LPO-0045 CD Brahms German Requiem

BRAHMS

A GERMAN REQUIEM YANNICK NÉZET-SÉGUIN conductor ELIZABETH WATTS soprano STÉPHANE DEGOUT baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR

BRAHMS A GERMAN REQUIEM In the genesis of A German Requiem (Ein Deutsches Requiem) there were two giants of musical Romanticism steering the conceptual strands both musical and emotional. ‘If he will only point his magic wand to where the powers amassed in the orchestra and chorus lend him their might’, said Robert Schumann of Johannes Brahms, ‘yet more wonderful glimpses into the mysteries of the spirit world would await us.’ Schumann believed a large-scale choral-cum-orchestral work from his young acolyte’s pen would prove a masterpiece. But Brahms needed more than verbal inspiration. And he eventually got it: in February 1854 Schumann unsuccessfully attempted suicide and was admitted to an asylum; two years later he died, his wife Clara, with Brahms, at his bedside.

Brahms’s reaction to the loss of his artistic guiding star was the sketching of a symphony that never saw the light of day. Instead, some ten years later, Brahms re-used the material as the starting point for a requiem (other chunks made their way into the D minor Piano Concerto). The tragedy of Schumann’s death would doubtless have haunted him still, but there was another deadly blow coming Brahms’s way: the death of his beloved mother in February 1865.

And so the creation of A German Requiem began in earnest, Brahms sending two completed movements to Schumann’s widow Clara just months after his mother’s passing. In the summer of 1866 it was complete; Schumann’s wish for a musical glimpse of the heavens from Brahms’s pen had been posthumously granted. But despite the backdrop of death against which it was conceived, the requiem Brahms created is a very hopeful one. It’s also a very German one: a piece that captures a cultural rather than dogmatic view of Brahms’s Germany, carrying the gift of spiritual comfort rather than the threat of impending judgment.

The first performance proper of A German Requiem – then for baritone soloist, chorus and orchestra – was heard in Bremen on Good Friday, 1868. The composer subsequently added the fifth movement with soprano soloist, and the newly completed piece was first heard in Leipzig in February 1869, soon thereafter being recognised as the first major masterpiece of a matured composer.

What Brahms wrote wasn’t only accomplished and profoundly moving, it was also unprecedented. It includes no direct reference to Christ, and sets not the words of the Requiem Mass (or even their

Lutheran equivalent) but a selection of biblical excerpts from the books of Psalms, Revelation, Ecclesiastes, Isaiah and Hebrews, the epistles of St Paul and the gospels of St Matthew and St John (among others).

Despite the abstracted, humanist qualities of much of his chosen texts, Brahms’s musical inspirations were more traditionally sacred and ritualistic. Schumann had instilled in him a fascination for music of the Renaissance and Baroque eras, and the spirit of such music shines through much of A German Requiem, through its sense of balance, its instrumental and choral colours, its musical painting of words and its watertight cohesion (the latter itself a Brahmsian hallmark).

In fact, Brahms creates music in his requiem that somehow carries the assurance and contentment of a steadfast faith. This he achieves partly through his reliance on two motifs, each movement taking either one as its basis. The first of these is the Bach chorale theme Wer nur den lieben Gott lässt walten (If thou but suffer God to guide thee), which is detectable in Brahms’s second movement funeral march, and also steers the work’s opening bars (recurring, therefore, as Brahms recalls his opening material

at the work’s conclusion – another act of reassurance). The second is a simple I-III-IV idea (think the first three notes of the carol ‘Once in Royal David’s City’) which features consistently in the other movements as both a thematic motto and an incidental gesture.

Soon, therefore, the music feels familiar; the movements, though different, referencing one another’s sentiments rather than providing the traditional thematic contrast between everlasting damnation and eternal paradise.

In addition to these references to the compositional past, Brahms also turns to the contrapuntal technique of fugue, long associated with sacred music. The second, third and sixth movements of the Requiem are capped by fugal codas, though heard in a fully Brahmsian idiom using chromatic, expressive melodic shapes that avoid both virtuosity and archaic awkwardness. Indeed, Brahms’s music is all his own, and whilst he may himself have described the piece as being as much a human as a German requiem, it is also a deeply personal one.

Towards the end of his inaugural season as the London Philharmonic Orchestra’s Principal Guest Conductor, Yannick NézetSéguin came to Southbank Centre’s Royal

Festival Hall to conduct Brahms’s masterwork.

Memories of Kurt Masur’s deeply-rooted, traditionally Germanic performances with the orchestra still lingered; audiences were curious and expectant given the young Canadian’s limited appearances in London at that time: he had conducted the orchestra only three times before.

The talking point on Saturday 4 April 2009, even before the concert had begun, was Nézet-Séguin’s tempi. ‘It will be slow’, said

members of the orchestra and chorus. What followed was a performance that was indeed slow, but brought with its tempi a resolute sense of stillness and calm. The intense concentration from conductor, orchestra, chorus and soloists induced a rare atmosphere of profundity in the Royal Festival Hall and a reflective audience silence of nearly a minute following the Requiem’s final bars.

