10. Johannes Brahms: A German Requiem
The Philharmonia Orchestra and Chorus with Otto Klemperer, Elisabeth Schwarzkopf, and Dietrich Fischer-Dieskau
The number 10 recording on our survey of the top 50 recordings of all time is a recording of Brahms’ Ein Deutsches Requiem on the EMI/Warner label by the Philharmonia Orchestra and Chorus led by Otto Klemperer with soloists Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau.
The Composer
Johannes Brahms (b. 1833 – d. 1897) was a German composer of the Romantic era and is generally regarded as one of the greatest composers of all-time. Even though Brahms was from the Romantic era, he was very much connected to the Classical forms as seen in the works of Haydn, Mozart, and especially Beethoven. In that sense, Brahms represented a “conservative” approach to musical tradition at a time when form and convention were changing due to Wagner and others. Brahms wrote symphonies and other orchestral works, chamber music, concertos, keyboard works, vocal, and choral music.
Brahms was from a musical family in Hamburg and showed a great deal of promise even at a young age. He began as a pianist and would often perform around Hamburg in eating and drinking establishments. By adulthood, Brahms had become friends with well-known musicians of the time. He befriended the violinist Joseph Joachim, a relationship that would be personally and artistically important throughout his life. But perhaps most important was his friendship with the famous composer Robert Schumann. Schumann, twenty-two years older than Brahms, became his most fervent advocate. Brahms likewise had tremendous esteem for Schumann. Brahms practically became a member of Schumann’s family, and after Schumann’s death at the too young age of 46, Brahms continued to be close friends with his widow, the pianist and composer Clara Schumann. Brahms never married, although he apparently had several romantic relationships throughout his life. There is speculation about whether Brahms and Clara were more than friends, but there is evidence that Brahms was probably in love with her.
Many of his compositions have become universally known, and many are perennial favorites that are frequently programmed by orchestras around the world. As part of the “Big 3” of Bach, Beethoven, and Brahms, he occupies a central place in the history of classical music. His symphonies, choral works, concertos, and chamber music reflect his considerable genius, and I urge you to listen to all his works. Three of my favorites are: Symphony no. 1 in C minor, Piano Trio no. 1 in B major, and Ein deutsches Requiem (A German Requiem). It is his Requiem we shall discuss here.
Ein Deutsches Requiem
Ein deutsches Requiem (A German Requiem), Op. 45 on words from Holy Scripture was composed by Brahms over an 11-year span, but most of it was completed between 1863 – 1867. An ambitious work for a young composer (Brahms was then in his early 30’s), it predates all of his symphonies. His Requiem would become his first great success, not just in Germany but worldwide. While Brahms was a Romantic composer, he also liked using more traditional models and forms hearkening back to the Classical era and even Baroque era examples. The Requiem is based on the traditional liturgical requiem mass (mass of the dead), but only loosely. Brahms did not use the standard Latin text, but rather chose his own texts from scripture and used the German language.
While the focus of a traditional requiem is on prayer for the dead, Brahms composed a work to provide consolation for the living. It is neither a Mass nor an oratorio, and so in this sense it is a unique work. Although Brahms was raised as a North German Protestant, he was a skeptic and an agnostic when it came to religion. In this work, even the name of Christ is not used. Today we may call Brahms a secular humanist. Nevertheless, Brahms had an excellent knowledge of the scriptures, and thus he chose texts that reflect a human longing for comfort in the face of sorrow. The famous Czech composer Antonin Dvorak said of Brahms, “Such a great man! Such a great soul! And he believes in nothing!” Upon being told by a colleague that Jesus Christ himself, the central point of salvation, was not mentioned at all, Brahms himself would say: “I confess that I would gladly omit even the word ‘German’ and instead use ‘Human’. Also…I would dispense with places like John 3:16. On the other hand, I’ve chosen one thing or another because…I needed it, and because with my venerable authors I can’t delete or dispute anything.” It is notable that Brahms titles it with “Ein” or “A” German requiem, rather than “the” requiem, perhaps reflecting his admission that this is his singular take on death and redemption.
There is evidence Brahms found inspiration to compose a Requiem after suffering two personal losses of his own. His beloved mother died in 1865, and his dear friend the composer Robert Schumann died in 1856. Shortly after proclaiming Brahms the next German musical genius, Schumann attempted suicide by plunging into the Rhine River. At Schumann’s own request, he was admitted to a mental asylum and died two years later still suffering from mental illness. Within days of Schumann’s suicide attempt, Brahms had sketched what would become the second movement of his Requiem: “For all flesh is as grass”.
Ein deutsches Requiem in its final completed form with seven parts was first performed in 1869 at the inaugural concert for the opening of the Leipzig Gewandhaus concert hall. The seven parts are as follows:
1. Selig sind, die da Leid tragen (Blessed are they that mourn)
2. Denn alles Fleisch es ist wie Gras (For all flesh is as grass)
3. Herr, lehre doch mich (Lord, make me to know)
4. Wie lieblich sind deine Wohnungen (How amiable are thy tabernacles)
5. Ihr habt nun Traurigkeit (Ye now have sorrow)
6. Denn wir haben hie keine bleibende Statt (For here we have no continuing city)
7. Selig sind die Toten (Blessed are the dead)
Much of the work has a tone of consolation and mercy. There are important contributions from two soloists, a soprano and a baritone. Their solo parts are quite important to a successful performance, as well as the parts for a highly trained chorus.
