Track Listing

1. A German Requiem Op.45: Selig sind, die da Leid tragen
2. A German Requiem Op.45: Denn alles Fleisch es ist wie Gras
3. A German Requiem Op.45: Herr, lehre doch mich
4. A German Requiem Op.45: Wie lieblich sind deine Wohnungen
5. A German Requiem Op.45: Ihr habt nun Traurigkeit
6. A German Requiem Op.45: Denn wir haben hie keine bleibende Stadt
7. A German Requiem Op.45: Selig sind die Toten

Product Details

• Amazon Sales Rank: #17246 in Music
• Released on: 1999-01-12
• Number of discs: 1
• Format: Original recording remastered

Amazon.com essential recording
This account of the German Requiem really is one of the great recordings of the century. Even today, Otto Klemperer's monumental interpretation with the Philharmonia Orchestra and Chorus, recorded in 1961, remains unmatched among readings that emphasize the spirituality of the score. Sober and sustained, but not unduly slow, it places Brahms on the continuum of German sacred music going back through Beethoven to Handel, Bach, and Schütz. Drawing committed playing and singing from his forces, Klemperer opens the door to the beauties of the music without fuss or fanfare. Both soloists are exemplary: Schwarzkopf's expressive portamento now sounds a bit dated in style, but her singing is characterful, while Fischer-Dieskau is a paragon of restrained expressiveness. The singing of the Philharmonia Chorus is especially beautiful. EMI has done a superior job of remastering the original recording. Balances and tone quality are quite fine, and the spacious Kingsway Hall ambience conveys with lifelike immediacy. Compared with previous CD incarnations, there is new depth to the image and better resolution of detail--the weight of the organ can really be felt, as can the timpani strokes in "Denn alles fleisch es ist wie gras," and one finds greater presence and definition in the chorus and considerably more richness of tone in the orchestra. There is still some distortion in the climactic moments; for example, what sounds like tape saturation frizzes a couple of the big Beethovenian choral proclamations at the end of "Denn alles fleisch es ist wie gras." Such things are but a small blemish on what is an absolutely ravishing restoration of one of the most valuable recordings of the stereo era. --Ted Libbey

Customer Reviews

Worth it for tracks 1,2 and 6
Sound quality might be lacking, however the soul of the performance is what counts. There is a great feel to the opening track. Each time I hear it, it completely changes any mood I'm in. The orchestra and chorus breathes together, and Klemperer did a fine job on these tracks. If your not nuts about this, try Karajan's earlier recordings.
*It seems ridiculous that people will write reviews to argue like children with each other on this website.

don't believe the haters
If you own ten different recordings of this, you might find something to criticize. I own two - I'm still a fairly normal person - and this is the one I prefer. (The other is by Robert Shaw - and I think the orchestra is a little less powerful on that one. I plan to get more and compare them.)

Regardless of which recording you get, this will kick your butt. This is some of the very best classical music I know, especially the second track, which makes me want to believe in God just so I can beg for forgiveness.

A must-buy for Brahms lovers
Klemperer recorded Brahms Requiem in 1961, the same year he recorded the Bach St Matthew Passion (with an identical cast).

Like many have said before me, this is an exemplary album. A robust, full-bodied chorus, two magnificent soloists, and a superb orchestra, all presented in their best light by outstanding engineering: this is truly an album to savor.

At the time of this writing, I found two 1-star reviews and one 2-star review. They basically were dissatisfied with the album's sound quality and Dieskau's performance.

I considered the sound in the Brahms to be very much on par with Klemperer's recording of St Matthew Passion, which I thought sounded quite good. In fact, many listeners may be tempted as I was to turn up the volume while listening to this Brahms disc.

The tempos taken by Dieskau sounded comparable to other Brahms recordings I've heard of similar length (Robert Shaw, James Levine). His manner of singing is the way Dieskau sings in all of his records. Fans who like Dieskau want more of the same. Here, they get it.

It took me a few hearings to appreciate Elisabeth Schwarzkopf. In her 1947 recording with Karajan, she seemed too reserved for my taste. Her approach didn't change much by 1961, but what became more audible was the sheer beauty of her unique sound. That was what finally got me hooked.

Texts and translations included.