Album available // Brahms: Ein Deutsches Requiem by Herbert von Karajan 🎧 Qobuz (Hi-Res) cutt.ly/veHOUfOs Tidal (Hi-Res) cutt.ly/heFpkfUu 🎧 Deezer (Hi-Fi) cutt.ly/0eFplRC5 Spotify (mp3) cutt.ly/oeFplC7C 🎧 Amazon Music (Hi-Res) cutt.ly/ieFpzyXy UA-cam Music (mp4) cutt.ly/9eFpzZxB 🎧 Apple Music (off) Idagio (off) Pandora, Anghami, QQ音乐, LineMusic, Awa 日本… 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Karajan-1947 Johannes Brahms (1833-1897) Ein Deutsches Requiem, nach Worten der heiligen Schrift, Op. 45 00:00 I. Selig sind, die da Leid tragen. Ziemlich langsam und mit Ausdruck (2023 Remastered, Vienna 1947) 11:50 II. Denn alles Fleisch es ist wie Gras. Langsam, marschmäßig (2023 Remastered, Vienna 1947) 26:45 III. Herr, lehre doch mich. Andante moderato (2023 Remastered, Vienna 1947) 38:02 IV. Wie lieblich sind deine Wohnungen. Mäßig bewegt (2023 Remastered, Vienna 1947) 44:08 V. Ihr habt nun Traurigkeit. Langsam (2023 Remastered, Vienna 1947) 51:25 VI. Denn wir haben hie keine bleibende Statt. Andante (2023 Remastered, Vienna 1947) 1:04:04 VI. Denn wir haben hie keine bleibende Statt. Andante (2023 Remastered, Vienna 1947) Sopran: Elisabeth Schwarzkopf Bariton: Hans Hotter Wiener Singverein Wiener Philharmoniker Conductor : Herbert von Karajan Recorded in 1947, at Vienna New mastering in 2023 by AB for classicalmusicreference.com 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon cutt.ly/ZezaldhI In 1856, Brahms' mentor, Robert Schumann, passed away, and one year later, Brahms began revisiting the rejected slow movement of his D minor concerto (originally intended as a symphony) and reworked it as a choral setting of words from the First Epistle of Saint Peter, "Denn alles Fleisch, es ist wie Gras." By 1861, he had constructed a four-movement cantata around this framework, a work in the tradition of the church cantatas of his beloved Johann Sebastian Bach. Brahms stated that the piece was based on a Bach chorale: some scholars have identified this as "Wer nur den lieben Gott lässt walten," which Brahms would have known from Bach's Cantata 27, where its text corresponds to "Lord, make me know my end." We should not assume that the Requiem was directly inspired by Schumann’s death (although Brahms’ grief and his subsequent meditation on the meaning of death for an agnostic likely turned his mind toward the dark and tragic sarabande that begins the second movement of the Requiem); and, at the same time, the death of his mother in February 1865 may not have intensified his feelings about an already ongoing project. He later denied that the Requiem had any individual application, stating he had "all humanity in mind." The death of his mother unsettled Brahms, making him reluctant to stay long in one place. Vienna, Baden-Baden, concert tours, Karlsruhe - during this time, Brahms learned the significance of the text "For here we have no continuing city," which opens the third movement of the Requiem. During this period, the Requiem progressed and was completed in the summer of 1866 while Brahms stayed in Switzerland in a villa on the Züricherberg; Karl Geiringer (musicologist) believes that the wonderful views of the glaciers and the blue, sunlit lake are reflected in the music of the sixth and fourth movements, respectively. The four movements had now expanded to six; the exquisite soprano solo with chorus, "Ihr habt nun Traurigkeit," was to be added later. In its current form, the German Requiem was dominated by dark colors and featured only one soloist, a baritone. It is not a liturgical Requiem, although Anglican listeners have often noted how Brahms’ chosen texts resonate with the Anglican funeral service. He was not conventionally religious, and there is no evidence that he was Christian at all; it is significant that the name of Christ is mentioned nowhere in the Requiem. Yet