Album available // Brahms: Ein Deutsches Requiem, Op. 45 by Otto Klemperer Listen to our latest mastering update (2023): cutt.ly/LeVu6aIY 🎧 Qobuz (Hi-Res) cutt.ly/DeVu4Sp3 Tidal (Hi-Res) cutt.ly/AeVu479A 🎧 Apple Music (Lossless) cutt.ly/5eVu7vCF Deezer (Hi-Fi) cutt.ly/heVu7Jjd 🎧 Amazon Music (Hi-Res) cutt.ly/geVu5lAO Spotify (mp3) cutt.ly/2eVu5N3Q 🎧 UA-cam Music (mp4) cutt.ly/LeVu6aIY 🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Klemperer-Deutsches-Requiem *Click to activate the English subtitles for the presentation* (00:00-05:00) Johannes Brahms (1833-1897) Ein Deutsches Requiem in F Major, Op. 45 Selig Sind, Die Da Leid Tragen (00:01) Denn Alles Fleisch, Es Ist Wie Gras (10:00) Herr, Lehre Doch Mich (24:32) Wie Lieblich Sind Deine Wohnungen (34:26) Ihr Habt Nun Traurigkeit (40:16) Denn Wir Haben Hie Keine Bleibende Stat (47:12) Selig Sind Die Toten (59:00) Sopran : Elisabeth Schwarzkopf Bariton : Dietrich Fischer-Dieskau Philharmonia Chorus & Orchestra Chorus Master : Reinhold Schmid Conductor : Otto Klemperer Recorded in 1961 🔊 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 www.patreon.com/cmrr/about En 1856, le mentor de Brahms, Robert Schumann, mourut et, un an plus tard, Brahms se mit à s’affronter au mouvement lent rejeté de son concerto en ré mineur (prévu à l'origine comme une symphonie) et le retravailla comme une mise en musique chorale de paroles de la première Épître de Saint-Pierre, ''Denn alles Fleisch, es ist wie Gras''. En 1861, il avait construit une cantate en quatre mouvements autour de ce cadre, une œuvre dans la tradition des cantates d'église de son bien-aimé Sébastien Bach. Brahms a déclaré que l'œuvre était basée sur un choral de Bach : certains spécialistes ont identifié celui-ci comme ''Wer nur den lieben Gott lässt walten'' que Barhms devait connaître dans la Cantate 27 de Bach, son texte y étant équivalent à ''Seigneur, fais-moi connaître ma fin''. Nous ne devons pas supposer que le Requiem a été directement inspiré par la mort de Schumann (bien que le chagrin de Brahms, et la méditation ultérieure sur la signification de la mort pour un agnostique, aient probablement tourné son esprit vers la sarabande sombre et tragique qui commence le deuxième mouvement du Requiem) ; et, en même temps, la mort de sa mère en février 1865 n'aurait pas contribué à une intensification de ses sentiments sur un projet déjà en cours. Il nie par la suite que le Requiem ait une application individuelle, il a " l'humanité entière en tête ". La mort de sa mère a eu pour effet de déstabiliser Brahms, de sorte qu'il ne voulait pas rester longtemps au même endroit. Vienne, Baden-Baden, tournées de concerts, Karlsruhe, à cette époque Brahms apprit la signification du texte " Nous n'avons ici aucune ville permanente ", qui commence le troisième mouvement du Requiem. Pendant cette période, le Requiem progressait, et il fut achevé pendant l'été 1866, alors que Brahms séjournait en Suisse dans une villa sur le Zuricherberg ; Karl Geiringer (musicologue) pense que les merveilleuses vues sur les glaciers et sur le lac bleu et ensoleillé se reflètent dans la musique des sixième et quatrième mouvements respectivement. Les quatre mouvements étaient maintenant devenus six ; l'exquis solo de soprano avec chœur, "Ihr habt nun Traurigkeit", devait être ajouté plus tard. Dans sa forme actuelle, le Requiem allemand était dominé par des couleurs sombres et ne comportait qu'un seul soliste, un baryton. Il ne s'agit pas d'un Requiem liturgique, bien que les auditeurs anglicans aient souvent fait remarquer à quel point les textes choisis par Brahms ont une part dans le service funéraire anglican. Il n'était pas un homme conventionnellement religieux, et il n'y a aucune preuve qu'il était chrétien du tout ; il est significatif que le nom du Christ ne soit mentionné nulle part dans le Requiem. Pourtant, la musique dit sans conteste combien il a tiré de consolation des paroles de la Sainte Écriture qui se trouvent ici ; une grande partie de la musique est sombre, mais chaque mouvement se termine sur un climat d'optimisme. Le Requiem fait appel à un orchestre symphonique romantique de taille moyenne, auquel on a ajouté un piccolo et une harpe. On pourrait s'attendre à ce que Brahms le magistral contrapuntiste emploie un double chœur, ou au moins cinq parties vocales comme le faisait souvent Bach, mais son écriture chorale est strictement à quatre parties. Le point culminant de toute l'œuvre est une offrande de louange à Dieu, et au début du troisième mouvement, les voix demandent au Seigneur de " m'enseigner qu'il doit y avoir une fin à ma vie ", mais ni ici ni ailleurs, il n'y a de suggestion de prière abjecte, ni de prière pour les âmes des morts. Au contraire, c'est un acte de consolation pour les vivants, une espérance que tout se passera bien quand nous passerons par là. Le point central de la messe catholique de requiem est le " Dies Irae ", la vision du Jugement divin. Elle n'est pas du ressort de Ein Deutsches Requiem ; le dernier atout (ou plutôt, le trombone en allemand) est invoqué, mais les pleurs et les grincements de dents, ne faisaient pas partie du message de Brahm. Le fait de la mort corporelle était suffisamment réel et triste pour mériter toute l'attention de Brahms et, pendant que nous écoutons ce Requiem, la nôtre également. Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : ua-cam.com/video/9T131BY2Vxs/v-deo.html Johannes Brahms PLAYLIST (reference recordings) ua-cam.com/video/Bw266Ox-N8k/v-deo.html&index=1
Yes, Dies Irae has been dominant, but not central. Mozart's Requiem burns into Lux perpetuum! And since Vat II, the emphasis is on Resurrection. Inspiration for new Requiem composers.
