Johannes
Brahms:
Ein deutsches Requiem, op.45
Elisabeth Schwarzkopf, soprano,
Dietrich Fischer-Dieskau, baritone
The Philharmonia Orchestra & Chorus, Otto Klemperer
1962. EMI Classics (Great Recordings of the Century) CDM 5 66903 2 midprice
Here comes a true classic of the gramophone, if there ever was one. There are quite a few fine recordings to chose from, when looking for a version of this larger-than-life masterpiece of the romantic chorale. But finding one that outranks Klemperers awesome vision, is easier said than done ... as for my self, I'm still on the lookout. These are the fruits of Otto Klemperers legendary project involving the Philharmonia Orchestra and Chorus. An orchestra founded by Walter Legge, just years before the great german arrived to make it one of the truly great orchestras of the world. By the late 1950's Klemperers crew had won the attention and admiration of the London audience as well as the rest of the musicloving world. The Philharmonia's recorded legacy from the 50's and 60's contains treasures of untold worth; this account of the Brahms' Requiem being among the finest examples.
I personally find it hard not to be overwhelmed by Klemperer's profound and sincere reading of Brahms' grand choral endeavour. The long sweeping lines, wonderfully shaped by one of the finest and most homogenous choirs of the century, are formidable in effect. Brahms' textual settings convey a slightly more tranquil and bearable ambience than, say Mozart's apocalyptic vision; a trend taken even further by Fauré. The emphasis leans more towards the vision of eternal rest, rather than that of eternal damnation. The balance between the air of celestial tranquility and the coils of mortality; the bliss of heaven versus the temporal grit of earthly life, a duality central in Brahms' choice of biblical excerpts, are as central in Klemperer's reading. The serene beauty of the opening movement's Selig sind die da Leid tragen... is contrasted by the awesome force of Alles Fleisch es ist wie Grass of the second movement, where the announcing brass and the unrest of the timpani creates a spinechilling sensation of witnessing something not quite of this world, a sensation not uncommon in the Klemperer recordings of the time.
The choice of soloists with Elisabeth Schwarzkopf and Dietrich Fischer-Dieskau, adds further to the impression of an unusually integrated and thoroughly reflected german requiem. The regal quality of Schwarzkopf's pure and involving rendering in the 5th. movement, is well matched by the authority of Fischer-Dieskau. However this is, atleast for me, primarily the masterpiece of Klemperer and his outstanding musicians and singers: a musical force the equal of Reiner's Chicago, and Furtwängler's or Karajan's Berliners.
I have alreaddy mentioned the impression of witnessing something almost divine in expression. Klemperer achieves this not only in his Brahms. His Beethoven, and not least his Bach contains the same greatness. I wouldn't be without my Herreweghe or Gardiner recordings of the B-minor mass, but Klemperer nevertheless conjures up a vision of such serenity and sheer beauty, that I simply cannot dismiss it on the grounds of not being historially correct. Who cares about so called authenticity when presented with musicmaking of this calibre.
The image is taken from the EMI cd-booklet
2000 arne.mork@yahoo.com
