Brahms: Ein Deutsches Requiem, Op. 45

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It's an extraordinary interpretation: for one thing, at least in the first two movements, it must be the slowest account I've ever heard...Yet, to be fair, the effect is neither glacial nor too... — BBC Music Magazine, June 2010, 4 out of 5 stars More…

Release Date: 29th Mar 2010
Catalogue No: LPO0045
Label: LPO
Length: 75 minutes

Usually despatched in 4 - 5 working days

Brahms: Ein Deutsches Requiem, Op. 45

Work length1:15:52

Album only

Yannick Nézet-Séguin, London Philharmonic Orchestra, Elizabeth Watts, Stéphane Degout, London Philharmonic Choir, Neville Creed

I. Selig sind, die da Leid tragen

Track length12:05

$1.40

$2.60

II. Denn alles Fleisch es ist wie Gras

Track length16:49

Album only

III. Herr, lehre doch mich

Track length10:07

$1.40

$1.95

IV. Wie lieblich sind deine Wohnungen

Track length5:54

$1.00

$1.30

V. Ihr habt nun Traurigkeit

Track length7:00

$1.20

$1.95

VI. Denn wir haben keine bleibende Statt

Track length12:18

$1.40

$2.60

VII. Selig sind die Toten

Track length11:39

$1.40

$2.60

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About

Newly appointed as the London Philharmonic Orchestra’s Principal Guest Conductor after just one appearance with the ensemble, Yannick Nézet-Séguin came to London in April 2009 to conduct Brahms’s profound A German Requiem. He presided over a performance of rare reflection and inevitability at the Royal Festival Hall that prompted an extraordinary silence from a capacity audience. In the young Canadian’s hands, Brahms’s uplifting choral masterpiece is marked by astutely judged tempi, emphasising the drama and the moment and drawing in and immersing the listener into this live concert recording.

Press acclaim:

‘Under the conspicuously talented Yannick Nezet-Seguin it shone, it thundered, it inspired awe and consolation in equal measure. I can’t honestly remember when it last sounded so all-enveloping...With wonderfully sensitive and articulate singing from the London Philharmonic Choir the fine balance between the work’s deep and abiding compassion and its death-defying exultation was memorably achieved. Awe was duly forthcoming as the mighty cortege of “Denn alles Fleisch, es ist wie Gras” rolled out, low horns and pounding timpani accentuating its black splendour, and those fugal codas were properly rollocking, hopeful affairs – blasts from the past powering towards the future.’ The Independent, April 2009

‘The choral singing was wonderfully intense, and soloists Elizabeth Watts and Stéphane Degout were both outstanding. The long silence at its close, which no one dared fracture with applause, was testament to its impact.’ The Guardian, April 2009

Reviews

June 2010

It's an extraordinary interpretation: for one thing, at least in the first two movements, it must be the slowest account I've ever heard...Yet, to be fair, the effect is neither glacial nor too ponderous, but a passionate interpretation of burning sincerity, distinguished by superbly-sustained choral singing and orchestral playing.

August 2010

I found so many things to enjoy about this recording...The live-ness, for one...the Royal Festival Hall has somewhat miraculously gained ambience, or at least atmosphere, probably thanks to the tension carefully sustained by the interpretation, and more particularly by the performers.

Brahms: Ein Deutsches Requiem, Op. 45

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