Brahms - Ein deutsches Requiem
Röschmann; Quasthoff; Rundfunkchor Berlin; Berlin PO / Rattle
EMI 365 3932

Release date March 2007

Brahms’s German Requiem avoids the liturguical Requiem text entirely. His skilfully-selected biblical texts on the theme of human mortality avoid all mention of Christ; this is a Requiem to provide comfort and consolation to the bereaved, not to pray for the peace of the souls of the dead. Given the popularity of the work in the choral repertoire (not to mention the fact that it is Brahms’s largest single composition), it is surprising how few really good recordings of it exist. Fortunately, Simon Rattle has at his disposal not only an orchestra steeped in the German romantic tradition, but also the Rundfunkchor Berlin (Germany’s oldest radio choir) and two world-class soloists in Dorothea Röschmann and Thomas Quasthoff. He brings fresh ideas to bear on the piece, particularly with regard to tempi. Thus the Langsam marking of the slow second movement is truly slow, the choral tone desolate, and the build-up of tension all the more effective. In contrast, the fourth movement Wie lieblich sind deine Wohnungen (How lovely are thy tabernacles) is taken markedly faster than normal. At the phrase “die loben dich immerdar” Rattle even emphasises some hemiolas that have rarely (if ever) been marked before, to interesting effect. The chorus is one of the finest; perfectly balanced, with beauty of tone across all the voices and no sense of strain anywhere. Even better, they constantly convey the sense of the words; “werden mit Freuden” in the first movement is truly joyful, as is the triumphant moment ten minutes into the second movement when the mood changes from resignation to radiant hope. Röschmann’s voice arches gloriously over the orchestra in the fifth movement. Her words occasionally disappear at the top of her range, but Quasthoff’s diction is excellent and his delivery noble throughout. Overall, there is a great feeling of unity in this performance, probably helped by Rattle’s decision to place the chorus on the stage rather than in the Berlin Philharmonie’s choir stalls above the stage. Such is the beauty and passion of this Brahms Requiem, it must be considered one of the finest ever recorded

Reviewed by Anne McAlister