Jo Vincent soprano
Max Kloos baritone
Amsterdam Toonkunst Choir
Concertgebouw Orchestra
Conducted by Willem Mengelberg
Recorded live in Amsterdam, 7th November 1940
Download ID: 256970/395697
(Duration
65'50")
Play
sample movement:
Brahms' German Requiem, given its first full performance in Leipzig in 1869, began life over a decade earlier in sketches for a projected first symphony, which became the first Piano Concerto. It is unclear whether the death of Brahms' great friend and mentor, Schumann, became the original impetus for the work; what is clear is that the death of his mother in 1865 inspired the composer to put his full effort into the work.
A first performance in 1867, of the opening three movements, was not a great success - the playing was poor and it was badly received. Five months later a six-movement version, then intended to be complete, was given in Bremen Cathedral with the composer conducting, and his father, and friends Clara Schumann and the violinist Joachim amongst those present in what was a deeply moving event. The fifth movement was then added, giving a symmetry and balance to the whole piece.
At the age of thirty-five, Brahms was finally fully established as a composer with the success of this piece, and the proclamation made many years earlier by Schumann, that in Brahms the world had a worthy successor to Beethoven, began to look possible.
The text is not drawn from the Catholic Mass, as with a majority of Requiem Masses set to music at this time; Brahms instead drew on Luther's German Bible to produce a text designed to console and inspire the living, rather than offering prayers to the dead. (See below for links to further detailed information about this piece)
This recording, made onto acetate 78rpm discs by a Dutch radio station in 1940, was one of a number of Mengelberg's live output that has survived reasonably well. I say reasonably, as the recording itself was originally very good, but wear and tear of the delicate and unique disc surfaces in the twenty years prior to their transfer to tape and then LP had caused significant damage.
Only very recently has the technology become available to correct the problems inherent in the original discs, and by the slow and painstaking application of new restoration techniques we are now able to present this wonderful recording in a sound quality far superior to anything heard before.
REVIEW OF Brahms: German Requiem
(Max Klos, Jo Vincent, Concertgebouw Chorus and Orchestra, Mengelberg) (November 7, 1940)
The Brahms German Requiem has been close to my heart ever since, as a college freshman, I sung in it at age 19. We rehearsed it for eight months under Hugo Strelitzer, an exile from the Nazis who had been an aide to Richard Strauss. Strelitzer had often prepared the Requiem for Strauss to conduct; he made it clear that he thought little of our efforts. We turned to Brahms for solace.
One wonders what Strauss would have thought of Mengelberg's performance. They were close and admiring friends. On the one hand, Mengelberg's German Requiem is a great and a magnificent performance even with the usual Mengelberg quirks; there are moments of great choral climaxes in Parts II and VI that are as great or greater than I've ever heard them. On the other hand, Mengelberg has stuck a knife in his artistic creation that has wounded but not killed it. More anon.
I Selig Sind
The opening movement is very good, but not great, due to Mengelberg's typical tempo instabilities. Because of this, the beautiful modulation at "Sie gehin hin" does not make as great an impact as it could. Still, there are many beautiful moments.
II Denn alles Fleisch
The opening funeral march is remarkably steady and the choral fortissimo is shocking and very clear. The trio is lovely and the repeat of the funeral march is archingly beautiful and forward in movement. The Handelian fugue that follows is one of the greatest things I've heard from Mengelberg: entries strong and brilliantly clear; counterpoint dazzling. Have I ever heard it this good before? And then, suddenly, it's OVER. I can't believe it. A small poisonous doubt creeps in--can he have cut it? I don't have a score and I check timings with other performances and it's within the time limits, so I let it go.
III Herr, lehre doch mich
A superb baritone, Max Klos, opens with "Lord, let me know mine end" and the chorus is very beautiful in consoling him. And then Mengelberg does what no other conductor, not even Furtwangler, Toscanini or Klemperer has done: he conducts the usual murky pedal fugue as if it were Mozart with great clarity and beauty. Every strand is clear; the choral fugue above and the unyielding orchestral pedal below. A magnificent accomplishment.
IV Wie lieblich
This acme of sweetness, this bob-bon is superb and the little contrapuntal acid in the middle cuts it very well.
V I habt nun Traurigkeit
Jo Vincent is not Elizabeth Schwartzkopf in the 1947 Karajan recording of the Requiem and that says it all.
VI Denn wir habel
The great climax of the Requiem. Again Max Klos (nearly equal to Hans Hotter) opens and Mengelberg creates great mystery and suspense. The mood finally breaks into tempestuous choral fury. The Pristine Audio restoration has performed a real miracle here. The choral power is "in your face"! The final "Death, where is thy sting?" is thrown out like hammerblows from heaven. I have never heard it with such power. I understand Strelitzer's contempt for our puny efforts.
Then the great Handelian fugue begins: "Thou art worthy, o Lord" and again Mengelberg's mastery of chorus and orchestra is a thing to behold: clarity, power, unstoppable momentum. And it STOPS!
And I know, beyond the shadow of a doubt, that he has made a large cut! I search on the Internet and find two references to large cuts in the 6th movement.
What can one say to such an unbelievable, arrogant artistic blunder? Cuts have been made to works, of course, to sections that were too long or where inspiration lagged. But to cut Brahms at the acme of his inspiration and Mengelberg at the height of his recreation? To me it is incomprehensible. It suggests to me that Mengelberg's great genius was mixed with considerable arrogance, that he did not feel as Schnabel did that "the music is always better than we can perform it".