the music unmistakably conveys how much solace he drew from the words of Holy Scripture included here; much of the music is dark, but each movement ends in a mood of optimism. The Requiem calls for a medium-sized Romantic symphony orchestra, with the addition of a piccolo and a harp. One might expect that Brahms, the master contrapuntist, would employ a double choir or at least five vocal parts as Bach often did, but his choral writing is strictly in four parts. The culmination of the entire work is an offering of praise to God, and at the beginning of the third movement, the voices ask the Lord to "teach me that my life must have an end," but neither here nor elsewhere is there a hint of abject prayer or prayer for the souls of the dead. Instead, it is an act of consolation for the living, a hope that all will be well when we pass through it. The focal point of the Catholic Requiem Mass is the "Dies Irae," the vision of Divine Judgment. This is outside the scope of Ein Deutsches Requiem; the last trump (or "trombone" in German) is invoked, but there is no wailing or gnashing of teeth as part of Brahms’ message. The reality of bodily death was sufficiently real and sorrowful to deserve Brahms' full attention, and as we listen to this Requiem, it commands ours as well. Other album available // Beethoven by H.V.Karajan: Symphony No.9 in D minor, Op.125 🎧 Qobuz cutt.ly/jeHOxk0X Tidal cutt.ly/9eHOxnIu 🎧 Deezer bit.ly/3mPbk2k Amazon Music cutt.ly/eeHOxT57 🎧 Spotify cutt.ly/beHOxKjH UA-cam Music cutt.ly/1eHOxVlX 🎧 Soundcloud cutt.ly/EeHOx4EM Pandora, QQ音乐, LineMusic, Awa 日本… Johannes Brahms PLAYLIST (reference recordings): ua-cam.com/video/8Q2snBQJfug/v-deo.html
In 1856, Brahms' mentor, Robert Schumann, passed away, and one year later, Brahms began revisiting the rejected slow movement of his D minor concerto (originally intended as a symphony) and reworked it as a choral setting of words from the First Epistle of Saint Peter, "Denn alles Fleisch, es ist wie Gras." By 1861, he had constructed a four-movement cantata around this framework, a work in the tradition of the church cantatas of his beloved Johann Sebastian Bach. Brahms stated that the piece was based on a Bach chorale: some scholars have identified this as "Wer nur den lieben Gott lässt walten," which Brahms would have known from Bach's Cantata 27, where its text corresponds to "Lord, make me know my end." We should not assume that the Requiem was directly inspired by Schumann’s death (although Brahms’ grief and his subsequent meditation on the meaning of death for an agnostic likely turned his mind toward the dark and tragic sarabande that begins the second movement of the Requiem); and, at the same time, the death of his mother in February 1865 may not have intensified his feelings about an already ongoing project. He later denied that the Requiem had any individual application, stating he had "all humanity in mind." The death of his mother unsettled Brahms, making him reluctant to stay long in one place. Vienna, Baden-Baden, concert tours, Karlsruhe - during this time, Brahms learned the significance of the text "For here we have no continuing city," which opens the third movement of the Requiem. During this period, the Requiem progressed and was completed in the summer of 1866 while Brahms stayed in Switzerland in a villa on the Züricherberg; Karl Geiringer (musicologist) believes that the wonderful views of the glaciers and the blue, sunlit lake are reflected in the music of the sixth and fourth movements, respectively. The four movements had now expanded to six; the exquisite soprano solo with chorus, "Ihr habt nun Traurigkeit," was to be added later. In its current form, the German Requiem was dominated by dark colors and featured only one soloist, a baritone. It is not a liturgical Requiem, although Anglican listeners have