I first heard this as a boy in English Mormon Tabernacle Choir, so I ordered it from our music store in Santa Barbara. Fritz Lehman and Berlin Philharmonic. It must have been popular in 1960. My employer had the same LP when I met her in 1980. I've always loved it. I listened to it when my father died in 1991. Thanks for it..When was the LP with Klemperer released?
No need to look any further, this is indeed a legendary recording. Klemperer conducted nearly everything with slow tempi and he was responsible for some of the most lifeless and dull Beethoven performances and recordings imaginable. This time, however, his slow tempi are absolutely perfect and he makes THIS German Requiem an other-worldly experience. Of course, the vocal work by Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau in their prime and the superb Philharmonia Chorus complete Klemperer's outstanding performance.
I tend to agree with Edgardo. I discovered this when I was aged about 12.(m y introduction to Brahms) I am now 73 and I have loved it ever since . The combination of Swartzkopf, Diescau and Klemperer is truly sublime. Thank you for uploading.
There were recordings, though most of us could not afford to buy all those that impressed us and/or that we liked. There was also radio on which were broadcast concerts by the New York Philharmonic (CBS) and other orchestras. Some FM stations broadcast concerts and recitals; in addition, they played recordings. WQXR (New York), WFMT (Chicago), WCLV (Cleveland) were outstanding examples of conscientious broadcasters who brought at wealth of important and interesting music to their audiences. Other cities had excellent FM stations; I lived in Chicago and New York and have first-hand knowledge of the broadcasts that antedate UA-cam. Cleveland I know from having visited there. Then there was television. Firestone (manufacturer of tires [or it used to be] and operator of automobile service shops) presented "The Voice of Firestone," AT&T presented "The Bell Telephone Hour," many stations carried the Saturday matinees of operas staged at the Met in New York. CBS's "Omnibus" often devoted part of a weekly broadcast to an interesting musical happening. We saw Leonard Bernstein's "Young People's Concerts." Orchestras toured the US as did the Metropolitan Opera. Famous musicians gave performances even in some cities that the cognoscienti on the East Coast must have thought benighted. Of course, the wealth of performances now available on UA-cam was a treasure to come only in the Internet age. Less music was available at our finger tips, but I suspect we treated much of what was broadcast not as background music as do a number of my friends nowadays. Concerts, recitals, and the opera were events that we looked forward to with great anticipation, and I remember packed houses at many performances given by less well-known artists. We were in a sense deprived, but most of us made the best of what we had. With the introduction of LP recordings (1949?) much more repertory became available, and high fidelity (London/Decca's FFRR recordings, for example) and then stereo improved listening possibilities considerably. Some of us still prefer analogue recordings and amplifiers with tubes to digital CDs and transistors, but this is a topic to be treated elsewhere.
I'm 63 have being loving this ever since 16.. Schwartzkopf , Dieskau, and Klemperer to be cherished. We are singing this in February.. my second time... I sang the baritone for rehearsals... what an honor... the grace of the tempo... my favorite, by far
This is certainly one of the best recording of Brahms' masterpiece, German Requiem, with legendary great artists. It is so captivating that after listening few measures of the introduction, I had to continue until the finale.
Those who know the English language of the opening chorus "Selig sind, die das Leid tragen" in the Authorised, or King James, Version of the Bible, will remember it not as "those who suffer," but as "those who mourn". Both translations are certainly accurate renderings of the German. However, few, if any English-language translations of Matthew 4:5 use the word "suffer." Again, this remark is not to quibble about Mr Hovanessian's use of "suffer," merely to observe that in the context of a requiem, which is for the dead, the English-speaker usually thinks of mourning, not suffering. Readers surely know the Italian expression ‘Traduttore, traditore.’ (to translate is to betray) and will remember that both the German and English versions are translations from the Greek. One might ask, "Who is betraying whom?"
This recording has an interesting combination of pathos and optimism that is so well brought out by the conductor and musicians. Every phrase sounds fresh and well thought out from this glorious setting of Bible verses that only a master like Brahms could conceive of and create.
The Ein Deutsches Requiem is one of my go to works when I just need to hear something soul moving. Brahms surely was touched by the hand of God when he wrote this. This particular recording is tops.
This is untruly music , beautiful at every bar ... as Ferdio , I discovered this with 15 . And since this moment (I am now 61) , this music is flowing in my veins like lava ....
you have been listening to it for 41 years, Ferdio for 61 and 42 by me.. and the words... have been a guide to my life! If Dvorak said of him that he believed in nothing, whence did it come from if he was such a good vehicle for faith?
C'est la version que je préfère depuis toujours... Merci pour ce partage ! (Curieusement, je ne l'avais pas vu avant, alors que j'écume UA-cam depuis l'origine !)
Klemperer and Philharmonia did choral works with a special degree of spontaneity and liberty. There are moments when you'd think they're about to lose control, but they never do. This recording is so excellent in conveying enthusiasm.
Soy consciente de que esta es la mejor versión. Se trata de Klemperer y sus maravillosos cantantes, orquesta y coro. Desafortunadamente, soy demasiado joven para haber podido disfrutar personalmente de Klemperer y su familia aunque tengo esta grabación que es mi favorita de esta obra. Sin embargo, asistí a la representación de Philippe Herreweghe y su Collegium Vocale Gent en una iglesia de mi ciudad. Fue espectacular y una experiencia inolvidable. Imposible evitar la emoción y las lágrimas.
Non esiste solo Klemperer, sarebbe riduttivo. E' sempre una questione di gusto personale, non c'e' una regola, un gusto altrui da imporre. Io personalmente lo trovo troppo tagliente e preferisco Karajan o Toscanini. Le esecuzioni di oggi sono troppo tecnologiche e prive di vero pathos. Inoltre non amo ne Schwarzkopf ne Fischer Dieskau che reputo voci sgradevoli e manierate e quindi mi rivolgo altrove.