The first two movements are choral, and emphasize the mourning and sorrow of death, but also rejoicing and comfort in the end. The second movement is particularly haunting, very much beginning in a dark mood. I recall the History Channel using the beginning of this movement as background theme music for a series on the Nazis years ago. That was an unfortunate use of the music, as the movement again eventually returns to a joyful and hopeful place. The baritone solo is heard in the third movement, expressing desolation at the human condition, but the movement again ends in joy and hope, “But the souls of the righteous are in the hands of God.”
The soprano solo is in the fifth movement, again with words of hope: “Ye now have sorrow: but I will see you again, and your heart shall rejoice…” and “I will comfort you as one whom his mother comforteth.”
The sixth movement is particularly powerful in its structure and power. The music here, for me, is among the most brilliant music Brahms ever composed. At once using both new melodies and yet old forms, Brahms is attempting to express eternal truths. Brahms pays homage here to Handel in his writing a fugue in the second part of the movement, and even uses some of the same text as Handel: “Thou art worthy, O Lord, to receive glory and honour and power; for thou hast created all things, and for thy pleasure they are and were created.” Of course this echoes Handel’s Messiah, and the fugue is a baroque feature that Brahms incorporates. The power of this movement is such that, at the end with the use of the kettle drums and a big climax, it feels like the end of the entire work. Indeed, you would be forgiven for standing and applauding at this point. But no, there is another movement, and the final movement is again full of comfort and sympathy for the dead and the living alike.
The Recording
There are many fine recordings of Ein deutsches Requiem, some extremely good, but only one that enters the top 50 recordings of all time in my estimation. This is the 1962 recording on the EMI/Warner label featuring the Philharmonia Orchestra and Chorus conducted by Otto Klemperer. The soloists on this recording are soprano Elisabeth Schwarzkopf and baritone Dietrich Fischer-Dieskau. It was recorded at Kingsway Hall in London. This recording has stood the test of time and fully deserves to be in the top 50 recordings of all-time. Klemperer’s way with Brahms is direct, clear-eyed, and almost stoic as he gets to the emotional core without over-sentimentalizing. In addition, he has two of the finest soloists to ever record the work in Schwarzkopf and Fischer-Dieskau. Fischer-Dieskau is particularly moving, caught rather earlier in his career before he began shouting at notes. The Philharmonia was certainly one of the finest orchestras in the world at the time, and the chorus is firm and clear. The sound is not perfect but remasterings have improved things over the years and it is more than acceptable. In terms of tempos and dynamics, Klemperer treads a middle ground, but at times he can be significantly quicker than was the norm in his day which is an asset. I can’t get enough of the horns in the second movement Denn alles Fleisch in the buildup to the climax (both times), it sends chills. EMI labeled this recording one of their “Great Recordings of the Century”, and I completely agree.
As I mentioned there are other excellent recordings of Ein deutsches Requiem. Other recordings worth hearing include:
The 1984 recording by Wolfgang Sawallisch and the Bavarian Radio Symphony Orchestra and Chorus with soloists Margaret Price and Thomas Allen. Having quality soloists is essential to this work, and what really raises this recording above others is the singing of these two soloists. Before hearing this recording, I already greatly admired the voices of Margaret Price and Thomas Allen individually from the opera world but having them together on this recording in their prime is a great fortune. Both singers combine beauty of tone with power and confidence. They truly understand the text, the mood and the dynamics of the piece. Thomas Allen is particularly moving throughout. The Bavarian Radio Chorus is equally impressive, clear and weighty. The energy of the chorus, and their obvious devotion to the piece, also gives credit to Sawallisch’s overall conception of the work. There is gentleness and comfort where needed, but also power and joy in climaxes. I haven’t listened to many of Sawallisch’s recordings in several years, but this recording has led me to begin listening to him anew. One small warning, because this recording is an early digital recording, there is some “digital congestion” that creates some added sheen and distortion at loud volumes with some listening equipment. It has a wide dynamic range, and while I enjoy the clarity of the recording, I found myself turning down the volume during loud passages.
Both versions led by John Eliot Gardiner with the Orchestre Revolutionnaire et Romantique and Monteverdi Choir are highly recommendable (the first recording on Philips from 1991, and the second recording from 2012 on their own Monteverdi Productions label). The recordings use period instruments and are similar, but the second one has the advantage of exemplary sound and clarity.
Finally, I highly recommend the 1988 recording on the Deutsche Grammophon label by Carlo Maria Giulini and the Vienna Philharmonic and the Vienna State Opera Chorus with the incomparable American soprano Barbara Bonney and baritone Andreas Schmidt. Taken a bit slower, it emphasizes a more devotional and reflective mood. But in the hands of the master Giulini, it brings out all the emotion and heartfelt joy in the piece.
You may have noticed this is a long entry, and I appreciate you reading until the end. Brahms’ Requiem is among my favorite pieces of music ever composed, and I have also been fortunate enough to see it performed live twice by the Boston Symphony Orchestra and the Tanglewood Chorus, the two performances conducted by Bramwell Tovey and Andris Nelsons respectively. The Tovey performance was unforgettable, and the tremendous impact and importance of this work cannot be overstated in my opinion. Happy listening!
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Brennan, Gerald. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 188, 203. Backbeat Books, San Francisco. 2005.
Schonberg, Harold C. The Lives of the Great Composers (Revised Edition). Pp. 305. W. W. Norton & Company, New York. 1981.
Swafford, Jan (2016). Johannes Brahms: Ein Deutsches Requiem (A German Requiem), Op. 45, on words from Holy Scripture. Boston Symphony Orchestra Program Notes, Week 2, 2016-2017 Season. Pp. 39-47.