often noted how Brahms’ chosen texts resonate with the Anglican funeral service. He was not conventionally religious, and there is no evidence that he was Christian at all; it is significant that the name of Christ is mentioned nowhere in the Requiem. Yet the music unmistakably conveys how much solace he drew from the words of Holy Scripture included here; much of the music is dark, but each movement ends in a mood of optimism. The Requiem calls for a medium-sized Romantic symphony orchestra, with the addition of a piccolo and a harp. One might expect that Brahms, the master contrapuntist, would employ a double choir or at least five vocal parts as Bach often did, but his choral writing is strictly in four parts. The culmination of the entire work is an offering of praise to God, and at the beginning of the third movement, the voices ask the Lord to "teach me that my life must have an end," but neither here nor elsewhere is there a hint of abject prayer or prayer for the souls of the dead. Instead, it is an act of consolation for the living, a hope that all will be well when we pass through it. The focal point of the Catholic Requiem Mass is the "Dies Irae," the vision of Divine Judgment. This is outside the scope of Ein Deutsches Requiem; the last trump (or "trombone" in German) is invoked, but there is no wailing or gnashing of teeth as part of Brahms’ message. The reality of bodily death was sufficiently real and sorrowful to deserve Brahms' full attention, and as we listen to this Requiem, it commands ours as well. Other album available // Beethoven by H.V.Karajan: Symphony No.9 in D minor, Op.125 🎧 Qobuz cutt.ly/jeHOxk0X Tidal cutt.ly/9eHOxnIu 🎧 Deezer bit.ly/3mPbk2k Amazon Music cutt.ly/eeHOxT57 🎧 Spotify cutt.ly/beHOxKjH UA-cam Music cutt.ly/1eHOxVlX 🎧 Soundcloud cutt.ly/EeHOx4EM Pandora, QQ音乐, LineMusic, Awa 日本…
Une merveille absolue, peut-être la meilleure version de ce chef d'œuvre absolu de Brahms par un Karajan en état de grâce ainsi que les Wiener Philarmoniker et les deux solistes, Schwarzkopf et Hotter, version à emporter sue une île déserte 😊😅
@arnaud3946 Je l'ecouterais, mais je pense qu'il y a des versions intemporelles et qui malgré les années ne prennent pas une ride comme encore plus ancienne que ce Brahms par Karajan de 47 , le premier acte de la Walkyrie par Walter en 1935 avec Melchior, considéré par beaucoup comme le sommet d'interprétation lyrique de toute l'histoire de l'enregistrement, bien souvent nos anciens artistes étaient autrement inspirés que de nos jours ou la musique classique à perdue de sa superbe et pourtant je ne suis pas passéiste, mais force est de constater la réalité ...
@arnaud3946 Permettez-moi de ne pas être entièrement d'accord avec vous, certes il y a de grands chefs, pianistes, violonistes mais pas de la trempe des Furtwangler, Karajan, Kleiber, Lipatti, Richter, Horowitz, Perlman, Oistrakh, Heifetz, Domingo, Schwarzkopf, Wunderlich, et bien d'autres, ces monstres sacrés n'existent plus ... La majorité me semble bien petit à côté de ces géants...
I think what makes this performance most interesting is how closely it follows WW2. Death is something very fresh in the minds of the musicians performing this peace, which I think gives it an extra layer of gravitas.
I remember being in the 1989 Texas All State choir, and Robert Shaw who had just retired finally had time to conduct us. He said it would give the music a youthful sound.
Imbécile, tu n'y connais rien, écoute du rap plutôt, Karajan est le plus grand interprète du requiem allemand de Brahms surtout dans cette version parmi ses 4 officielles
@leo.oak_ ... No, sir. The music is not measured by time but by geniality and the depth of understanding. The phenomenology of music needs something that amateurs can't grasp because they measure everything by time. Sorry, if I was too sharp.