Back when this was recorded there was still a living connection with Brahms. Klemperer's life overlapped Brahms's by 12 years. If Brahms conducted this, say, a year or so before he died, and there were players in the orchestra who were only in their 20s, when Klemperer grew up to conduct it himself, those players would be likely still playing, and now under Klemperer. He would have to get it right, wouldn't he?
Grace Gorman: Fascinating! However, Otto Klemperer was such a first rate conductor that he need not have been in the orchestra if and when Brahms conducted this masterpiece. Personally, I think ahead of his contemporaries in the way he interpreted Brahms & Schumann. This is not to say that he wasn't a grand conductor for other pieces and composers, it's just Brahms & Schumann were not perceived as phenomenal until he conducted their masterpieces, in my opinion.
You remind me of this.... when the Vienna Philharmonic was founded in 1842, there were two string players who had actually played the Beethoven 9th under the composer* (*well, half and half) in 1824, and these two players were accepted by the Vienna Philharmonic when they were first formed. So that is why the Vienna Philharmonic are so proud in that they have in their DNA two players (way back) who played under Beethoven, with his 9th symphony. Wow
I attended the performance of this Requiem with Philippe Herreweghe conducting and the Collegium Vocale Gent in an old church in my city. It was great and unforgettable. But this version with Klemperer, Schwarzkopf, Fischer-Dieskau and the "Philharmonics" is unattainable.
This ranks among the best of Klemperer's recordings made after the fire that nearly took his life in 1958. He was never quite as great afterward in purely symphonic setting, but this Brahms Requiem, the live Fidelio from '61, The Magic Flute from 64, and the live Flying Dutchman from '68 find him at his very best.
I would call this performance wonderful in every respect save one. I find KIlemperer's tempi a bit too fast and lacking a bit in rubato. For me Furtwangler takes the title.
Fischer-Dieskau performed this with the Detroit Symphony Orchestra in 1983, the 150 anniversary of Brahms birth. I cried during much of it. I met Fisher- Dieskau backstage and tried to tell him how much he influenced my life. His English was perfect, A most gracious genius.
As mentioned, I also cut my classical teeth on this piece 50 years ago; still gives me holy goose bumps. Little know fact, the conductor has a brother name Werner Klemperer; TV addicts knew him as "Colonel Klink". The Commandant in Hogan's Heros. Good think someone carried on the family's honor.
Bienaventurados los que sufren (00:01) Porque toda carne es como hierba (10:00) Señor, enséñame (24:32) Cuán hermosas son tus moradas (34:26) Ahora tienes tristeza (40:16) Porque aquí no tenemos estatuto permanente (47:12) Bienaventurados los muertos (59:00)
Furtwängler, Kerstin Lindberg-Torlind soprano, Bernhard Sönnerstedt baritone, Stockholm Philharmonic Orchestra, Stockholm Philharmonic Chorus live from1948!!!! Simply you don't believe your ears! Specially in the second movement, Denn Alles Fleisch, Es Ist Wie Gras, hairraising. Then maybe from Klemperer, his live account, but if someone wants to have also nice sonics, yes this one is the best!
As much as I love his 4 symphonies, I’ve never taken to the Requiem. However any recording by Otto Klemperer and the incomparable Philharmonia of those times always gets my attention. This time I’m going to reassess my opinion.
Pese a que han transcurrido más de sesenta años de esta grabación, sigue siendo impresionante. Desde los primeros compases sabemos que estamos ante una de esas versiones ante las que no hay nada que decir, sino escuchar, hasta el último compás. Pero aún entonces quedamos atrapados en esa dimensión sobrenatural donde los aplausos son innecesarios e, incluso, fuera de lugar...¿Klemperer, Fischer-Dieskau, Schwarzkopf? En la Eternidad...
I don't think you can get much better than Klemperer for European pieces like this. He has a way of coaxing great power and weight out of the orchestra. However, I think he is just pipped by Giulini in this particular piece.
After the many great performances of this masterwork that I've given, mostly at Carnegie Hall, I get to sing it again March 4, 2018 in New York City with the Canterbury Choral Society. Be there If you can but I assure you, the joy is all mine.
Agradezco a Dios, y al excelente trabajo de este canal , por descubrir esta obra maestra del genio de Brahms ; en esta interpretacion magistral , aun cuando las tecnologias del sonido no estaban tan avanzadas como hoy dia. Es fruto de los valores espirituales Judeos- Cristianos de nuestra cultura occidental ; a la cabeza tambien del desarrollo musical. Es la Musica de todos los tiempos . Gracias
Esta versión es hernosa y Klemperer como siempre sublime y emocionante y otra versión q me gusta mucho es de otro maestro aleman Karl Richter ej Paris en vivo de 1964. Para mi las dos mejores versiones del requiem del gran Brahms.
Let's not quibble. Otto Klemperer made a number of outstanding recordings, perhapsfewer than some of us would have liked, but we should be glad that his of the German Requiem has brought pleasure, maybe even joy to Mr Maisenbacher. De gustibus non disputandum (est).
KLEMPERER: The best German Requiem, the best ... Bach St Mattwew Passion ... Bach Mass in B; ... Handel's Messiah... Beethoven's Fidelio ... Beethoven´s 6th ... Beethoven's Choral Fantasy... Mahler's 2nd... Mahler 4th ... Mahler 9th ... Mahler's Das Lied von der Erde ... Bruckner 6th ... and so on. It's a pity that he never recorded Mozart's Requiem.
Except that it is opus 45, done before his symphonies. This op. 45 was Brahms' first big international hit. For example, this is what first made him liked and famous in England.
The German Requiem? Very German, the heaviness, ponderousness, mistiness, and slow pace are bottomless. Slow, dark, heavy, spiritual - German souls passionately adore all those qualities.They became the essential features of Romanticism. Right after, in your stride, for comparison's sake, immediately listen to Mozart's Requiem or Verdi's Requiem. Striking contrast.of moods and atmosphere.
