and the lovely Wie liebich exquisite. --Sunday Times,26/02/12 With their Howard Hodgkin cover images, John Eliot Gardiner's series of Brahms symphonies may be the most beautiful items in the CD racks. On the concluding volume of Ein Deutsches Requiem, the music is at least as sumptuous. The requiem is preceded by two pieces by one of his influences, the 17th-century composer Heinrich Schütz; both share Biblical textual extracts with Brahms' longer work, notably the "Selig sind die Toten," which in the seventh movement brings Ein Deutsches Requiem to a sublime, beatific repose. Gardiner's forces are marshalled with care, the Monteverdi Choir as uplifting as on his series of Bach Cantatas, while the Orchestre Révolutionnaire et Romantique lives up to its name in its emotional subtlety. **** --Independent,02/03/12 Schultz's radiant Psalm 84, gloriously sung by the Monterverdi Choir, almost steals the show here on a disc that emphasises Brahms's interest in early music by pairing his German Requiem with settings of similar text.The Requiem is more popular with performers than the critics-more fun to conduct or sing than to hear.Gardiner's superb choir and period-instrument orchestra certainly liven it up.The big C major fugue is particularly rousing and the lovely Wie liebich exquisite. --Sunday Times,26/02/12 Symphonies are paired with superb choral singing and handsomely blended performances. --Financial Times,31/03/12 Schultz's radiant Psalm 84, gloriously sung by the Monterverdi Choir, almost steals the show here on a disc that emphasises Brahms's interest in early music by pairing his German Requiem with settings of similar text.The Requiem is more popular with performers than the critics-more fun to conduct or sing than to hear.Gardiner's superb choir and period-instrument orchestra certainly liven it up.The big C major fugue is particularly rousing and the lovely Wie liebich exquisite. --Sunday Times,26/02/12 The star of the German Requiem is always the choir. You know you're in safe hands with the Monterverdis and the pitch-perfect top A at 2'04''(a graveyard for many a choral society)absolutely confirms it. GRAMOPHONE CHOICE --Gramophone,May'12 Schultz's radiant Psalm 84, gloriously sung by the Monterverdi Choir, almost steals the show here on a disc that emphasises Brahms's interest in early music by pairing his Germa --Sunday Times,26/02/12 The recorded sound has great immediacy, and the chorus produces a beautifully sustained and richly coloured vocal tone. Performance **** ***** --BBC Music Magazine,May'12 Schultz's radiant Psalm 84, gloriously sung by the Monterverdi Choir, almost steals the show here on a disc that emphasises Brahms's interest in early music by pairing his German Requiem with settings of similar text.The Requiem is more popular with performers than the critics-more fun to conduct or sing than to hear.Gardiner's superb choir and period-instrument orchestra certainly liven it up.The big C major fugue is particularly rousing and the lovely Wie liebich exquisite. --Sunday Times,26/02/12 See more ( javascript:void(0) )

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