This broadcast performance of the German Requiem dates from august, 1978 on a visit by the London Phil. to the Edinburgh Festival. As the lead reviewer notes, the sound is distant, both for chorus and orchestra, which raises the question of whether one might prefer the better sound on Giulini's late recording for DG in 1987. It features excellent soloists (Barbara Bonney, Andreas Schmidt) and the Vienna Phil., and it too was taped in concert. As interpretations go they are really the same. The first movement takes just over 10 min. in both readings; the overall timing is 73 min. Compared to Simon Rattle's recent recording on EMI, which takes 67 min., this is a slow, reverential, often gentle account. the lack of strong attacks by the chorus in the second movement, for example, will tell you if he is too soft-grained for your taste.
For me, the later, better recorded one is the obvious choice, beautiful as this one is. The baritone soloist, Fischer-Dieskau, all but owned the part in the postwar era, replacing Hans Hotter (who moves me much more); his three commercial recordings all precede this one from Edinburgh, with Kempe (1955), Klemperer (1961), and Barenboim. (1972). the singer was 63 but in very good voice. The problem is that he is too far from the microphone; one wonders why the BBC engineers didn't correct this at the time. Musically the solo part is rendered with the same artistry and assurance one hears on all of F-D's studio versions. Cotrubas suffers more from being too far back because her German is not as distinct, but she is touching nonetheless. The festival chorus that year sounds very good.
In all, this is a lovely souvenir of a conductor who won the hearts of the British public, and on those grounds it is well worth hearing, despite the sonic deficits.