Actually this is the fastest Brahms Requiem available on UA-cam. Klemperer's performances in the late 50's were faster still. He resisted.all possible sentimentality in this music, opting instead for true sentiment and feeling
Humbled. Reminded I chose a choral excerpt for a conducting class. But the soprano lyrics say it all for me on this 125th anniversary of Brahms' own passing
FD and Schwarzkopf are outstanding. But why is it that today in 2021, I generally find Klemperer's tempi surprisingly a bit too fast along with a lack of necessary rubato? I will instead prefer to go to Furtwangler.
Klemperer's tempi "surprisingly a bit too fast"?? 😳😳😳. Surely, you jest. Klemperer never conducted ANYTHING fast. However.......... this is indeed one of the faster performances of Brahms' German Requiem and it is glorious, not least of all because Klemperer atypical 'picks up the pace' in this performance. The one time in his lifetime he conducted something faster than what is typical it worked marvelously, a reflection of Klemperer's deep feeling and understanding of this masterpiece.
lets talk about life and non-existence, both have their good and bad things, no one of them is perfect, best thing of life it gives you good times sometimes, best thing of non-existence it not gives us bad times that life gives us sometimes !!!!! 💎
Oddly, Klemperer takes the tonic fugue at the end of the 3rd mvmt fast, and Toscanini slow. That's an anomaly to me as I prefer it slower. I hold both artists up in my heart very dearly, but this is an oddity. I love vK's everything, but I've actually yet to hear the 3rd mvmt's brilliant ending "done right".
Agreed! Here's another one: ua-cam.com/video/bugzbO3G2Q0/v-deo.htmlm20s, listen to how the horns completely BLEW up the momentous crescendo buildup! What Brahms put on the score for the horns just cannot be more clearer: poco a poco cresc. Why in the world would he do that?! Sorry, legendary this recording might be, it just doesn't get to me.
Aunque este no es el mejor lugar para abordar este tema, puede apreciar este tema, personalmente nos gusta : Opiniones sobre el origen de la vida. tv.jw.org/#es/mediaitems/OriginsLife/pub-pcr_2_VIDEO
Soy librepensador agnòstico, pero no soy lo suficientemente inteligente como para ser ateo. No considero posible al Dios-Persona de las religiones. Sin embargo, esta y otras interpretaciones de Klemperer (Mesias, de Händel, Pasión según San Mateo, de Bach, etc.), paradójicamente me hacen sentir en la presencia de Dios...
Some people would have you believe that everything around us has occurred quite by chance. It is all coincidental. They presumably think, then, that music like this just evolved too. But no-one would suggest this music designed itself would they? Could it just have happened?
Album available // Brahms: Ein Deutsches Requiem, Op. 45 by Otto Klemperer
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🎧 Qobuz (Hi-Res) cutt.ly/DeVu4Sp3 Tidal (Hi-Res) cutt.ly/AeVu479A
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🎧 Amazon Music (Hi-Res) cutt.ly/geVu5lAO Spotify (mp3) cutt.ly/2eVu5N3Q
🎧 UA-cam Music (mp4) cutt.ly/LeVu6aIY
🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Klemperer-Deutsches-Requiem
*Click to activate the English subtitles for the presentation* (00:00-05:00)
Johannes Brahms (1833-1897) Ein Deutsches Requiem in F Major, Op. 45
Selig Sind, Die Da Leid Tragen (00:01)
Denn Alles Fleisch, Es Ist Wie Gras (10:00)
Herr, Lehre Doch Mich (24:32)
Wie Lieblich Sind Deine Wohnungen (34:26)
Ihr Habt Nun Traurigkeit (40:16)
Denn Wir Haben Hie Keine Bleibende Stat (47:12)
Selig Sind Die Toten (59:00)
Sopran : Elisabeth Schwarzkopf
Bariton : Dietrich Fischer-Dieskau
Philharmonia Chorus & Orchestra
Chorus Master : Reinhold Schmid
Conductor : Otto Klemperer
Recorded in 1961
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En 1856, le mentor de Brahms, Robert Schumann, mourut et, un an plus tard, Brahms se mit à s’affronter au mouvement lent rejeté de son concerto en ré mineur (prévu à l'origine comme une symphonie) et le retravailla comme une mise en musique chorale de paroles de la première Épître de Saint-Pierre, ''Denn alles Fleisch, es ist wie Gras''. En 1861, il avait construit une cantate en quatre mouvements autour de ce cadre, une œuvre dans la tradition des cantates d'église de son bien-aimé Sébastien Bach. Brahms a déclaré que l'œuvre était basée sur un choral de Bach : certains spécialistes ont identifié celui-ci comme ''Wer nur den lieben Gott lässt walten'' que Barhms devait connaître dans la Cantate 27 de Bach, son texte y étant équivalent à ''Seigneur, fais-moi connaître ma fin''.
Nous ne devons pas supposer que le Requiem a été directement inspiré par la mort de Schumann (bien que le chagrin de Brahms, et la méditation ultérieure sur la signification de la mort pour un agnostique, aient probablement tourné son esprit vers la sarabande sombre et tragique qui commence le deuxième mouvement du Requiem) ; et, en même temps, la mort de sa mère en février 1865 n'aurait pas contribué à une intensification de ses sentiments sur un projet déjà en cours. Il nie par la suite que le Requiem ait une application individuelle, il a " l'humanité entière en tête ".
La mort de sa mère a eu pour effet de déstabiliser Brahms, de sorte qu'il ne voulait pas rester longtemps au même endroit. Vienne, Baden-Baden, tournées de concerts, Karlsruhe, à cette époque Brahms apprit la signification du texte " Nous n'avons ici aucune ville permanente ", qui commence le troisième mouvement du Requiem. Pendant cette période, le Requiem progressait, et il fut achevé pendant l'été 1866, alors que Brahms séjournait en Suisse dans une villa sur le Zuricherberg ; Karl Geiringer (musicologue) pense que les merveilleuses vues sur les glaciers et sur le lac bleu et ensoleillé se reflètent dans la musique des sixième et quatrième mouvements respectivement.
