Spirit and comfort are the main factors behind this
unique 'Requiem'. Indeed the words offer solace for the living instead
of a prayer for the dead, quite an interesting afterthought. This intriguing
and comparatively rare recording comes into direct competition with
Rudolf Kempe's similarly broad EMI recording of a year later. Fritz
Lehmann is an underrated conductor although it is obvious that he has
a real feel for Brahms and his grand romantic gestures. Indeed this
is a reading in the best German traditions with slow speeds and immense
momentum, just the right choices for such a brooding work, one would
reflect.
There is also pungency of spirit that is notably absent
from the Karajan recording (EMI 1975) and that is certainly due to Lehmann's
brilliance at portraying the proceedings. The conductor sets the tone
in the First Movement, a simple blaze of power throughout although the
calmer moments are quite beautifully done. Lehmann's 'Henn lehre doch
mich' is beautiful for its marmoreal intensity and impressive pathos.
The orchestra is the chief protagonist here with its rising declamations
and perfect ensemble making the ideal contribution. Both soloists are
also finely honed and marvelously tuned especially Maria Stader's 'Ihr
habt nur Trauerkgeit', a self-contained movement of drama and inconsolable
grief.
It is a great pity that Lehman was to die just a year
after this recording was made, he would undoubtedly have given us much
acclaimed versions of Beethoven's Ninth Symphony and other works of
similar importance. As the Originals series continues to unearth such
treasures from the monophonic archives, it continues to be made obvious
that DG's world did not begin and end with Karajan and Furtwangler,
especially in Berlin.
This Lehman Requiem also boasts the accomplished and
natural singing of the St. Hedwig's Cathedral Choir and the Berliner
Motettenchor, two ensembles deeply steeped in the German choral tradition
and who provide an authoritative alternative when compared to the staid
and fleshless contributions of the Wiener Singverein for Karajan. Otto
Klemperer's justly famous EMI set is also recommendable but for pathos,
spirituality and ultimately comfort, Fritz Lehmann's timeless, superbly
recorded performance takes pride of place amongst the historic versions
of this enigmatic but beautiful 'Requiem'