Max Kloos was a Dutch bass represented in the Pristine catalogue through Mengelberg’s 1940 recording of Brahms’s Ein deutsches Requiem.

The performance places him with Jo Vincent, the Amsterdam Toonkunst Choir and Concertgebouw Orchestra under Willem Mengelberg.

Kloos’s singing provides the bass-baritone weight required by Brahms’s humane choral architecture, where authority must sound consoling rather than merely grand.

His page is justified by secure identity and recording context. Kloos gives the Mengelberg Brahms shelf a firm Dutch bass line.