Les quatre mouvements étaient maintenant devenus six ; l'exquis solo de soprano avec chœur, "Ihr habt nun Traurigkeit", devait être ajouté plus tard. Dans sa forme actuelle, le Requiem allemand était dominé par des couleurs sombres et ne comportait qu'un seul soliste, un baryton. Il ne s'agit pas d'un Requiem liturgique, bien que les auditeurs anglicans aient souvent fait remarquer à quel point les textes choisis par Brahms ont une part dans le service funéraire anglican. Il n'était pas un homme conventionnellement religieux, et il n'y a aucune preuve qu'il était chrétien du tout ; il est significatif que le nom du Christ ne soit mentionné nulle part dans le Requiem. Pourtant, la musique dit sans conteste combien il a tiré de consolation des paroles de la Sainte Écriture qui se trouvent ici ; une grande partie de la musique est sombre, mais chaque mouvement se termine sur un climat d'optimisme.
Le Requiem fait appel à un orchestre symphonique romantique de taille moyenne, auquel on a ajouté un piccolo et une harpe. On pourrait s'attendre à ce que Brahms le magistral contrapuntiste emploie un double chœur, ou au moins cinq parties vocales comme le faisait souvent Bach, mais son écriture chorale est strictement à quatre parties.
Le point culminant de toute l'œuvre est une offrande de louange à Dieu, et au début du troisième mouvement, les voix demandent au Seigneur de " m'enseigner qu'il doit y avoir une fin à ma vie ", mais ni ici ni ailleurs, il n'y a de suggestion de prière abjecte, ni de prière pour les âmes des morts. Au contraire, c'est un acte de consolation pour les vivants, une espérance que tout se passera bien quand nous passerons par là. Le point central de la messe catholique de requiem est le " Dies Irae ", la vision du Jugement divin. Elle n'est pas du ressort de Ein Deutsches Requiem ; le dernier atout (ou plutôt, le trombone en allemand) est invoqué, mais les pleurs et les grincements de dents, ne faisaient pas partie du message de Brahm. Le fait de la mort corporelle était suffisamment réel et triste pour mériter toute l'attention de Brahms et, pendant que nous écoutons ce Requiem, la nôtre également.
Berlioz - Requiem, Grande Messe des Morts Op.5 / NEW MASTERING (Ct.rec.: Dimitri Mitropoulos 1956) : ua-cam.com/video/9T131BY2Vxs/v-deo.html
Johannes Brahms PLAYLIST (reference recordings)
ua-cam.com/video/Bw266Ox-N8k/v-deo.html&index=1
Yes, Dies Irae has been dominant, but not central. Mozart's Requiem burns into Lux perpetuum! And since Vat II, the emphasis is on Resurrection. Inspiration for new Requiem composers.
I first heard this as a boy in English Mormon Tabernacle Choir, so I ordered it from our music store in Santa Barbara. Fritz Lehman and Berlin Philharmonic. It must have been popular in 1960. My employer had the same LP when I met her in 1980. I've always loved it. I listened to it when my father died in 1991. Thanks for it..When was the LP with Klemperer released?
Klemperer with the Philharmonia is legendary, Always guaranteed to be of the highest standard. A golden age of recording.
One of the most beautiful choral works ever written
Beautiful and deep.
No need to look any further, this is indeed a legendary recording. Klemperer conducted nearly everything with slow tempi and he was responsible for some of the most lifeless and dull Beethoven performances and recordings imaginable. This time, however, his slow tempi are absolutely perfect and he makes THIS German Requiem an other-worldly experience. Of course, the vocal work by Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau in their prime and the superb Philharmonia Chorus complete Klemperer's outstanding performance.
I tend to agree with Edgardo. I discovered this when I was aged about 12.(m
y introduction to Brahms) I am now 73 and I have loved it ever since . The combination of Swartzkopf, Diescau and Klemperer is truly sublime. Thank you for uploading.
What was life like before UA-cam?
There were recordings, though most of us could not afford to buy all those that impressed us and/or that we liked. There was also radio on which were broadcast concerts by the New York Philharmonic (CBS) and other orchestras. Some FM stations broadcast concerts and recitals; in addition, they played recordings. WQXR (New York), WFMT (Chicago), WCLV (Cleveland) were outstanding examples of conscientious broadcasters who brought at wealth of important and interesting music to their audiences. Other cities had excellent FM stations; I lived in Chicago and New York and have first-hand knowledge of the broadcasts that antedate UA-cam. Cleveland I know from having visited there.
Then there was television. Firestone (manufacturer of tires [or it used to be] and operator of automobile service shops) presented "The Voice of Firestone," AT&T presented "The Bell Telephone Hour," many stations carried the Saturday matinees of operas staged at the Met in New York. CBS's "Omnibus" often devoted part of a weekly broadcast to an interesting musical happening. We saw Leonard Bernstein's "Young People's Concerts."
Orchestras toured the US as did the Metropolitan Opera. Famous musicians gave performances even in some cities that the cognoscienti on the East Coast must have thought benighted.
Of course, the wealth of performances now available on UA-cam was a treasure to come only in the Internet age.
Less music was available at our finger tips, but I suspect we treated much of what was broadcast not as background music as do a number of my friends nowadays. Concerts, recitals, and the opera were events that we looked forward to with great anticipation, and I remember packed houses at many performances given by less well-known artists.
We were in a sense deprived, but most of us made the best of what we had. With the introduction of LP recordings (1949?) much more repertory became available, and high fidelity (London/Decca's FFRR recordings, for example) and then stereo improved listening possibilities considerably. Some of us still prefer analogue recordings and amplifiers with tubes to digital CDs and transistors, but this is a topic to be treated elsewhere.
I'm 63 have being loving this ever since 16.. Schwartzkopf , Dieskau, and Klemperer to be cherished. We are singing this in February.. my second time... I sang the baritone for rehearsals... what an honor... the grace of the tempo... my favorite, by far
Hah! I discovered it when I was 1 month old and now I am 300 . . .
Das Requiem hatte ich vor Jahren auf Schallplatte. Zum reinlegen. 😊
This is certainly one of the best recording of Brahms' masterpiece, German Requiem, with legendary great artists. It is so captivating that after listening few measures of the introduction, I had to continue until the finale.
