Brahms: Ein Deutsches Requiem, Op. 45
Christina Landshamer (soprano), Florian Boesch (basso)
Radio-Sinfonieorchester Stuttgart des SWR, SWR Vokalensemble Stuttgart, NDR Chor, Sir Roger Norrington
Norrington's tempos have eased a little since his first, period instrument recording...but there is still something hair-shirtish about the interpretation...There is, however, much to admire...
Brahms: Ein Deutsches Requiem, Op. 45
Christina Landshamer (soprano), Florian Boesch (basso)
Radio-Sinfonieorchester Stuttgart des SWR, SWR Vokalensemble Stuttgart, NDR Chor, Sir Roger Norrington
Purchase product
Norrington's tempos have eased a little since his first, period instrument recording...but there is still something hair-shirtish about the interpretation...There is, however, much to admire...
About
Among the major choral-orchestral works of the 19th century, Sir Roger Norrington and his former Orchestra, the Radio-Sinfonieorchester Stuttgart des SWR, have tackled over the years, now finally comes Brahms' "German Requiem." one of the most beautiful and popular sacred music works in the repertoire.
Brahms’ contemporaries, including his close friend Clara Schumann were moved with the score and were enthusiastic about it - and it has been a favorite with the general public ever since. Although Biblical texts are used, the piece is not in the standard church-liturgical tradition. It was Brahms‘personal response to "those who mourn"! The central idea of this masterpiece is the reality of human existence.
It is precisely this „earthly character“ that Roger Norrington uses to shape his interpretation
emphasizing the grave beautify of the music and not religious awe; in this, Norrington draws us close to the composer’s intentions. He is ably supported by soprano soloist Christina Landshamer, basso Florian Boesch, SWR Vokalensemble Stuttgart and the NDR.
Contents and tracklist
Awards and reviews
August 2015
Norrington's tempos have eased a little since his first, period instrument recording...but there is still something hair-shirtish about the interpretation...There is, however, much to admire in the reading, not least the ripe-toned choral singing, and the way it's captured by the wide-pan recording, enabling Brahms's gorgeous part-writing to be properly appreciated.
June 2015
Norrington has a knack of drawing out detail that other conductors overlook...[the choir] meet all the work's demands admirably, delicate or full-throated as required...the orchestra respond to their Conductor Laureate with enthusiastic subtlety. Fine soloists, too, with Florian Boesch conveying barely suppressed terror in his first solo.
15th March 2015
Even now Brahms’s Requiem can be made to seem stodgy, but not in this superb account by Stuttgart forces under their former director. Whatever one thinks of Norrington’s insistence on vibrato-less strings, the effect here is to clear the air gloriously...The choral singing — cleansed and vivid — is wonderfully expressive.
