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Brahms: Ein deutsches Requiem

Swedish Radio Symphony Orchestra, Daniel Harding, Christiane Karg, Matthias Goerne, Swedish Radio Choir

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Ein deutsches Requiem, Op. 45  
1.1
I. Selig sind, die da Leid tragen (Choir)
Johannes Brahms; Swedish Radio Choir; Daniel Harding; Swedish Radio Symphony Orchestra
11:24
1.2
II. Denn alles Fleisch, es ist wie Gras (Choir)
Johannes Brahms; Swedish Radio Choir; Daniel Harding; Swedish Radio Symphony Orchestra
14:40
1.3
III. Herr, lehre doch mich, daß ein Ende mit mir haben muß (Baritone and Choir)
Johannes Brahms; Matthias Goerne; Swedish Radio Choir; Swedish Radio Symphony Orchestra; Daniel Harding
9:46
1.4
IV. Wie lieblich sind deine Wohnungen, Herr Zebaoth (Choir)
Johannes Brahms; Swedish Radio Choir; Daniel Harding; Swedish Radio Symphony Orchestra
5:29
1.5
V. Ihr habt nur Traurigkeit (Soprano and Choir)
Johannes Brahms; Christiane Karg; Daniel Harding; Swedish Radio Choir; Swedish Radio Symphony Orchestra
6:33
1.6
VI. Denn wir haben hie keine bleibende Statt (Baritone and Choir)
Johannes Brahms; Matthias Goerne; Swedish Radio Choir; Swedish Radio Symphony Orchestra; Daniel Harding
11:23
1.7
VII. Selig sind die Toten, die in dem Herren sterben (Choir)
Johannes Brahms; Swedish Radio Choir; Swedish Radio Symphony Orchestra; Daniel Harding
11:13
Digital Booklet
Total Playing Time    70:28
Brahms's Requiem, completed in 1868, draws on the legacy of his forerunners, Heinrich Schütz and Johann Sebastian Bach. In setting texts from the German Bible, it deliberately departs from the models of the Catholic liturgy and imposes a sorrowing yet consolatory meditation on death and the Last Judgment, in the manner of a poignant and grandiose cradle song for the dead. Achevé en 1868, ce Requiem de Brahms se nourrit de l'héritage des anciens, Heinrich Schütz et Jean-Sébastien Bach. Composé sur des extraits de la Bible en allemand, il s'éloigne délibérément des modèles de la liturgie catholique et impose une douloureuse et consolante méditation sur les fins dernières, à la manière d'une poignante et grandiose berceuse funèbre. Für sein 1868 vollendetes Requiem schöpfte Johannes Brahms aus dem Erbe der alten Meister Heinrich Schütz und Johann Sebastian Bach. Bei dem deutschen Text handelt es sich um Ausschnitte aus der Bibel. Brahms entfernte sich bewusst von den Mustern der katholischen Liturgie und schuf auf ergreifende, großartige Weise eine Art Wiegenlied für die Toten, eine schmerzerfüllte, aber auch tröstliche Meditation über die Letzten Dinge
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