The Atlanta Symphony Orchestra's playing is a bit turgid, and Telarc's 1983 digital sound is more than a bit thick. Soprano Arleen Augér's singing is wonderful, but baritone Richard Stilwell's singing is merely adequate. The Atlanta Chorus' singing is, of course, superlative, but except for a few sublime moments, Robert Shaw's interpretation is sentimental. Still, when it's sublime, this performance of Brahms' Ein deutsches Requiem is transcendent, and transcendent is what you're looking for in Ein deutsches Requiem. Shaw's ...
Read More
The Atlanta Symphony Orchestra's playing is a bit turgid, and Telarc's 1983 digital sound is more than a bit thick. Soprano Arleen Augér's singing is wonderful, but baritone Richard Stilwell's singing is merely adequate. The Atlanta Chorus' singing is, of course, superlative, but except for a few sublime moments, Robert Shaw's interpretation is sentimental. Still, when it's sublime, this performance of Brahms' Ein deutsches Requiem is transcendent, and transcendent is what you're looking for in Ein deutsches Requiem. Shaw's "Selig sind, die da Leid tragen" is bloated with anguish. His "Denn alles Fleisch" is swollen with sorrow. His "Herr, lehre doch mich" is prostrate with pain. His "Denn wir haben hie" is so heavy that it nearly stops, collapses, and dies. But Shaw's and Augér's "Wie lieblich sind deine Wohnungen" is so beatific that it consoles all agony. And the closing pages of "Selig sind die Toten" are so radiant that they redeem all grief. There are certainly other performances of Brahms'...
Read Less
Choose your shipping method in Checkout. Costs may vary based on destination.
Seller's Description:
New. Size: 4x5x0; Buy from insomniacs! We dont sleep until your order is shipped! Professional packaging, same day shipping on most orders. View our feedback and buy with confidence.
