Notes and Editorial Reviews
Ein Deutsches Requiem,
Rolf Beck, cond; Christiane Karg (sop); Thomas E. Bauer (bar); Schleswig-Holstein Festival Ch Lübeck; Basel CO
PROFIL 13023 (69:48)
Otto Klemperer’s 1962 EMI
is regularly cited as being the finest of all recordings of the work, and I agree with the critical consensus. Rolf Beck’s reading is also first-rate, superior to many other versions by better-known ensembles and
soloists, but, while its musical values are not so different from Klemperer’s, the recording differs from his in a few important respects.
If the applause at the end can be trusted, it documents a live performance. The recording dates of July 28 and 29, 2012, and the location, the Musik und Kongresshalle in Lübeck, are given in the booklet, though there’s no mention of it being live. There’s no audience noise until the end. The recorded sound creates a feeling of listening from some distance away from the performing forces. There’s a sense of depth, but compared to EMI’s 50 year old engineering, it feels diffuse, with less focus and richness.
With over 50 players, the Basel Chamber Orchestra isn’t inappropriately small for Brahms’s score, but it has a leaner string sound than the full orchestra heard in most traditional recordings of the work. The chorus sings with a polished, well-blended sound that’s most impressive in slower, sustained passages like the opening of the first movement. In the fugal finale of the third movement, I wished for more pointed delivery and overall volume for the voices to be better heard over the orchestra and the prominent organ. The lively finale of the sixth movement is better delivered and balanced.
The soloists, like almost all who are heard in other recordings of the
, sing beautifully. Thomas E. Bauer is a typically mellifluous German baritone whose beauty of sound is comparable to Fischer-Dieskau’s—he brings a gently imploring quality to “Herr, lehre doch mich”—without the older singer’s more authoritative, declamatory manner. Soprano Christiane Karg meets the demands of “Ich habt nun Traurigkeit,” without turning her voice into a disembodied, not quite human sounding instrument, as Schwartzkopf chooses to do.
Beck’s natural sounding tempo choices and pacing of each movement bring about the right emotional effects; profound consolation in the opening and closing movements, lamentation in the second, and grandeur at the work’s larger climaxes. Best of all is the way that the sweetly devotional fourth movement, the
’s centerpiece, flows along with a lilt and lightness that I prefer to Klemperer’s heavier tread. Though it lacks some intensity and gravitas, this is a highly recommendable
FANFARE: Paul Orgel
Works on This Recording
German Requiem, Op. 45 by Johannes Brahms
Thomas E. Bauer (Baritone),
Christiane Karg (Soprano)
Basel Chamber Orchestra,
Schleswig-Holstein Festival Choir
Written: 1854-1868; Austria
Ein deutsches Requiem (A German Requiem), Op. 45: I. Selig sind, die da Leid tragen
Ein deutsches Requiem (A German Requiem), Op. 45: II. Denn alles Fleisch es ist wie Gras
Ein deutsches Requiem (A German Requiem), Op. 45: III. Herr, lehre doch mich
Ein deutsches Requiem (A German Requiem), Op. 45: IV. Wie lieblich sind deine Wohnungen
Ein deutsches Requiem (A German Requiem), Op. 45: V. Ihr habt nun Traurigkeit
Ein deutsches Requiem (A German Requiem), Op. 45: VI. Denn wir haben hie keine bleibende Statt
Ein deutsches Requiem (A German Requiem), Op. 45: VII. Selig sind die Toten
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