Johannes Brahms: A German Requiem - CD, Choir Coach, multimedia | Carus-Verlag

Johannes Brahms A German Requiem

to words from the Holy Scriptures op. 45

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Brahms’ Deutsches Requiem is indisputably one of the key works in the history of oratorio. The choir, as the voice of the people, carries the musical action almost continuously. In his Requiem Brahms masterfully combines compositional techniques drawn from earlier centuries with what were then new harmonies, a combination which still presents challenges for choral singers today. So that the work achieves the monumental impression of sound and the desired depth of expression the composer intended, the parts need to be secure – no easy matter with many changes of key, excursions into distant harmonies, and all sorts of pitfalls regarding intonation.

The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a separate Audio CD or MP3 and download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions: 

  • Original recording
  • Coach: each part is accompanied by the piano, with the original recording sounding in the background
  • Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.

Performers: Julia Borchert (Sopran), Michael Volle (Bass) – Kammerchor Stuttgart, Klassische Philharmonie Stuttgart – Frieder Bernius 

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Listen (7)
  • Selig, sind, die da Leid tragen
  • Denn alles Fleisch es ist wie Gras
  • Herr, lehre mich
  • Wie lieblich sind deine Wohnungen
  • Ihr habt nur Traurigkeit
  • Denn wir haben hier keine bleibende Statt
  • Selig sind die Toten
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Practise
  • carus music, the Choir Coach Üben mit carus music
    • Selig, sind, die da Leid tragen (Choir Coach)
    • Selig, sind, die da Leid tragen (Choir Coach, Slow mode)
    • Denn alles Fleisch es ist wie Gras (Choir Coach)
    • Denn alles Fleisch es ist wie Gras (Choir Coach, Slow mode)
    • Herr, lehre mich (Choir Coach)
    • Herr, lehre mich (Choir Coach, Slow mode)
    • Wie lieblich sind deine Wohnungen (Choir Coach)
    • Wie lieblich sind deine Wohnungen (Choir Coach, Slow mode)
    • Ihr habt nur Traurigkeit (Choir Coach)
    • Ihr habt nur Traurigkeit (Choir Coach, Slow mode)
    • Denn wir haben hier keine bleibende Statt (Choir Coach)
    • Denn wir haben hier keine bleibende Statt (Choir Coach, Slow mode)
    • Selig sind die Toten (Choir Coach)
    • Selig sind die Toten (Choir Coach, Slow mode)
    • Selig, sind, die da Leid tragen (Choir Coach)
    • Selig, sind, die da Leid tragen (Choir Coach, Slow mode)
    • Denn alles Fleisch es ist wie Gras (Choir Coach)
    • Denn alles Fleisch es ist wie Gras (Choir Coach, Slow mode)
    • Herr, lehre mich (Choir Coach)
    • Herr, lehre mich (Choir Coach, Slow mode)
    • Wie lieblich sind deine Wohnungen (Choir Coach)
    • Wie lieblich sind deine Wohnungen (Choir Coach, Slow mode)
    • Ihr habt nur Traurigkeit (Choir Coach)
    • Ihr habt nur Traurigkeit (Choir Coach, Slow mode)
    • Denn wir haben hier keine bleibende Statt (Choir Coach)
    • Denn wir haben hier keine bleibende Statt (Choir Coach, Slow mode)
    • Selig sind die Toten (Choir Coach)
    • Selig sind die Toten (Choir Coach, Slow mode)
    • Selig, sind, die da Leid tragen (Choir Coach)
    • Selig, sind, die da Leid tragen (Choir Coach, Slow mode)
    • Denn alles Fleisch es ist wie Gras (Choir Coach)
    • Denn alles Fleisch es ist wie Gras (Choir Coach, Slow mode)
    • Herr, lehre mich (Choir Coach)
    • Herr, lehre mich (Choir Coach, Slow mode)
    • Wie lieblich sind deine Wohnungen (Choir Coach)
    • Wie lieblich sind deine Wohnungen (Choir Coach, Slow mode)
    • Ihr habt nur Traurigkeit (Choir Coach)
    • Ihr habt nur Traurigkeit (Choir Coach, Slow mode)
    • Denn wir haben hier keine bleibende Statt (Choir Coach)
    • Denn wir haben hier keine bleibende Statt (Choir Coach, Slow mode)
    • Selig sind die Toten (Choir Coach)
    • Selig sind die Toten (Choir Coach, Slow mode)
    • Selig, sind, die da Leid tragen (Choir Coach)
    • Selig, sind, die da Leid tragen (Choir Coach, Slow mode)
    • Denn alles Fleisch es ist wie Gras (Choir Coach)
    • Denn alles Fleisch es ist wie Gras (Choir Coach, Slow mode)
    • Herr, lehre mich (Choir Coach)
    • Herr, lehre mich (Choir Coach, Slow mode)
    • Wie lieblich sind deine Wohnungen (Choir Coach)
    • Wie lieblich sind deine Wohnungen (Choir Coach, Slow mode)
    • Ihr habt nur Traurigkeit (Choir Coach)
    • Ihr habt nur Traurigkeit (Choir Coach, Slow mode)
    • Denn wir haben hier keine bleibende Statt (Choir Coach)
    • Denn wir haben hier keine bleibende Statt (Choir Coach, Slow mode)
    • Selig sind die Toten (Choir Coach)
    • Selig sind die Toten (Choir Coach, Slow mode)
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Additional material
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  • I Selig sind die da Leid tragen (Coro)