Those who know the English language of the opening chorus "Selig sind, die das Leid tragen" in the Authorised, or King James, Version of the Bible, will remember it not as "those who suffer," but as "those who mourn". Both translations are certainly accurate renderings of the German. However, few, if any English-language translations of Matthew 4:5 use the word "suffer."
Again, this remark is not to quibble about Mr Hovanessian's use of "suffer," merely to observe that in the context of a requiem, which is for the dead, the English-speaker usually thinks of mourning, not suffering.
Readers surely know the Italian expression ‘Traduttore, traditore.’ (to translate is to betray) and will remember that both the German and English versions are translations from the Greek. One might ask, "Who is betraying whom?"
not ''one of the best'' bit simply THE BEST RECORDING ❤
Utterly sublime. Brahms does it all for me.
This work is too beautiful. It is beyond human description. The 3rd, 5th, 6th movements. Oh hell. Das ganze Ding already!
Klemp really 'nails' this work. Magnificent.
This recording has an interesting combination of pathos and optimism that is so well brought out by the conductor and musicians. Every phrase sounds fresh and well thought out from this glorious setting of Bible verses that only a master like Brahms could conceive of and create.
This was the only classical music ever that stopped me in my tracks. It's just so EPIC. Thank you!
I have sung this myself 55 years ago - and it will be played at my funeral......
The Ein Deutsches Requiem is one of my go to works when I just need to hear something soul moving. Brahms surely was touched by the hand of God when he wrote this. This particular recording is tops.
I can't decide between this and Blomstedt . So when I am in the mood for this requiem, I just listen to both back to back everytime🤣🤣🤣🤣🤣🤣🤣
Furtwängler 1948.
8:12 the intensity at these moments .... everytime tears coming .....
- the recording I grew up with, and to which I always return!
In case you're interested, I posted the score to read along ua-cam.com/video/ZXDR4UpUC4o/v-deo.html
Funny ... I had the same thought, didn't realize back then how unique the recording was. I was just a lucky guy :)
Wonderful. I was first introduced to this recording in the late 50's. I have loved it ever since- Merci.
Impressive, given that it was recorded in the 60s. :)
This solemnity and beauty are out of this world
This is untruly music , beautiful at every bar ...
as Ferdio , I discovered this with 15 . And since this moment (I am now 61) , this music is flowing in my veins like lava ....
you have been listening to it for 41 years, Ferdio for 61 and 42 by me.. and the words... have been a guide to my life! If Dvorak said of him that he believed in nothing, whence did it come from if he was such a good vehicle for faith?
I'm 64 and I only discovered it a few months ago.
I wonder what else I'm missing out on
@@galahadthreepwood
So much, my friend, so much .... as I did myself
Timeless, hubble and absolute(ly) music!
Ole Skovlund, DK, (6.9.2024)
Not hubble, but humble! /OS (6.9.24)
My favorite recording of this work.
Magnífica grabación La escucho desde hace 50 años y así continuare hasta mí final.
C'est la version que je préfère depuis toujours...
Merci pour ce partage ! (Curieusement, je ne l'avais pas vu avant, alors que j'écume UA-cam depuis l'origine !)
総合的に最もバランスの取れた理想的な演奏ですね★それでいてクレンペラー独特のエモーションがあります。
¡¡Tengo esta versión desde hace 25 años, y no he escuchado ninguna mejor !! Es sublime. Brahms, la obra y la interpretación
Sono d’accordo 😉👍
Sim .. É a obra de referência do Ein Deutsches Requiem
Klemperer and Philharmonia did choral works with a special degree of spontaneity and liberty. There are moments when you'd think they're about to lose control, but they never do. This recording is so excellent in conveying enthusiasm.
indeed one of the best recordings.
Perfect. Thank you.
Oh man I am so excited to go and see and hear this, it will be amazing
Magnificent recording and performances. Truly superb.
A grande gravação do Requiem de Brahms ..
Soy consciente de que esta es la mejor versión. Se trata de Klemperer y sus maravillosos cantantes, orquesta y coro. Desafortunadamente, soy demasiado joven para haber podido disfrutar personalmente de Klemperer y su familia aunque tengo esta grabación que es mi favorita de esta obra. Sin embargo, asistí a la representación de Philippe Herreweghe y su Collegium Vocale Gent en una iglesia de mi ciudad. Fue espectacular y una experiencia inolvidable. Imposible evitar la emoción y las lágrimas.
¡Creo que esta versión y la de Herreweghe son las dos mejores, sin duda!
Non esiste solo Klemperer, sarebbe riduttivo. E' sempre una questione di gusto personale, non c'e' una regola, un gusto altrui da imporre. Io personalmente lo trovo troppo tagliente e preferisco Karajan o Toscanini. Le esecuzioni di oggi sono troppo tecnologiche e prive di vero pathos. Inoltre non amo ne Schwarzkopf ne Fischer Dieskau che reputo voci sgradevoli e manierate e quindi mi rivolgo altrove.
Muchas gracias, amigo. Excelente grabación de una de mis obras favoritas!!! Saludos desde Colombia
thank you for uploading. so absolutely divine , i can't even comment properly
Klemperer's is the top. Unsurpassed!
For me Furtwangler takes the title. Klemperer is a bit too fast for my taste.
Fabulous. Perfect.
Brahms‘ music erases the worldly troubles
Back when this was recorded there was still a living connection with Brahms. Klemperer's life overlapped Brahms's by 12 years. If Brahms conducted this, say, a year or so before he died, and there were players in the orchestra who were only in their 20s, when Klemperer grew up to conduct it himself, those players would be likely still playing, and now under Klemperer. He would have to get it right, wouldn't he?
Grace Gorman: Fascinating! However, Otto Klemperer was such a first rate conductor that he need not have been in the orchestra if and when Brahms conducted this masterpiece. Personally, I think ahead of his contemporaries in the way he interpreted Brahms & Schumann. This is not to say that he wasn't a grand conductor for other pieces and composers, it's just Brahms & Schumann were not perceived as phenomenal until he conducted their masterpieces, in my opinion.