VII Selig sind
Strong, heavy. It is perhaps now WE who need the consolations of the Requiem.
It is obvious that I feel strongly about the cuts. Even so, this is a magnificent performance of the German Requiem with miraculous sound especially in the fortissimo choral pssages. I cannot forbear to listen to it, even while I realize that Mengelberg lacked the artistic greatness of a Schnabel, a Toscanini or a Furtwangler.
Reviewer:
Bill Rosen
Full German Text and English Translation
I
Selig sind, die da Leid tragen, denn sie sollen getröstet werden. Matth. 5,4.
Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben. Ps.126, 5.6.
Blessed are they that mourn: for they shall be comforted. They that sow in tears shall reap in joy. Matthew 5:4
He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him. Psalm 126:5,6
II
Denn alles Fleisch ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen. 1. Petri 1,24.
So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen. Jacobi 5,7.
Aber des Herrn Wort bleibet in Ewigkeit. 1. Petri 1,25.
Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen. Jesaias 35,10.
For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away. 1 Peter 1:24
Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain. James 5:7
But the word of the Lord endureth for ever. 1 Peter 1:25
And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away. Isaiah 35:10
III
Herr, lehre doch mich, daß ein Ende mit mir haben muß,und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird. Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich. Ps.39, 5.6.7.8.
Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an. Weish. Sal. 3,1.
Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee. . . . Surely every man walketh in a vain shew: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them. And now, Lord, what wait l for? my hope is in thee. Psalm 39:4-7
But the souls of the righteous are in the hand of God, and there shall no torment touch them. Wisdom of Solomon 3:1
IV
Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen,die loben dich immerdar. Ps.84, 2.3.5.
How amiable are thy tabernacles, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house: they will be still praising thee. Psalm 84:1,2,4
V
Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen. Ev. Joh. 16,22.
Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden. Sirach 51,35.
Ich will euch trösten, wie Einen seine Mutter tröstet. Jes. 66,13.
And ye now therefore have sorrow: but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. John 16:22
Ye see how for a little while I labor and toil, yet have I found much rest. Ecclesiasticus 51:27
As one whom his mother comforteth, so will I comfort you. . . Isaiah 66:13
VI
Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir. Ebr. 13,14.
Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? l. Korinther 15, 51-55.
Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen. Off. Joh. 4,11.
For here have we no continuing city, but we seek one to come. Hebrews 13:14
Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed, In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. . . . then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory? 1 Corinthians 15:51,52,54,55
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. Revelation 4:11
VII
Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach. Off. Joh. 14,13.
Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them. Revelation 14:13
Download
our Full Discography Printable text listings of all Pristine Audio historic releases
Restoration
by Andrew Rose:
ADVERTISEMENT
Pristine Classical - bringing you DRM-free historic classical FLAC and MP3 download music since 2005
FAQ
FLAC downloads use lossless compression - when replayed or transferred to disc they are bit- identical to original recordings.
16 BIT files are at full CD resolution, identical to our CD masters.
24 BIT files are at higher, studio master resolution, identical to our finished master files.
Please ensure you can play our 24 bit FLAC files before purchase - try our test files here.
Not all media players support FLAC yet, so you may need to convert to WAV or AIFF before playback. See our FLAC help guide
FLAC downloads come as a series of tracks in a ZIP archive file.
Our MP3 files are encoded at very high variable bitrates using the LAME encoder or at a constant rate of 320kbps.
Each recording is presented as a single, long MP3 which can be split using the CUE sheet at the bottom of the page, adding track titles and other information.
CD writing programs such as Nero and Burrrn can write these files directly to CD with all track information added using MP3+CUE - see our tutorial
Alternatively a cue splitter program can automatically cut and name the MP3 into individual MP3 tracks
There are also media players which use the MP3+CUE system, allowing gapless playback of all long MP3 files - essential for opera and many other classical works
Save money when you buy several downloads together by using the following discount codes in the shopping cart:
Buy 5 or more - save 10%: Code: 85187052
Buy 10 or more - save 20%: Code: 12W07104
How To Use: Once you've made your selections, copy the correct code into the space marked Discount or Coupon Code in your shopping cart, then click the Update Cart button to apply the discount before heading to the checkout.
N.B. These discounts apply to all our FLAC and MP3 downloads only. Discounts do not apply to CD purchases
Our CDs are made to order on highest quality Taiyo Yuden Watershield CD-R discs, recorded directly from our master files
CDs are shipped worldwide by Air Mail from France. The price here includes all shipping costs - there are no hidden extras
Standard and Premium CDs hold the same quality of audio - the Standard CD comes in a slip case with no covers, the Premium comes in a jewel case with printed covers
Each music page has PDF covers for printing out at home
They can be found by clicking on cover artwork or scrolling to the bottom of the page
Always deselect any resizing options in the print dialogue of Adobe Reader before printing to ensure correct cover sizes
All payments are processed by PayPal, one of the world's biggest and most reliable global online payment services
You can pay by credit card directly with PayPal acting merely as a secure card payment processing facility
You can use a PayPal account for quicker, easier and totally secure payments
We do not recommend using the e-check option for download purchases as there is always a delay of 3-4 working days between purchase and receipt of goods while the check clears
Payments are charged in Euros and will be converted from other currencies at the current PayPal exchange rate