    Selig sind, die da Leid tragen,
    denn sie sollen getröstet werden.
    (Matthäus 5, 4)
     
    Die Tränen säen, werden mit Freuden ernten.
    Sie gehen hin und weinen und tragen edlen Samen,
    und kommen mit Freuden und bringen ihre Gaben.
    (1. Petrus 1, 24)
     

    II Denn alles Fleisch es ist wie Gras (Coro)

    Denn alles Fleisch, es ist wie Gras
    und alle Herrlichkeit des Menschen wie des Grases Blumen.
    Das Gras ist verdorret und die Blume abgefallen.
    (1. Petrus, 1, 24)

    So seid nun geduldig, lieben Brüder,
    bis auf die Zukunft des Herrn.
    Siehe, ein Ackermann wartet
    auf die köstliche Frucht der Erde
    und ist geduldig darüber,
    bis er empfahe
    den Morgenregen
    und Abendregen.
    So seid geduldig.
    (Jakobus 5, 7)

    Denn alles Fleisch es ist wie Gras
    und alle Herrlichkeit des Menschen wie des Grases Blumen.
    Das Gras ist verdorret und die Blume abgefallen.
    Aber des Herrn Wort bleibet in Ewigkeit.
    (1. Petrus 1, 24+25)
     
    Die Erlöseten des Herrn werden wiederkommen,
    und gen Zion kommen

    ...
  • Abridged Foreword of the Edition Carus 27.055

    Günter Graulich
    Translation: Peter Palmer

    Together with the Passions of J. S. Bach and the Requiem by W. A. Mozart, Johannes Brahms’s Ein deutsches Requiem (A German Requiem) occupies a preeminent place in the choral works of the concert repertoire. Brahms’s contemporaries laid particular emphasis on three things: the undogmatic, ultimately ecumenical choice of biblical texts, the balance and consistency in the design, and the masterly ease with which the composer succeeded in combining historical techniques and harmonies new for the period into a convincing unity.

    The choice of texts is of a completely new kind. The traditional Latin requiem text is a prayer for the deceased in light of the imminent Last Judgement. Those biblical passages which Brahms selected, on the other hand, emphasize that it is not the dead but the bereaved who are in need of peace and consolation. It is true that Brahms alludes to the Last Judgement, for the line “For the trumpet shall sound” from the First Epistle to the Corinthians clearly recalls the “Tuba mirum spargens sonum“ of the liturgical text. But immediately the hope is expressed

    ...
  • Gekürztes Vorwort der Ausgabe Carus 27.055

    Günter Graulich

    Unter den Chorwerken des Konzertrepertoires nimmt Ein deutsches Requiem von Johannes Brahms mit den Passionen von Johann Sebastian Bach und dem Requiem von Wolfgang Amadeus Mozart einen führenden Platz ein. Brahms’ Zeitgenossen hoben drei Dinge besonders hervor: die undogmatische, letztlich überkonfessionelle Auswahl der Textstellen, die Ausgewogenheit und Geschlossenheit der Werkanlage und die Souveränität, mit der es der Komponist verstanden hatte, historische Satztechniken und damals neue Harmonien zu einer überzeugenden Einheit zu verbinden.

    Gänzlich neuartig ist die Textwahl: Der traditionelle lateinische Requiemtext ist ein Gebet für den Verstorbenen angesichts des drohenden Jüngsten Gerichts. Die von Brahms gewählten Bibelstellen betonen hingegen, dass nicht die Toten, sondern die Hinterbliebenen der Ruhe und des Trostes bedürfen. Brahms spielt zwar auf das Jüngste Gericht an: Der Vers „Denn es wird die Posaune schallen“ aus dem ersten Korintherbrief erinnert deutlich an das „Tuba mirum spargens sonum“ des liturgischen Textes. Es wird aber sofort die Hoffnung ausgesprochen, dass

