Brahms: Ein Deutsches Requiem - Simon Rattle, Berliner Phil

Simon Rattle and the Berliner Philharmoniker returns to the 19th-century Germanic repertoire on which the orchestras heritage has been based since its formation 125 years ago. Following in the historic footsteps of Klemperer, Celibidache, Tennstedt, Fischer-Dieskau, Schwarzkopf and many other distinguished EMI artists, Simon Rattle brings to the label Brahmss most substantial yet intimate large-scale work.
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[@jeffreymafereka9477]

I'm not a church person. But this is my way of worshipping the Creator. Listening to Beautiful melodies. From great Musicians indeed.

[@TheC3.]

I have heard many versions, I have several of them, but this one is my very favorite. Strong, it moves me most! It was also one of the hardest pieces I have ever studied to perform, as a soprano in the choir.

[@Beethovenboy]

OMG, this is easily one of the most beautiful pieces of art in the world! I love how Sir Simon de-emphasizes the religious aspect and instead explains it in terms of the human experience, I'm quite sure that this is part of Brahms' intentions especially given the fact he exluded the typical Dies Irae. This recording/interpretation sounds awesome, I gotta find it.

[@longeaton34]

Why oh why is this not performed more often?

[@aparucio]

Performed in napier n z very soon

[@bryangl1]

Rattle and the BPO forces performed this again October 2017 - with possibly an even higher standard (the orchestra has performed it several times since this instance.)

[@LonEdward]

The Berlin Philharmonic is a transcendent orchestra.

[@Grandtenore]

@billyguns2 I'm glad you commented on the choral sound. I find that so many "orchestral" conductors treat the chorus almost as an after thought...even in works with large choral components. I think the deficiency is not being able to think like a singer...much like many "choral" conductors don't do a great job at nuance in orchestral pieces.

[@JesseDavis7373]

That's the extremely high-quality recording equipment capturing his voice and the sound engineers mixing it to "lead" the choral and orchestral tapestry. In the actual performance, there's probably much more of a blend, and it would be much better in my opinion, as well as authentic.

[@TheBerto3141]

@actorshmactor Bravo for you! Great story. I admire your courageous choice.

[@FoondCake]

The armless-tiny-guy look could be the next big thing for baritones.

[@mikejr41387]

omg i laughed out loud

[@andreawhittaker9274]

Thomas Quasthoff is a very distinguished artist with a very special understanding of Brahms

[@ralfrath699]

A human requiem = a german requiem!

[@Kruzifan]

The Dresdner Kreuzchor will performe that work in November 14, 2010, in Dresden..::)

[@chairrest35]

@rklight33 Isn't he merely interpreting Brahms' own comment that he wishes he'd had the nerve to call it a Human Reqiuem?

[@fgtuh]

rattle just do walk in the pace of Karajan, to the heigts

[@JesseDavis7373]

You have to watch to the end of the video to hear his comment. Rattle lost my respect with that one! Oh well... He won't miss it, anyway.

[@bryangl1]

Jesse. Perhaps you should look into Brahms' religious beliefs. Essentially, he had none. Just because you apparently want this work to be "religious" will not change the fact that, like Brahms himself, it is essentially humanistic.

[@rklight33]

To the subject of Rattle's belittling the atmospheric religiosity which permeates this work -- it's about as inane as, say, imagining Richard Dawkins explaining the exasperating beauty of Chartres Cathedral by putting it down to implicit, unwitting secular urges and longings of its designers. How ridiculously fatuous.

[@bryangl1]

Rob L. Rattle belittling the "atmospheric religiosity"? Rattle being "fatuous"? This work is not essentially religious, nor was Brahms. I hear no "belittling", just an observation on the nature of this moderately secular work about which Brahms stated that he used biblical sources for musical means. Rattle's impartial observations on this are hardly fatuous - but you comment is.