10/15/2015
Brahms(Ein)DeutschesRequiem|gramophone.co.uk
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Home (/) Reviews (/reviews) Brahms (Ein) Deutsches Requiem
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Rattle brings a very special quality
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discernment Sign
and devotion
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Author:Richard Osborne
This is a lovely performance, sensitive to the works
consolatory mood, free-moving and sweetly sung. There
is much to be said for a performance such as
Klemperers or John Eliot Gardiners which underlines
Brahmss debt to Schtz, Bach and the other great pre-
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erman%2520Requiem%2527;)
classical German Protestant composers. Rattles reading
does not obscure that debt but it stresses more the
works roots in the new German school: to the influence,
above all, of Brahmss cherished and much mourned
mentor, Robert Schumann.
This is not a period performance in the sense of
attempting to conjure forth period sounds. The opening
colloquy for violas and divided cellos is pure Berlin
(Nikisch would have recognised the sound, as would the
young Karajan). The singing is awed and reverential, with
ravishing pianissimi from the superb Berlin Radio
Chorus. What we have here is not authenticity of sound
but authenticity of feeling and effect. I dont remember
hearing a swifter performance of the fourth movement,
Wie lieblich sind deine Wohnungen, or a more calming
one. A flowing tempo which creates a sense of deep
repose suggests that most sought-after of all qualities in
BRAHMS(Ein)Deutsches
Requiem
(Ein) Deutsches Requiem, 'German
Requiem'
Selectedcomparisons
Brahms German Requiem
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Throughout, Rattle strikes a shrewd balance between the works
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affective nature and its narrative power. Tempi are brisk in the two
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10/15/2015
Brahms(Ein)DeutschesRequiem|gramophone.co.uk
movements with baritone solo which carry much of the works
doctrine. The great choral codas to the second, third and sixth
movements are also superbly judged. In Gardiners performance the
great double fugue which ends the third movement sounds like
imitation Bach; with Rattle and the Berliners it sounds utterly
Brahmsian. In the great choral peroration to the penultimate
movement, space is provided for the words to tell, as Brahms clearly
intends.
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Thomas Quasthoff, who seems a little out of sorts, is no match for
Fischer-Dieskau on Klemperers unignorably splendid recording; and
I dont greatly care for Dorothea Rschmanns reedy tone and tight
vibrato in Ihr habt nun Traurigkeit. Still, the movement is so
persuasively shaped that, heard in context, it, too, speaks to us
through the sonic squall. Internal balances between choir, soloists,
and orchestra are generally well judged: apt to a performance which
treats this great memorial prose poem with a mixture of acumen and
affection that is entirely special.
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