Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45
- Selig sind, die da Leid tragen (Ziemlich langsam und mit Ausdruck) (09:58)
- Denn alles Fleisch, es ist wie Gras (Langsam, marschmäßig) (16:02)
- Herr, lehre doch mich (Andante moderato) (10:47)
- Wie lieblich sind deine Wohnungen (Mäßig bewegt) (05:54)
- Ihr habt nun Traurigdeit (Langsam) (07:00)
- Denn wir haben hie keine bleibende Statt (Andante) (12:35)
- Selig sind die Toten (Feierlich) (09:45)
Something new is always to be expected whenever Nikolaus Harnoncourt turns his attention to an important piece of music, and his latest release, Brahms: Ein Deutsches Requiem, Op. 45, is no exception. This is not the only time the acclaimed conductor has tackled Brahms's German Requiem, but it is the first time he has explored the composer's ideas on how it should be performed.
Brahms originally conceived his German Requiem for smaller forces, but its immediate popularity led to its being performed mostly by massed voices and large orchestras. Brahms himself made an intimate version for voices and two pianos, and a preview of the work was given with a choir of only twelve voices and piano. Nikolaus Harnoncourt has studied the variations in depth and his sensitive, thoughtful interpretation demonstrates a new approach to the work.
The high-profile lineup of Harnoncourt's new recording comprises the Arnold Schoenberg Choir, whose connections with the conductor go back more than thirty years, and the Wiener Philharmoniker, an orchestra that knows the conductor's interpretative ideas inside-out. The two solo vocal parts are ideally cast with soprano Genia Kühmeier and internationally renowned baritone Thomas Hampson. Already greeted enthusiastically by international audiences and music press alike, Harnoncourt's new take on Brahms's German Requiem is sure to be a triumph in the U.S. From the Label