You remind me of this.... when the Vienna Philharmonic was founded in 1842, there were two string players who had actually played the Beethoven 9th under the composer* (*well, half and half) in 1824, and these two players were accepted by the Vienna Philharmonic when they were first formed. So that is why the Vienna Philharmonic are so proud in that they have in their DNA two players (way back) who played under Beethoven, with his 9th symphony. Wow
ABSOLUTELY PERFECT ❤ PURE BLISS
I attended the performance of this Requiem with Philippe Herreweghe conducting and the Collegium Vocale Gent in an old church in my city. It was great and unforgettable. But this version with Klemperer, Schwarzkopf, Fischer-Dieskau and the "Philharmonics" is unattainable.
Indeed it must have been superb! I really like your avatar ^^
Thanks to you for uploading this wonder.@@classicalmusicreference
This ranks among the best of Klemperer's recordings made after the fire that nearly took his life in 1958. He was never quite as great afterward in purely symphonic setting, but this Brahms Requiem, the live Fidelio from '61, The Magic Flute from 64, and the live Flying Dutchman from '68 find him at his very best.
I would call this performance wonderful in every respect save one. I find KIlemperer's tempi a bit too fast and lacking a bit in rubato. For me Furtwangler takes the title.
Fischer-Dieskau performed this with the Detroit Symphony Orchestra in 1983, the 150 anniversary of Brahms birth. I cried during much of it. I met Fisher- Dieskau backstage and tried to tell him how much he influenced my life. His English was perfect, A most gracious genius.
Timeless, humble and absolute(ly) music.
Ole Skovlund, DK
Sometimes Genius is Totally Incomprehensible........Brahms often reaches These Heights ......And I’m thankful for it .
Inmenso, admirable!! Requiem, adoro esta música y al gran compositor BRAHMS
As mentioned, I also cut my classical teeth on this piece 50 years ago; still gives me holy goose bumps. Little know fact, the conductor has a brother name Werner Klemperer; TV addicts knew him as "Colonel Klink". The Commandant in Hogan's Heros. Good think someone carried on the family's honor.
Werner is son of Otto.
The Human "Requiem". Perfect! (Ole Skovlund, DK)
El mejor Réquiem Alemán: Fischer-Dieskau / Scwarzkopf / Kelemperer... ¡Sin duda alguna!
A FAN SINCE 1962. HURRAY FOR THE TROMBONES WITH THEIR OCTAVE LEAPS WHICH MAKE MORE OF AN IMPRESSION THAN THE TRUMPETS!
Who knew the world needed a German Requiem? Brahms knew.
Well it wasn’t yet another trotting out of the Catholic Latin mass for the dead, but rather passages from the German Lutheran/Protestant bible.
a sublime recording!
Thank you.
Bienaventurados los que sufren (00:01)
Porque toda carne es como hierba (10:00)
Señor, enséñame (24:32)
Cuán hermosas son tus moradas (34:26)
Ahora tienes tristeza (40:16)
Porque aquí no tenemos estatuto permanente (47:12)
Bienaventurados los muertos (59:00)
Magnificent performance (Y)
The best Ein Deutsches Réquiem: Schwarzkopf / Fischer-Dieskau / Klemperer. Any doubt is possible?
Furtwängler, Kerstin Lindberg-Torlind soprano, Bernhard Sönnerstedt baritone, Stockholm Philharmonic Orchestra, Stockholm Philharmonic Chorus live from1948!!!! Simply you don't believe your ears! Specially in the second movement, Denn Alles Fleisch, Es Ist Wie Gras, hairraising. Then maybe from Klemperer, his live account, but if someone wants to have also nice sonics, yes this one is the best!
There are a few others at this level, but it's on the very short list of those at the absolute top, for sure.
Edgardo Lucio Crocetta m
I've listened to the one by von Karajan. This is still the best ever. My opinion of course
1:08:15 these moments of pure Grace .........
Divine!
thank you very much^^
Best I ever heard
53:29 this fugue is haunting my life since 50 years;
So beautiful, but full of pain and sorrow, ongoing torture of life
As much as I love his 4 symphonies, I’ve never taken to the Requiem. However any recording by Otto Klemperer and the incomparable Philharmonia of those times always gets my attention. This time I’m going to reassess my opinion.
Timeless music./Ole S., DK
@@oleskovlund Yes, once again Klemperer has won me over to a work that I had not fully appreciated.
Pese a que han transcurrido más de sesenta años de esta grabación, sigue siendo impresionante. Desde los primeros compases sabemos que estamos ante una de esas versiones ante las que no hay nada que decir, sino escuchar, hasta el último compás. Pero aún entonces quedamos atrapados en esa dimensión sobrenatural donde los aplausos son innecesarios e, incluso, fuera de lugar...¿Klemperer, Fischer-Dieskau, Schwarzkopf? En la Eternidad...
Eine Hymne der Hoffnung, die wir dem Leiden der palästinensischen Nation widmen.
Sublime
Wow, Scharzkopf really takes my breath away!
In case you're interested, I posted the score to read along ua-cam.com/video/ZXDR4UpUC4o/v-deo.html
Thanks
Magic .
I don't think you can get much better than Klemperer for European pieces like this. He has a way of coaxing great power and weight out of the orchestra. However, I think he is just pipped by Giulini in this particular piece.
This version, for Dietrich Fischer-Dieskau.
ascolta anche Pierachille Dolfini "Allegro con anima": HUMANAE VITAE (Brahms)
After the many great performances of this masterwork that I've given, mostly at Carnegie Hall, I get to sing it again March 4, 2018 in New York City with the Canterbury Choral Society. Be there If you can but I assure you, the joy is all mine.
Deuache music habe 3 "B"s and 4 "M's : Beethoven, Brams, Bach , und Mozart, Mendelson, Malhler, Mendelson
Agradezco a Dios, y al excelente trabajo de este canal , por descubrir esta obra maestra del genio de Brahms ; en esta interpretacion magistral , aun cuando las tecnologias del sonido no estaban tan avanzadas como hoy dia. Es fruto de los valores espirituales Judeos- Cristianos de nuestra cultura occidental ; a la cabeza tambien del desarrollo musical. Es la Musica de todos los tiempos . Gracias
🙏🌹🙏 since 1990's I love this social meditative requiem. But mine is from another orchestra and conductor.
