Stunning it its clarity, tautness, drama, polished playing and singing, and overwhelming musicality is John Eliot Gardner's 1990 recording with the Monteverdi Choir and the Orchestre Révolutionnaire et Romantique (Philips 432 140-2). One of two currently available versions using period instruments, textures are cleanly etched and highlighted. The lighter tone of gut-strung violins, short Viennese oboes, and small, bright timpani played with hard sticks rather than soft, fuzzy mallets, contribute to the clarity. Still, there is no lack of weight and strength here. The Choir, augmented for this recording to a total of 48 members, sings impeccably. Perfect diction, intonation, phrasing, and a wonderfully varied tonal palette are always hallmarks of the ensemble--and are in evidence here as much as ever. Gardiner's unwavering attention to Brahms' scrupulous dynamic and phrasing markings is admirable, and the results point up the composer's architectural genius. Glowing singing by soloists Rod Gilfry and Charlotte Margiono round out this first-rate recommendation. By comparison, the other "period instrument" version, conducted by Roger Norrington (EMI CDC 7 54658 2), is a disappointment. Though clean and tight, with some beautiful singing and playing, it is noticeably lacking in drama and impact--the results are more "Brahms-Lite-ish"--like a Bach cantata on steriods.
Of the "big-band" versions available, Claudio Abbado's newest with the Berlin Philharmonic and the Swedish Radio Chorus and Eric Ericson Chamber Choir (Deutsche Grammophon 437 517-2) is a winner. Taken from live concerts, there are the expected minor glitches: audience coughs, occasional end-of-word consonants that are not perfectly lined up, etc. But the overall impact and beauty of the playing and singing is top-drawer. Cheryl Studer is a radiant soprano soloist, and Andreas Schmidt's baritone contribution is admirable for its warmth and depth--though the real star of the recording is still the choir. Through the years, the DG engineers seem increasingly better able to cope with the odd flatness of Berlin's Philharmonie as a recording venue, and the recorded sound for this release is full and rich with no lack of detail.
Otto Klemperer's 1962 reading with the Philharmonia Chorus and Orchestra has long been a favorite (EMI CDC 7 47238 2). The chorus does not have the polish and unanimity of tone production of several more recent versions, but the singing is still musical and convincing. The solo singing is unmatched, as would be expected with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau. Though Penguin characterizes the tempi as "consistently slow," they are actually rather in the middle ground of what is available, with Norrington at the fast end and Rilling at the opposite. The digital transfer is a success, and though the sonics do not sound brand-new, they compare favorably with more recent versions.
Robert Shaw recorded the Requiem in 1984 for Telarc (Telarc CD-80092) as part of his traversal of the great choral/orchestral masterworks for that label. Both singing and playing are excellent, and tempi are generally even more expansive than Klemperer's--though there is still the tautness and precision necessary to bring off the work's more complex contrapuntal sections. Arleen Augér is pure and poised as soprano soloist. The only minor quibble with this offereing is that the chorus is placed quite far back in the recorded perspective, detracting from the listener's perception of the ensemble's lyric diction.
There are many other highly recommended recordings, and the listener really can't go wrong with any of several versions. Sinopoli's red-blooded reading with the Prague Philharmonic Chorus and the Czech Philharmonic is dramatic and well recorded (Deutsche Grammophon 429 486-2). Either of Karajan's later two versions (EMI CDM 7 69229-2 from 1977 or Deutsche Grammophon 431 651-2 from the early 1908's) is good. And although both feature the Vienna Singverein, the choir seems in better voice on the earlier EMI version. Haitink conducts a very persuasive performance (Philips 432 038-2) with the Vienna State Opera Chorus and the Vienna Philharmonic. Tempi are very slow and Penguin praises the "rapt quality in this glowing performance."
Stephen M. Sano
Text
In the following the German is the text selected by Brahms from the
Lutheran bible. The English is the King James version of the same verses.
Die mit Tränen säen, werden mit Freuden ernten.
Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden
und bringen ihre Garben.
(Ps. 126, 5.6.)
They that sow in tears shall reap in joy.
He that goeth forth and weepeth, bearing precious seed, shall doubtless
come again with rejoicing, bringing his sheaves with him.
(Psalm 126:5,6)
So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn.
Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is
geduldig darüber, bis er empfahe den Morgenregen und Abendregen.
(Jacobi 5, 7.)
Aber des Herrn Wort bleibet in Ewigkeit.
(Petri 1, 25.)
Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit
Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne
werden sie ergreifen und Schmerz und Seufzen wird weg müssen.
(Jessias 35, 10.)
Be patient therefore, brethren, unto the coming of the Lord. Behold, the
husbandmen waiteh for the precious fruit of the earth, and hath long
patience for it, until he receive the early and latter rain.
(James 5:7)
But the word of the Lord endureth for ever.
(1 Peter 1:25)
And the ransomed of the Lord shall return, and come to Zion with
songs and everlasting joy upon their heads: they shall obtain joy and
gladness, and sorrow and sighing shall flee away.
(Isaiah 35:10)
Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.
(Weish.Sal.3, 1.)
But the souls of the righteous are in the hand of God, and there shall
no torment touch them.
(Wisdom of Solomon 3:1)
Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt
und habe großen Trost funden.
(Sirach 51, 35.)
Ich will euch trösten, wie Einen seine Mutter tröstet.
(Jes. 66, 13.)
Ye see how for a little while I labor and toil, yet have I found much
rest.
(Ecclesiasticus 51:27)
As one whom his mother comforteth, so will I comfort you....
(Isaiah 66:13)
Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen,
wir werden aber alle verwandelt werden; und dasselbige plötzlich,
in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die
Posaune schallen, und die Toten wervandelt werden. Dann wird erfüllet
werden das Wort, das geschrieben steht: Der Tod is verschlungen in
den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?
(1. Korinther 15, 51-55.)
Herr, du bist Würdig zu nehmen Preis und Ehre und Kraft, denn
du hast alle Dinge geschaffen, und durch deinen Willen haben, sie das
Wesen und sind geschaffen.
(Off. Joh. 4, 11.)
Behold, I shew you a mystery; We shall not all sleep, but we shall
all be changed.
In a moment, in the twinkling of an eye, at the last trump: for the
trumpet shall sound, and the dead shall be raised incorruptible, and
we shall be changed.
...then shall be brought to pass the saying that is written,
Death is swallowed up in victory.
O death, where is they sting? O grave, where is they victory?
(1 Corinthians 15:51,52,54,55)
Thou art worthy, O Lord, to receive glory and honour and power: for thou
hast created all things, and for thy pleasure they are and were created.
(Revelation 4:11)