Johannes Brahms, Robert Shaw, Arleen Auger, Richard Stilwell, Atlanta Symphony Orchestra & Chorus - Brahms - Ein Deutsches Requiem (A German Requiem) / Auger, Stilwell, Atlanta SO, Robert Shaw

Robert Shaw, despite being a fine choral conductor, was often a pretty boring interpreter--like most choral conductors, in fact. However, there were times that he really put everything together, particularly in his many fine recordings for Telarc, and this is one of the best. Of course, it helps that the music itself is largely pretty subdued, but Shaw directs a performance of exemplary clarity and genuine nobility of utterance. Gorgeous recorded sound too. --David Hurwitz Amazon.com

A great recording

I am using this recording to learn the requiem for performance. It's fidelity is great and it is such beautiful music. Very easy to sing along with. February 19, 2008

Lush and very moving

I am a big fan of the numerous Karajan recordings, and I found many similarities in this reading. This performance has a rich, thick romantic feel that can really overwhelm you. Shaw's tempos are a little brisker, though, but overall the lush atmosphere is pure Karajan.

Arleen Auger has a gorgeous voice, but I felt she was holding back. Richard Stilwell, on the other hand, really let loose with plenty of dramatic verve. He has a wonderful sound that reminds me of operatic bass Donald McIntyre.

The chorus displays their skillfully done German diction in Movement 2. I loved their work in Movement 4's "Die Loben dich immer dar", done with a fantastic legato approach. The tenors really shone in their few solo appearances in the finale.

Another reviewer had reservations with the recorded sound. However, I didn't find any problems with it.

Timings of Brahms' Requiem range from Bruno Walter's brisk 63" to Fritz Lehmann's 79" epic. Shaw compromises at 70'24" (almost identical to the famed James Levine recording).

Recorded in Nov 1983 in Atlanta. Texts and translations included. November 15, 2007

Depth And Understanding Make It One Of The Best

Do not be misled by the paucity of David Hurwitz's 4-sentence review for Amazon which is surpassed only by the wrong-headedness (Shaw, boring??) of his blatant prejudice against "choral conductors." His basis for evaluation is so off that he gets almost everything wrong, save for the words nobility and clarity. His praise of the recorded sound is also backwards; This is one of the biggest technical mistakes in Telarc's exemplary catalog - The orchestral sound is somewhat muddy and unfocused and the choir is far too distant and diffuse.

That is not to say the recording cannot be enjoyed for there are substantial positives here, principally Shaw's interpretation which is among the best in the world. His tempi are so insightful, so right-sounding its almost freaky. The only performance negative is soprano Arleen Auger; this lovely singer is just not right for the part; Brahms was very specific about the soprano sound he intended for the 5th movement - he specified she should sound "like a giant bird." Auger is a bit of a robin, albeit a very pretty one.

The expressiveness from both orchestra and choir are well-thought and refined. Shaw brings significant depth and understanding to this masterpiece. Too many orchestral conductors approach the Requiem as just another orchestra piece with voices; Shaw understands the impetus is Brahms' uniquely chosen text.

For example, Shaw's opening tempo is informed by Brahms' textual concept - a wandering, unsettled feeling of a soul having no resting place on this earth. An orchestral conductor who is guided only by the tempo marking will get it wrong.

Notice the collective orchestral breathing in the second movement. Coupled with the dead-on independent triplets from the timp, the unified lifting of the strings and the falling weight from the winds - this is ensemble perfection. It makes me weep.

Shaw keeps the third movement moving forward; he never allows it to sink into a lugubrious morass, a flaw in so many performances.

Its very difficult to render an overperformed movement perfectly, but again here in the famous fourth, Shaw's tempo and subtle emphasis are exemplary. One couldn't ask for a more lovely and perfectly controlled rendering of Brahms' chosen lovely dwelling place.

Shaw's sixth movement tempo reflects the wandering soul now with increased restlessness. This is exactly correct, unlike some conductors who render this movement as a deadly dirge. Shaw's tempo here perfectly sets up Brahms' positive ending.

From the initial sounds of the seventh movement, we know instantly that there is a new dawn - the tempo is bright, the dynamic lifted and the choir swells from a pianissimo entrance and takes stage. We have found our heaven.

Whatever flaws exist, this is a magnificent addition to the recorded repertoire, one in my collection to which I am proud to return often.




May 13, 2007

A Great and memorable work!

While a student at the New England Conservatory (a number of years ago) my husband and I were fortunate to be members of the N.E.C.Chorus that performed this very work under the direction of Robert Shaw himself. Needless to say, hearing it again, a master work done by a master, brings back many pleasant memories each and every time it's played. April 10, 2007

Another Excellent Shaw Recording

It becomes hard after awhile for me to comment on maestro Shaw's work, because I love all of it! Obviously, he definitely does not fall short with this CD. His talent of conducting was matched only by his love of music itself.

The chorus and soloists are excellent. The sopranos seem to float over the rest of the chorus, and a sound of pure heaven is produced. I can just see both Shaw and Brahms smiling down from heaven as I write this!

As you can tell, I am very enthusiastic about classical choral music, especially when it is conducted by Mr. Shaw. And, to sum this up, check it out for yourself and see if you like it as much as I do. April 10, 2006

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