Brahms: A German Requiem (1871 London Version)

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Baritone soloist Hugh Russell is the star of the disc, declaiming the text with clarity and passion, and inspiring the choir to match him in the third and fifth movements. — Choir & Organ, December 2019, 3 out of 5 stars More…

Release Date: 13th Sep 2019
Catalogue No: 8573952
Label: Naxos
Length: 65 minutes

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Brahms: Ein deutsches Requiem (A German Requiem), Op. 45 (1871 London version) (Sung In English)

Work length1:05:50

$15.00

$19.40

$26.25

Madeline Slettedahl (piano), Craig Terry (piano), Hugh Russell (baritone), Michelle Areyzaga (soprano)
Bella Voce
Andrew Lewis

I. Blest Are They Who Are Sorrowful

Track length9:17

$2.00

$2.60

$3.50

II. For Mortal Flesh Is as the Grass

Track length14:10

$3.00

$3.85

$5.25

III. Lord, Teach Me to Know the Measure of My Days on Earth

Track length9:01

$2.00

$2.60

$3.50

IV. How Lovely Are Thy Dwellings

Track length5:11

$1.00

$1.30

$1.75

V. You Now Are Sorrowful

Track length7:33

$2.00

$2.60

$3.50

VI. For We Have on Earth No Abiding Place

Track length11:18

$3.00

$3.85

$5.25

VII. Blessed Are the Dead

Track length9:20

$2.00

$2.60

$3.50

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Brahms’ fascination with music of the 16th to the 18th centuries was nurtured during his appointment in Vienna as conductor of the Singakademie. His own choral compositions had gradually moved from an almost pastiche Renaissance style towards a fully mature, Romantic approach, culminating in his large-scale choral masterpiece Ein deutsches Requiem. This performance is sung in a new English translation prepared by Lara Hoggard that fits the original German declamation and with the piano four-hands accompaniment written by Brahms himself.

Reviews

December 2019

Baritone soloist Hugh Russell is the star of the disc, declaiming the text with clarity and passion, and inspiring the choir to match him in the third and fifth movements.

March/April 2020

The recording...is superb, with an acoustic that combines marvelous definition, rich and beautiful reproduction of both voices and pianos, and an ideal balance among the performing forces.

January 2020

Madeline Slettedahl and Craig Terry set the sober mood and the steady pace of the second movement’s obsequies. They are unfailingly sensitive to Lewis’s rubato in the movements of repose, but an air of the rehearsal room lingers all the same...This is a well-blended, Chicago-based outfit of 34 voices, fielding a mixed alto section that Brahms would surely not have envisaged, and slightly stronger in the upper than lower parts.

Brahms: A German Requiem (1871 London Version)

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