Album available // Brahms: Ein Deutsches Requiem by Herbert von Karajan
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🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Karajan-1947
Johannes Brahms (1833-1897) Ein Deutsches Requiem, nach Worten der heiligen Schrift, Op. 45
00:00 I. Selig sind, die da Leid tragen. Ziemlich langsam und mit Ausdruck (2023 Remastered, Vienna 1947)
11:50 II. Denn alles Fleisch es ist wie Gras. Langsam, marschmäßig (2023 Remastered, Vienna 1947)
26:45 III. Herr, lehre doch mich. Andante moderato (2023 Remastered, Vienna 1947)
38:02 IV. Wie lieblich sind deine Wohnungen. Mäßig bewegt (2023 Remastered, Vienna 1947)
44:08 V. Ihr habt nun Traurigkeit. Langsam (2023 Remastered, Vienna 1947)
51:25 VI. Denn wir haben hie keine bleibende Statt. Andante (2023 Remastered, Vienna 1947)
1:04:04 VI. Denn wir haben hie keine bleibende Statt. Andante (2023 Remastered, Vienna 1947)
Sopran: Elisabeth Schwarzkopf
Bariton: Hans Hotter
Wiener Singverein
Wiener Philharmoniker
Conductor : Herbert von Karajan
Recorded in 1947, at Vienna
New mastering in 2023 by AB for classicalmusicreference.com
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
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In 1856, Brahms' mentor, Robert Schumann, passed away, and one year later, Brahms began revisiting the rejected slow movement of his D minor concerto (originally intended as a symphony) and reworked it as a choral setting of words from the First Epistle of Saint Peter, "Denn alles Fleisch, es ist wie Gras." By 1861, he had constructed a four-movement cantata around this framework, a work in the tradition of the church cantatas of his beloved Johann Sebastian Bach. Brahms stated that the piece was based on a Bach chorale: some scholars have identified this as "Wer nur den lieben Gott lässt walten," which Brahms would have known from Bach's Cantata 27, where its text corresponds to "Lord, make me know my end."
We should not assume that the Requiem was directly inspired by Schumann’s death (although Brahms’ grief and his subsequent meditation on the meaning of death for an agnostic likely turned his mind toward the dark and tragic sarabande that begins the second movement of the Requiem); and, at the same time, the death of his mother in February 1865 may not have intensified his feelings about an already ongoing project. He later denied that the Requiem had any individual application, stating he had "all humanity in mind."
The death of his mother unsettled Brahms, making him reluctant to stay long in one place. Vienna, Baden-Baden, concert tours, Karlsruhe - during this time, Brahms learned the significance of the text "For here we have no continuing city," which opens the third movement of the Requiem. During this period, the Requiem progressed and was completed in the summer of 1866 while Brahms stayed in Switzerland in a villa on the Züricherberg; Karl Geiringer (musicologist) believes that the wonderful views of the glaciers and the blue, sunlit lake are reflected in the music of the sixth and fourth movements, respectively.
The four movements had now expanded to six; the exquisite soprano solo with chorus, "Ihr habt nun Traurigkeit," was to be added later. In its current form, the German Requiem was dominated by dark colors and featured only one soloist, a baritone. It is not a liturgical Requiem, although Anglican listeners have often noted how Brahms’ chosen texts resonate with the Anglican funeral service. He was not conventionally religious, and there is no evidence that he was Christian at all; it is significant that the name of Christ is mentioned nowhere in the Requiem. Yet the music unmistakably conveys how much solace he drew from the words of Holy Scripture included here; much of the music is dark, but each movement ends in a mood of optimism.
The Requiem calls for a medium-sized Romantic symphony orchestra, with the addition of a piccolo and a harp. One might expect that Brahms, the master contrapuntist, would employ a double choir or at least five vocal parts as Bach often did, but his choral writing is strictly in four parts.
