Éditions Jade have released this 1955 Berlin
mono recording of
Ein deutsches Requiem conducted by Rudolf Kempe.
This is the same performance that I have on both a 1993 digitally re-mastered
CD on EMI Classics ‘References’ CDH7647052 and on a 2009
issue on Naxos 8.111342 (see
reviews)
re-mastered by restoration engineer Mark Obert-Thorn. Certainly this
performance will have been released several times over the years and
I can remember a friend having it on a double album 33 rpm vinyl on
EMI/HMV Concert Classics Series XLP 30073/4 (c/w Bruckner
Te deum).
This, Brahms’ longest composition, is generally acknowledged as
his greatest choral work. Work on the
Requiem occupied him for
several years. Whether it was the demise, whilst incarcerated in an
asylum, of his friend and mentor Robert Schumann in 1856, or the death
of his mother in 1865 or a combination of both that provided the inspiration
for this masterwork is uncertain. The first performance was given at
the Leipzig Gewandhaus in 1869. Instead of setting the customary Latin
Catholic text Brahms arranged his own text mainly from the Lutheran
Bible. Rather than a solemn requiem mass for the dead this is a mass
to comfort the living that the dead have left behind.
Dietrich Fischer-Dieskau has involvement in two movements. In the darkly
hued
Herr, lehre doch mich (
Lord, make me to know mine end)
his rich, smooth voice registers strongly and is never overpowered by
the orchestra. Against the initial lighter orchestral weight in
Denn
wir haben hie keine bleibende Statt (
Here on earth we have we
no lasting home) his closely recorded voice sounds even better rising
to the challenges with evident devotional respect.
There is most assured singing also from distinguished German soprano
Elisabeth Grümmer in
Ihr habt nun Traurigkeit (
Ye now
are sorrowful). After listening to Fischer-Dieskau’s smooth
tones it took me a while to become accustomed to Grümmer who has
just as much impact although sounding brightly piercing and rather fluttery.
The Chor der St. Hedwigs-Kathedrale, Berlin is an inspiring group able
to sustain prolonged phrases, displaying an appealing tone and commendable
unity. Well drilled by their chorus master Karl Forster it is hard to
find fault with the choir's committed performances of the two best known
movements of the
Requiem both for chorus and orchestra:
Denn
alles Fleisch, es ist wie Gras (For all flesh is as grass) and
Wie
lieblich sind deine Wohnungen (
How lovely is thy dwelling place).
Keeping his forces tightly clasped Kempe directs a performance that
is sincere and reverential. The orchestra’s assured playing balances
the score’s key ingredients of strength and pathos. Overall the
string sound feels warm and comforting like glowing coals in a brazier.
Especially striking are the rich and resonant double basses and the
cellos which provide a deep and voluminous bedrock. Dedicated playing
from the wholesome brass sensibly eschews any tendency for excess and
the woodwind easily pass rigorous inspection.
It is no surprise that the sound is impressive for its near sixty year
age as the Jesus Christ Church in Berlin/Dahlem has been in high demand
as a recording venue. It is still extremely popular as a recording studio
today. The sound quality on this Éditions Jade recording feels
as if the fierce edges have been smoothed at the expense of some clarity
leaving an atmospheric sound compared to the more vividly recorded Naxos
issue which in truth I prefer. It may be worth noting that all the rather
spare notes on this Éditions Jade release are in French only.
This sincere and dignified
Ein deutsches Requiem is one of the
finest in the catalogue and certainly justifies the praise it has accrued
over the years.
Michael Cookson
Masterwork Index:
Ein
deutsches Requiem
