Brahms: A German Requiem

by James Leonard At the end of the '70s, Georg Solti started his long, slow slide into mediocrity. The drama and power of his work from the late '50s through early '70s -- think of his recordings of Wagner's Ring and Mahler's symphonies -- was turning into mush and malarkey -- think of his recordings of Beethoven and Bruckner's symphonies. This 1979 recording of Brahms' Ein deutsches Requiem with the Chicago Symphony Orchestra & Chorus was not the start of Solti's decline, but it certainly embodied all its salient characteristics. Note the lack of attention to balances in the tuttis. Note the tendency to bring the brass in a bit ahead of the downbeat at climaxes. Note the inclination to ignore inner parts at the expense of the top line. Note the cloying phrasing in quiet passages and the belligerent rhythms in the loud passages. Note that although the Chicago Symphony still plays like a house on fire, Solti encourages a scorched earth policy in the loud movements. Note that although Margaret Hillis' Chicago Chorus sings with better tone and intonation than any other American choir, Solti encourages them to shout at climaxes. Note that although Kiri Te Kanawa was still possessed of a lovely soprano, Solti encourages her toward a sweetly syrupy delivery. Note that although Bernd Weikl was just coming into his own as a singer, Solti encourages him toward bluster and bathos. For a truly great recording of Ein deutsches Requiem, try the classic Klemperer with Schwarzkopf and Fischer-Dieskau. Pass on this one. Decca's late stereo sound is magnificent: deep, rich, detailed, and warm. Works on This Recording 1. German Requiem, Op. 45 by Johannes Brahms Performer: Dame Kiri Te Kanawa (Soprano), Bernd Weikl (Baritone) Conductor: Sir Georg Solti Orchestra/Ensemble: Chicago Symphony Orchestra, Chicago Symphony Chorus Period: Romantic Written: 1854-1868; Austria Length: 77 Minutes 33 Secs. Language: German