The culmination of the entire work is an offering of praise to God, and at the beginning of the third movement, the voices ask the Lord to "teach me that my life must have an end," but neither here nor elsewhere is there a hint of abject prayer or prayer for the souls of the dead. Instead, it is an act of consolation for the living, a hope that all will be well when we pass through it. The focal point of the Catholic Requiem Mass is the "Dies Irae," the vision of Divine Judgment. This is outside the scope of Ein Deutsches Requiem; the last trump (or "trombone" in German) is invoked, but there is no wailing or gnashing of teeth as part of Brahms’ message. The reality of bodily death was sufficiently real and sorrowful to deserve Brahms' full attention, and as we listen to this Requiem, it commands ours as well.
Other album available // Beethoven by H.V.Karajan: Symphony No.9 in D minor, Op.125
🎧 Qobuz cutt.ly/jeHOxk0X Tidal cutt.ly/9eHOxnIu
🎧 Deezer bit.ly/3mPbk2k Amazon Music cutt.ly/eeHOxT57
🎧 Spotify cutt.ly/beHOxKjH UA-cam Music cutt.ly/1eHOxVlX
🎧 Soundcloud cutt.ly/EeHOx4EM Pandora, QQ音乐, LineMusic, Awa 日本…
Johannes Brahms PLAYLIST (reference recordings): ua-cam.com/video/8Q2snBQJfug/v-deo.html
In 1856, Brahms' mentor, Robert Schumann, passed away, and one year later, Brahms began revisiting the rejected slow movement of his D minor concerto (originally intended as a symphony) and reworked it as a choral setting of words from the First Epistle of Saint Peter, "Denn alles Fleisch, es ist wie Gras." By 1861, he had constructed a four-movement cantata around this framework, a work in the tradition of the church cantatas of his beloved Johann Sebastian Bach. Brahms stated that the piece was based on a Bach chorale: some scholars have identified this as "Wer nur den lieben Gott lässt walten," which Brahms would have known from Bach's Cantata 27, where its text corresponds to "Lord, make me know my end."
We should not assume that the Requiem was directly inspired by Schumann’s death (although Brahms’ grief and his subsequent meditation on the meaning of death for an agnostic likely turned his mind toward the dark and tragic sarabande that begins the second movement of the Requiem); and, at the same time, the death of his mother in February 1865 may not have intensified his feelings about an already ongoing project. He later denied that the Requiem had any individual application, stating he had "all humanity in mind."
The death of his mother unsettled Brahms, making him reluctant to stay long in one place. Vienna, Baden-Baden, concert tours, Karlsruhe - during this time, Brahms learned the significance of the text "For here we have no continuing city," which opens the third movement of the Requiem. During this period, the Requiem progressed and was completed in the summer of 1866 while Brahms stayed in Switzerland in a villa on the Züricherberg; Karl Geiringer (musicologist) believes that the wonderful views of the glaciers and the blue, sunlit lake are reflected in the music of the sixth and fourth movements, respectively.
The four movements had now expanded to six; the exquisite soprano solo with chorus, "Ihr habt nun Traurigkeit," was to be added later. In its current form, the German Requiem was dominated by dark colors and featured only one soloist, a baritone. It is not a liturgical Requiem, although Anglican listeners have often noted how Brahms’ chosen texts resonate with the Anglican funeral service. He was not conventionally religious, and there is no evidence that he was Christian at all; it is significant that the name of Christ is mentioned nowhere in the Requiem. Yet the music unmistakably conveys how much solace he drew from the words of Holy Scripture included here; much of the music is dark, but each movement ends in a mood of optimism.
The Requiem calls for a medium-sized Romantic symphony orchestra, with the addition of a piccolo and a harp. One might expect that Brahms, the master contrapuntist, would employ a double choir or at least five vocal parts as Bach often did, but his choral writing is strictly in four parts.
The culmination of the entire work is an offering of praise to God, and at the beginning of the third movement, the voices ask the Lord to "teach me that my life must have an end," but neither here nor elsewhere is there a hint of abject prayer or prayer for the souls of the dead. Instead, it is an act of consolation for the living, a hope that all will be well when we pass through it. The focal point of the Catholic Requiem Mass is the "Dies Irae," the vision of Divine Judgment. This is outside the scope of Ein Deutsches Requiem; the last trump (or "trombone" in German) is invoked, but there is no wailing or gnashing of teeth as part of Brahms’ message. The reality of bodily death was sufficiently real and sorrowful to deserve Brahms' full attention, and as we listen to this Requiem, it commands ours as well.
