Brahms: Ein Deutsches Requiem

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Brahms: Ein Deutsches Requiem 1:08:34 $17.98
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# Track Title Length Format Sample Rate Price
1 I. Selig sind, die da Leid tragen 10:46 96/24 Album only
2 II. Denn alles Fleisch es ist wie Gras 14:40 96/24 Album only
3 III. Herr, lehre doch mich 9:16 96/24 Album only
4 IV. Wie lieblich sind deine Wohnungen 4:44 96/24 Album only
5 V. Ihr habt nun Traurigkeit 6:51 96/24 Album only
6 VI. Denn wir haben hie keine bleibende Statt 9:58 96/24 Album only
7 VII. Selig sind die Toten 11:44 96/24 Album only

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℗ © 2010 PentaTone

Johannes Brahms (1833-1897)

Camilla Tilling, soprano
Detlef Roth, baritone
Rundfunkchor Berlin, choir
Simon Halsey, chorus master
Rundfunk-Sinfonieorchester Berlin (Radio Symphony Orchestra Berlin)
Marek Janowski, conductor

“So great a man, so great a soul: yet, he believes in nothing.” Thus wrote Antonin Dvořák of his friend Johannes Brahms. And yet, the latter composed one of the most important, if not most emotional, sacred choral works in the history of music: Ein deutsches Requiem (A German Requiem). Dvořák was a devout Catholic, and as such – although he was able to accept Brahms’ sober Protestant religion – he definitely could not tolerate his tendency towards agnosticism: a tendency that was actually quite common during the Romantic era. Halfway through the19th century, many people felt the loss of social, political and, above all, strongly religious ties. Brahms was not able to develop a strong belief in life after death; and if death is no longer the gateway to eternal life, what then is the meaning of life? This puzzle continued to niggle at him throughout his life, and also greatly influenced his compositions.

Even though, as a matter of principle, Brahms did not usually respond to specific events with compositions, his Ein deutsches Requiem is closely linked to the death of two of his loved ones: the agonizing end of Robert Schumann in 1856, and the passing away of his mother Christina in 1865. Brahms made an attempt to process these experiences by writing his Sonata for Two Pianos. In later years, he used the scherzo from this sonata in the first part of the second movement of the Requiem.

Producer: Job Maarse
Recording engineers: 
Frank Klein, Florian Krentz and Thomas Monnerjahn
Editing engineer: Roger de Schot