Andrew Mellor

BRAHMS A GERMAN REQUIEM 01 Selig sind, die da Leid tragen Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen, und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

Blessed are they that mourn Blessed are they that mourn, for they shall be comforted.

They that sow in tears shall reap in joy.

He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

02 Denn alles Fleisch es ist wie Gras

For all flesh is as grass

Denn alles Fleisch es ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen.

Das Gras ist verdorret und die Blume abgefallen.

For all flesh is as grass, and all the glory of man as the flower of grass.

The grass withereth, and the flower thereof falleth away.

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 empfange den Morgenregen und Abendregen.

Be patient therefore, brethren, unto the coming of the Lord.

Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

Aber des Herrn Wort bleibet in Ewigkeit.

But the word of the Lord endureth for ever.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away.

03 Herr, lehre doch mich Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss.

Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir.

Ach, wie gar nichts sind alle Menschen, die doch so sicher leben.

Sie gehen daher wie ein Schemen,

Lord, let me know mine end Lord, let me know mine end, and the measure of my days, what it is; that I may know how frail I am.

Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee; verily every man at his best state is altogether vanity.

Surely every man walketh in a vain show; surely they are disquieted in vain;

und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen wird.

he heapeth up riches, and knoweth not who shall gather them.

Nun, Herr, was soll ich mich trösten?

Ich hoffe auf dich.

Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.

And now, Lord, what wait I for?

My hope is in thee.

But the souls of the righteous are in the hand of God, and there shall no torment touch them.

04 Wie lieblich sind deine Wohnungen Wie lieblich sind deine Wohnungen, Herr Zebaoth!

Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.

Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

05 Ihr habt nun Traurigkeit

How lovely are thy dwellings How lovely are thy dwellings, O Lord of hosts!

My soul longeth, yea, even fainteth for the courts of the Lord; my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house; they will be still praising thee.

And ye now therefore have sorrow

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen.

Ich will euch trösten wie einen seine Mutter tröstet.

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.

As one whom his mother comforteth, so will I comfort you.

Sehet mich an: ich habe eine kleine Zeit Mühe und Arbeit gehabt, und habe grossen Trost gefunden.

Behold with your eyes, how that I laboured but a little, and found for myself much rest.

06 Denn wir haben keine bleibende Statt

For here have we no abiding city

Denn wir haben keine bleibende Statt, sondern die zukünftige suchen wir.

Siehe, ich sage euch ein Geheimnis: wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune.

Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden.

Dann wird erfüllet warden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg.

Tod, wo ist dein Stachel?

Hölle, wo ist dein Sieg?

For here have we no abiding city, but we seek one to come.

Behold, I show you a mystery: we shall not all sleep, but we shall all be changed; in a moment, in the twinkling of an eye, at the last trump; for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

Then shall be brought to pass the saying that is written: Death is swallowed up in victory.

O death, where is thy sting?

O grave, where is thy victory?

Herr, du bist würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge erschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

Thou art worthy, O Lord, to receive glory and honour and power, for thou hast created all things, and for thy pleasure they are and were created.

07 Selig sind die Toten Selig sind die Toten die in dem Herren sterben, von nun an.

Ja, der Geist spricht dass sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach.

Blessed are the dead Blessed are the dead which die in the Lord from henceforth.

Yea, saith the Spirit, that they may rest from their labours, and their works do follow them.

ELIZABETH WATTS soprano

STÉPHANE DEGOUT baritone

london philharmonic choir

Yannick Nézet-Séguin has been Music Director of the Rotterdam Philharmonic Orchestra and Principal Guest Conductor of the London Philharmonic Orchestra since 2008/2009. 2008 included Rotterdam Philharmonic’s acclaimed Far East tour and his Salzburg Festival début with Gounod’s Roméo et Juliette. In 2009 he débuted at the BBC Proms, New York’s Mostly Mozart Festival and Metropolitan Opera (New York) with Carmen and recorded with the Rotterdam Philharmonic Orchestra. Highlights of 2010 include Vienna Philharmonic and Berliner Philharmoniker débuts; a North American tour with Rotterdam Philharmonic; Mahler’s Eighth Symphony; and Salzburg Festival opera productions with Vienna Philharmonic and Mozarteum Orchestras. He is a sought-after guest conductor of many fine orchestras in Europe, North America and Canada, including Staatskapelle Dresden, Chamber Orchestra of Europe, Philadelphia and Boston Symphony.

Elizabeth Watts was a chorister at Norwich Cathedral and studied at the Royal College of Music. She was selected by the Young Concert Artists Trust (YCAT) in 2004, won the 2006 Kathleen Ferrier Prize, the 2007 Outstanding Young Artist Award at the Cannes “MIDEM Classique Awards” and gained international recognition at the 2007 BBC Cardiff Singer of the World Competition, winning the Rosenblatt Recital Song Prize and selection for BBC Radio 3’s New Generation Artists Scheme.