Other album available // Beethoven by H.V.Karajan: Symphony No.9 in D minor, Op.125
🎧 Qobuz cutt.ly/jeHOxk0X Tidal cutt.ly/9eHOxnIu
🎧 Deezer bit.ly/3mPbk2k Amazon Music cutt.ly/eeHOxT57
🎧 Spotify cutt.ly/beHOxKjH UA-cam Music cutt.ly/1eHOxVlX
🎧 Soundcloud cutt.ly/EeHOx4EM Pandora, QQ音乐, LineMusic, Awa 日本…
Thank you for the insight. It is a beautiful piece and performed at many places to this day
Une merveille absolue, peut-être la meilleure version de ce chef d'œuvre absolu de Brahms par un Karajan en état de grâce ainsi que les Wiener Philarmoniker et les deux solistes, Schwarzkopf et Hotter, version à emporter sue une île déserte 😊😅
@arnaud3946 Je l'ecouterais, mais je pense qu'il y a des versions intemporelles et qui malgré les années ne prennent pas une ride comme encore plus ancienne que ce Brahms par Karajan de 47 , le premier acte de la Walkyrie par Walter en 1935 avec Melchior, considéré par beaucoup comme le sommet d'interprétation lyrique de toute l'histoire de l'enregistrement, bien souvent nos anciens artistes étaient autrement inspirés que de nos jours ou la musique classique à perdue de sa superbe et pourtant je ne suis pas passéiste, mais force est de constater la réalité ...
@arnaud3946 Permettez-moi de ne pas être entièrement d'accord avec vous, certes il y a de grands chefs, pianistes, violonistes mais pas de la trempe des Furtwangler, Karajan, Kleiber, Lipatti, Richter, Horowitz, Perlman, Oistrakh, Heifetz, Domingo, Schwarzkopf, Wunderlich, et bien d'autres, ces monstres sacrés n'existent plus ...
La majorité me semble bien petit à côté de ces géants...
I think what makes this performance most interesting is how closely it follows WW2. Death is something very fresh in the minds of the musicians performing this peace, which I think gives it an extra layer of gravitas.
Amazing sound! Thank you❤🎉
Just wonderful
Beautiful - thank you
¡Mil gracias!. Un fuerte abrazo. 😉👋
❤ Grazie
Somewhere I read that Toscanini reacted to either this, or a radio broadcast of vK's performance of this by saying "This is right, this is right."
I remember being in the 1989 Texas All State choir, and Robert Shaw who had just retired finally had time to conduct us. He said it would give the music a youthful sound.
Прекрасное исполнение !
I❤ BRAHMS 🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪🇩🇪👏👏👏👏👏
Listenedcto this once 40+ years ago and couldnt get into it.
Funny hair
The only Brahms conductor was Wilhelm Furtwangler by far
Karajan was a greater conductor than Furtwangler - that's why the latter was madly jealous.
Nonsense!
If I want a real Requiem of Brahms, I want it with Celibidache.
Imbécile, tu n'y connais rien, écoute du rap plutôt, Karajan est le plus grand interprète du requiem allemand de Brahms surtout dans cette version parmi ses 4 officielles
How long does it last with Celibidache? Four hours?
@leo.oak_ ... No, sir. The music is not measured by time but by geniality and the depth of understanding. The phenomenology of music needs something that amateurs can't grasp because they measure everything by time. Sorry, if I was too sharp.
@@lorenzley1324 well, I prefer to listen to what the composer wrote, if that's being an amateur, then I am
@@arnaud1978-h5i Karajan's version is not good either, but at least he doesn't distort the compositions like Celibidache used to