A German Requiem (Ein Deutsche [Hybrid SACD]

The Dutch label Pentatone has made its name producing SACD versions of standard repertoire, and although they have called upon some mediocre performers, they have also made some canny choices among rising stars, usually young, attractive, and German (e.g., Julia Fischer, Martin Helmchen, Daniel Muller-Schott). Here for the German Requiem they've enlisted an old hand, conductor Marek Janowski, who is thoroughly capable, as in the days of well-trained but conventional kapellmeisters. But I wonder if that level of competency is really enough when this work is so abundantly represented by great conductors and performances.

Each movement proceeds soberly and without any event that one really takes notice of. The Berlin Radio SO plays capably but not superbly; the same goes for the chorus, although Janowski's lack of drama may not give either group a fair trail. Reverence is the prevalent emotion here, with a studied avoidance of excitement. Baritone Detlaf Roth belongs in the middle of the pack among his many illustrious rivals, being capable but not very involving. The voice is relatively light but encompasses the part fairly well when the lowest notes arena't called upon. Camilla Trilling isn't really effortless enough in her Traurigkeit solo, but the voice has an appealing tremulous quality.

In all, there's nothing to celebrate in this recording, unless it happens that in SACD - a format I don't have - something exceptional is happening sonically. That's not the case listening through two-channel stereo.

With Brahms's German Requiem (Eine Deutsches Requiem), there are so many recordings to choose from. You have different conductors (Claudio Abbado, Andre Previn, Robert Spano), different orchestras & choruses (San Francisco Symphony, Orchestre des Champs Elysees, Bavarian Radio Symphony), different soloists (Kathleen Battle, Gerald Finley, Lucia Popp, Hermann Prey) and even different labels (Deutsche Grammophon, London/Decca). I guess you would have to find one that fits your own taste. Philippe Herreweghe's period interpretation with the Orchestre des Champs Elysees remains my personal favorite. This particular recording by Pentatone is quite good.

Marek Janowski, who also conducted Wagner's Ring Cycle with the Staatskapelle Dresden, follows the score very closely. He remains careful with the music as he avoids all sorts of histrionics. He also makes sure that the music is never rushed, and makes certain that it never becomes dull or ponderous, giving the relatively accurate tempi whenever they're needed. The Rundfunk-Sinfonieorchester Berlin (Berlin Radio Symphony Orchestra) may not be a top-rate orchestra such as the Berlin Philharmonic or the Philharmonia, but it does do a fine job with the score. The Rundfunkchor Berlin (Berlin Radio Chorus) could have made a few improvements here and there, but overall the singers sound nice. The soloists (Detlef Roth & Camilla Tilling) sing exquisitely, and seem very appropriate for this sort of piece. The acoustics aren't very outstanding: this is a live performance at the Philharmonie, Berlin, but it sounds almost as if it's in a recording studio rather than a concert hall. But all in all, this is a very well-done performance of Brahms's German Requiem.

Grade: 7.8/10

Brahms' approach to the Requiem Mass aims at a different level of emotion than the fire and brimstone of many other settings of this service for the dead. It is a beautiful, soulful work that achieves its impact from the quiet intensity of the writing and in the right hands of the conductor and performers it becomes more a symphonic work with singing.

Marek Janowski may not set any new ideas of interpretation spinning with this recorded performance with the Rundfunk-Sinfonieorchester and Chor Berlin, but it is an assured performance. The orchestra and chorus are first rate, providing a creamy sound that is at all times lovely from the almost inaudible opening to the fury of the second movement and the crystalline opening of the heavens in the "Wie lieblich sind deine Wohnungen". The soloists are Camilla Tilling, the young Swedish soprano whose voice is as pure and focused, easily sailing through the rapture of her solo. She is excellent. The important baritone role falls to German baritone Detlef Roth who may be popular on the opera stage but here lacks the quality and production of tone to match the texts he sings. He is not up to the standards of the remainder of the ensemble.

In short, this is a solid intensely musical EIN DEUTSCHES REQUIEM by Janowski and forces and while it may not erase memories of other more profoundly moving interpretations, it delivers a moving experience. Grady Harp, December 10