℗ 2017 Delphian
 

Johannes Brahms: An English Requiem

Mary Bevan, Marcus Farnsworth, James Baillieu, Richard Uttley, Choir of King's College London, Joseph Fort

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Ein deutsches Requiem, Op. 45  
1
I. Blessed Are They That Mourn (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; James Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
9:17
2
II. Behold, All Flesh Is as the Grass (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; James Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
13:50
3
III. Lord, Make Me to Know the Measure of My Days (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; Marcus Farnsworth; James Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
10:00
4
IV. How Lovely Is Thy Dwelling Place (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; James Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
5:00
5
V. Ye Now Are Sorrowful (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; Mary Bevan; James Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
6:03
6
VI. Here on Earth Have We No Continuing Place (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; Marcus Farnsworth; ames Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
11:47
7
VII. Blessed Are the Dead Which Die in the Lord (version with Piano Duo Accompaniment) (sung in English)
Johannes Brahms; James Baillieu; Richard Uttley; Choir of King's College London; Joseph Fort
9:15
Digital Booklet
Total Playing Time    65:12
The Choir of King's College London and director Joseph Fort are joined by soloists Mary Bevan (soprano) and Marcus Farnsworth (baritone) with pianists James Baillieu and Richard Uttley for this musically rich and historically important recording of Brahms’s German Requiem. Though usually performed today in its original German form, this release presents the 19th-century English setting of the work that was so beloved by Victorian audiences.
48 kHz / 24-bit PCM – Delphian Studio Masters

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