Her first recording of Schubert Lieder for Sony Red Seal was Gramophone Magazine’s ‘Editor’s Choice’ in February 2009.

Internationally-acclaimed French baritone Stéphane Degout graduated from the Conservatoire National Supérieur de Musique de Lyon and then became a member of the Atelier Lyrique de l’Opéra de Lyon.

The London Philharmonic Choir was founded in 1947 as the chorus for the London Philharmonic Orchestra. It is widely acclaimed as one of the nation’s finest choirs and consistently meets with critical acclaim.

Continuing to perform regularly with the London Philharmonic Orchestra, the London Philharmonic Choir also works with many other orchestras throughout the United Kingdom and makes annual appearances at the BBC Proms. It has performed under some of the world’s most eminent conductors – among them Pierre Boulez, Mark Elder, Sir John Eliot Gardiner, Bernard Haitink, Kurt Masur, Sir Roger Norrington, Sir Simon Rattle, Sir Georg Solti and Klaus Tennstedt. The London Philharmonic Choir has participated in more than seventy recordings, including a Gramophone Award winning performance of Mahler’s Eighth Symphony under Klaus Tennstedt. The Choir often travels overseas and in recent years it has appeared at the Canary Islands and Lucerne music festivals, and given concerts in Europe, Hong Kong, Malaysia and Australia.

He pursued his musical studies in his native Montreal and later with Carlo Maria Giulini.

He has been Music Director of the Orchestre Métropolitain du Grand Montréal since 2000 and has built up an extensive discography with them.

© Dylan Thomas SONY

YANNICK NÉZET-SÉGUIN conductor

Her operatic work has included: Susanna (Le Nozze di Figaro) for Santa Fe Opera and Welsh National Opera, Flora (The Knot Garden) for Music Theatre Wales and the Royal Opera House and Papagena (Die Zauberflöte), Barbarina (Marriage of Figaro), Purcell’s King Arthur, both Music and Hope (Orfeo) for English National Opera (Young Singers’ Programme 2005-2007) and Mandane (Arne’s Artaxerxes) in a ROH/Classical Opera Company co-production at the Linbury Studio.

Degout gained international attention when he made a triumphant début as Papageno at the Festival d’Aix-en-Provence in 1999. Since then, he has appeared at the Opéra de Paris (La Bohème, Die Zauberflöte, Ariadne auf Naxos), Berlin Staatsoper (Orfeo), Théâtre Royal de la Monnaie (Orfeo, Pelléas et Mélisande, Così fan Tutte), Theater an der Wien (Orfeo) and the Metropolitan Opera (Romeo et Juliette).

He has also performed at the Salzburg Festival (Così fan tutte), Glyndebourne Festival Opera (Così fan tutte) and the Royal Opera House, Covent Garden (La Cenerentola).

Degout has recorded Werther and Così fan tutte along with Pelléas et Mélisande in DVD format for Virgin Classics. In addition, the Fauré Requiem for Naïve, La Bohème for Deutsche Grammophon and a piano version of Brahms’s A German Requiem.

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London Philharmonic Orchestra

© Patrick Harrison

The London Philharmonic Orchestra is known as one of the world’s great orchestras with a reputation secured by its performances in the concert hall and opera house, its many award-winning recordings, its trail-blazing international tours and its pioneering education work. Distinguished conductors who have held positions with the Orchestra since its foundation in 1932 by Sir Thomas Beecham include Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt, Franz Welser-Möst and Kurt Masur. Vladimir Jurowski was appointed the Orchestra’s Principal Guest Conductor in March 2003 and became Principal Conductor in September 2007, succeeding Kurt Masur.

The London Philharmonic Orchestra has been resident symphony orchestra at Southbank Centre’s Royal Festival Hall since 1992 and there it presents its main series

of concerts between September and May each year. In summer, the Orchestra moves to Sussex where it has been Resident at Glyndebourne Festival Opera for over 40 years. The Orchestra also performs at venues around the UK and has made numerous tours to America, Europe and Japan, and visited India, Hong Kong, China, South Korea, Australia, South Africa and Abu Dhabi.

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75:54

JOHANNES BRAHMS (1833–1897) A German Requiem (Ein Deutsches Requiem)

01 12:05 02 16:50 03 10:07 04 05:54 05 07:00 06 12:19 07 11:39

Selig sind, die da Leid tragen Denn alles Fleisch es ist wie Gras Herr, lehre doch mich Wie lieblich sind deine Wohnungen Ihr habt nun Traurigkeit Denn wir haben keine bleibende Statt Selig sind die Toten

YANNICK NÉZET-SÉGUIN conductor ELIZABETH WATTS soprano STÉPHANE DEGOUT baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR Abigail Young guest leader Neville Creed chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL London

LPO – 0045