Esta versión es hernosa y Klemperer como siempre sublime y emocionante y otra versión q me gusta mucho es de otro maestro aleman Karl Richter ej Paris en vivo de 1964. Para mi las dos mejores versiones del requiem del gran Brahms.
Timeless without sentimentality.
Thank You!
Ole Skovlund, DK (6.9.24)
The culmination of Klemperer's career ....
what do you know, other than meisterbaking yourself?
And now , my dear Alex , let us know what YOU know .....
Let's not quibble. Otto Klemperer made a number of outstanding recordings, perhapsfewer than some of us would have liked, but we should be glad that his of the German Requiem has brought pleasure, maybe even joy to Mr Maisenbacher. De gustibus non disputandum (est).
KLEMPERER: The best German Requiem, the best ... Bach St Mattwew Passion ... Bach Mass in B; ... Handel's Messiah... Beethoven's Fidelio ... Beethoven´s 6th ... Beethoven's Choral Fantasy... Mahler's 2nd... Mahler 4th ... Mahler 9th ... Mahler's Das Lied von der Erde ... Bruckner 6th ... and so on. It's a pity that he never recorded Mozart's Requiem.
And a pity his Messiah is cut.
Listen to Mozart Requiem conducted by Josef Krips. recording from 1971, Vienna Philharmonic
Perhaps if there's an after-life, we may be privileged to hear such a performance.
The best German Requiem and Bach St. Matthew Passion? Si. Klemperer conducting the best Beethoven and Mahler? No way.
Yo no sé. Pero encuentro que el requiem aleman, es su "5° sinfonía"
Except that it is opus 45, done before his symphonies. This op. 45 was Brahms' first big international hit. For example, this is what first made him liked and famous in England.
@@watutman Por eso le puse entre comillas como "5° sinfonía"
The German Requiem? Very German, the heaviness, ponderousness, mistiness, and slow pace are bottomless. Slow, dark, heavy, spiritual - German souls passionately adore all those qualities.They became the essential features of Romanticism. Right after, in your stride, for comparison's sake, immediately listen to Mozart's Requiem or Verdi's Requiem. Striking contrast.of moods and atmosphere.
True
Actually this is the fastest Brahms Requiem available on UA-cam. Klemperer's performances in the late 50's were faster still. He resisted.all possible sentimentality in this music, opting instead for true sentiment and feeling
In case you're interested, I posted the score to read along ua-cam.com/video/ZXDR4UpUC4o/v-deo.html
@@MrKlemps For me Furtwangler gives the Brahms Requiem it's needed time, space and rubato.
Germans are german.
So what ?
Are you in trouble with them ?
For Matthew Perry 😔❤😢
Humbled. Reminded I chose a choral excerpt for a conducting class. But the soprano lyrics say it all for me on this 125th anniversary of Brahms' own passing
FD and Schwarzkopf are outstanding. But why is it that today in 2021, I generally find Klemperer's tempi surprisingly a bit too fast along with a lack of necessary rubato? I will instead prefer to go to Furtwangler.
Klemperer's tempi "surprisingly a bit too fast"?? 😳😳😳. Surely, you jest. Klemperer never conducted ANYTHING fast. However.......... this is indeed one of the faster performances of Brahms' German Requiem and it is glorious, not least of all because Klemperer atypical 'picks up the pace' in this performance. The one time in his lifetime he conducted something faster than what is typical it worked marvelously, a reflection of Klemperer's deep feeling and understanding of this masterpiece.
Fast for Klemperer, that is....@@dlphcoracl9645
lets talk about life and non-existence, both have their good and bad things, no one of them is perfect, best thing of life it gives you good times sometimes, best thing of non-existence it not gives us bad times that life gives us sometimes !!!!! 💎
Lovely but the Kempe, Dieskau, Gruemmer recording would be the one l keep
Oddly, Klemperer takes the tonic fugue at the end of the 3rd mvmt fast, and Toscanini slow.
That's an anomaly to me as I prefer it slower. I hold both artists up in my heart very dearly, but this is an oddity. I love vK's everything, but I've actually yet to hear the 3rd mvmt's brilliant ending "done right".
Agreed! Here's another one: ua-cam.com/video/bugzbO3G2Q0/v-deo.htmlm20s, listen to how the horns completely BLEW up the momentous crescendo buildup! What Brahms put on the score for the horns just cannot be more clearer: poco a poco cresc. Why in the world would he do that?! Sorry, legendary this recording might be, it just doesn't get to me.
ASTA POMPEJA ( ITALIA )
A pesar de mi ateismo confirmado, esta música es sobrecogedora, como la idea de la muerte.
Aunque este no es el mejor lugar para abordar este tema, puede apreciar este tema, personalmente nos gusta : Opiniones sobre el origen de la vida. tv.jw.org/#es/mediaitems/OriginsLife/pub-pcr_2_VIDEO
Soy librepensador agnòstico, pero no soy lo suficientemente inteligente como para ser ateo. No considero posible al Dios-Persona de las religiones. Sin embargo, esta y otras interpretaciones de Klemperer (Mesias, de Händel, Pasión según San Mateo, de Bach, etc.), paradójicamente me hacen sentir en la presencia de Dios...
Escribo desde Barranquilla
Si existe la sed, es porque existe el agua.
Enamorado de la dirección de klemperer desde que oí la pasión según San mateo. Escribo desde la campiña sevillana
50:00
51:25
Some people would have you believe that everything around us has occurred quite by chance. It is all coincidental.
They presumably think, then, that music like this just evolved too.
But no-one would suggest this music designed itself would they? Could it just have happened?
This has become ridiculous. Two ads every 40 bars.
Insolence ... 53:29 , even Beethoven is not able to write a better fugue than this Everest
Whole lotta mid. Furtwangler >>>
lmao
which recording though - '47 live with Lucerne/Hotter/Schwarzkopf?
Duty of warning required: reclamas each 3rd (!!) minutes.
IT'S A DISGRACE 😵😭😈😈😈