    ...
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  • Johannes Brahms' study of musical tradition was of crucial importance to his output: he combined church modes, canonic technique, Baroque style and diction, Bach's counterpoint and Beethoven's thematic-motivic work with the harmonic and expressive achievements of Romanticism to form his own distinctive style. In this respect his choral songs and vocal quartets (e.g. the “Liebeslieder Waltzes” and “New Liebeslieder Waltzes”), often to folk song texts, in which a musical microcosm unfolds, are examplary. His “Deutsches Requiem”, available from Carus in several different versions, constitutes one of the most fascinating confessions of faith in the history of music. Personal details
  • The Kammerchor Stuttgart is regarded as one of the best ensembles of its kind. Over its fifty-year existence, Frieder Bernius has developed the choir into an exceptional ensemble acclaimed by audiences and press alike. This has led to invitations for the choir to perform at all the important European festivals. In Germany the chamber choir performs at festivals and in concert halls in repertoire ranging from the 17th to the 21st century. Frieder Bernius and his ensemble have received numerous accolades for their contribution to new music. The Kammerchor Stuttgart has made over 80 CDs and LPs, numerous of which have been awarded international recording prizes (including the Edison award, Diapason d’or, Gramophone Choice, Classical Internet Award, International Classical Music Award, and German Record Critics’ Award prizes). The International Federation for Choral Music has invited the ensemble to sing at the 1st, 4th and 10th World Symposia on Choral Music in Vienna, Sydney and Seoul. Regular tours of North America and Asia since 1988 and a South America tour reflect the Kammerchor Stuttgart’s international reputation. Since 1984 the top ensemble has also been invited to Israel biennially. Personal details
  • The Klassische Philharmonie Stuttgart is comprised of musicians from leading German symphony orchestras and chamber ensembles who have been performing with Frieder Bernius over a long period. Although the orchestra uses modern instruments, the conductor and his players are particularly interested in stylistic distinctions. For performances of large-scale choral works, the Klassische Philharmonie Stuttgart is the orchestral pendant to the Kammerchor Stuttgart. The orchestra has participated in a variety of events, including the Rheingau Music Festival, Stuttgart European Musikfest, Baden-Württemberg International Festival, Wratislavia Cantans Festival in Wroc³aw (Poland), the Kassel Music Festival, the Philharmonic Society of Brussels and the Herbstliche Musiktage Bad Urach. The idea of creating an orchestral partner of equal quality to the Kammerchor Stuttgart has been vindicated not least by their joint recording of Johannes Brahms’ A German Requiem. The French periodical Répertoire has confirmed Frieder Bernius’s vision of the work as a “discographic knockout.” Personal details
  • Frieder Bernius’s work has earned great worldwide recognition. He is in demand internationally as a conductor and as a teacher. His principal artistic collaborators are the ensembles he founded himself, the Kammerchor Stuttgart, the Barockorchester Stuttgart, the Hofkapelle Stuttgart and the Klassische Philharmonie Stuttgart. As a guest conductor, he has collaborated repeatedly with, for example, the SWR Vokalensemble Stuttgart, the Deutsche Kammerphilharmonie Bremen, the Stuttgarter Kammerorchester and the Streicherakademie Bozen. Great stylistic versatility is Frieder Bernius’s hallmark. Whether he conducts vocal works by Monteverdi, Bach, Händel, Mozart, Beethoven, Fauré and Ligeti, stage music by Mendelssohn or symphonies by Haydn, Burgmüller and Schubert, his work always aims for a sound that is at once unmistakably personal and at the same time oriented towards the original period sound ideal. He devotes himself equally to the rediscovery of 18th century operas and to first performances of contemporary compositions. He is particularly interested in the musical history of southwestern Germany. Carus-Verlag has awarded Frieder Bernius a Golden CD for his complete recording of the sacred music of Felix Mendelssohn Bartholdy. The award was presented to him during the German Choir Festival in Stuttgart 2016. The sale of over 250,000 recordings, which has been acclaimed with a number of awards, has made a not insignificant contribution to what today is the obvious presence of Mendelssohn's complete œuvre in the concert repertoire. Personal details
  • Julia Borchert ist seit 1997 als lyrischer Sopran am Niedersächsischen Staatstheater Hannover verpflichtet. Die in Bad Pyrmont geborene Sängerin begann an der Essener Folkwangschule ein Musiktheaterstudium, das sie bei Professor Ingeborg Most in Freiburg fortsetzte und 1991 im Rahmen der Künstlerischen Reifeprüfung mit Auszeichnung abschloß. Im selben Jahr trat sie ihr erstes Engagement am Nationaltheater Mannheim an und blieb dem Hause sechs Jahre lang verbunden. Als ständiger Gast singt die Künstlerin im Württembergischen Staatstheater Stuttgart seit 1995 die Gretel (Hänsel und Gretel). Weitere Gastspiele führten sie nach Karlsruhe, Bern, Düsseldorf, Köln und an die Bayerische Staatsoper München. Neben dem Opernfach gilt Julia Borcherts besondere Liebe dem Lied- und Konzertgesang. Personal details

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