Recorded live with the Philharmonisches Staatsorchester Hamburg and no fewer than nine choirs, this new release recreates the program of Brahms‘ German Requiem as first presented in Bremen on Good Friday in 1868. Interestingly, this original premiere lacked what later became the fifth movement, the soprano aria “Ihr habt nun Traurigkeit,” and instead featured musical interludes and an assortment of complementary pieces performed by violinist Joseph Joachim with organ accompaniment.
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Conductor Kent Nagano includes these interludes, featuring Bach’s Andante from the Violin Concerto in A minor, the Andante from Tartini’s Violin Concerto in B flat major, and Schumann’s “Abendlied,” arranged by Joachim. Additionally, the historical reconstruction is completed with three closing pieces from Handel’s Messiah, in Mozart’s arrangement: the chorus “Kommt her und seht das Lamm,” the solo aria “Ich weiß, dass mein Erlöser lebet” (beautifully sang by Kate Lindsey), and concluding with the “Hallelujah” chorus. These pieces, traditionally associated with festive civic events in 19th-century Germany, further enrich the historical authenticity of the program.
On these pages, David McConnell recently reviewed Edward Gardner’s Bergen performance of the German Requiem. Compared to Gardner’s polished yet emotionally restrained account, Nagano’s interpretation may initially strike listeners as less refined, occasionally favoring atmospheric delivery over immaculate precision. Yet, it avoids the emotional detachment that marked the Gardner version. The massed choirs, which include the Chor der KlangVerwaltung and eight additional ensembles from Hamburg, deliver a notably impassioned performance, bringing an essential warmth and humanity to the piece.
Kent Nagano (image: Antoine Saito)
Baritone Jóhann Kristinsson delivers the solo movements with commendable artistry, his vocal richness aptly capturing the reflective quality of “Herr, lehre doch mich” (track 3) and “Denn wir haben hie keine bleibende Statt” (track 8). However, the recording balance somewhat undermines his contributions, placing his voice behind the orchestra and diminishing the overall impact.
Accompanied by detailed and highly informative booklet notes, this release not only provides an elegant performance, but also enriches our understanding of the context surrounding the original Bremen premiere. The Philharmonisches Staatsorchester Hamburg and choirs under Nagano demonstrate clear affection for the work, performing with sincerity and commitment. Despite minor sonic issues, especially concerning solo vocal balance, the recording remains compelling, presenting listeners with a rare glimpse into Brahms’ intentions and the cultural milieu of its first presentation.
Recommended Comparisons:
Klemperer | Gardiner | Abbado | Tennstedt
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Top image: Sergio Veranes
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Album Details |
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|---|---|
| Album name | Brahms – Ein deutsches Requiem – Recreation of the 1868 Bremen Première |
| Label | BIS (SACD hybrid) |
| Catalogue No. | BIS2720 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artists | Kate Lindsey, Johannes Kristinsson, Veronika Eberle, Thomas Cornelius, Chor der Klangverwaltung, Philharmonisches Staatsorchester Hamburg, Kent Nagano |
