Traditions have formed around Johannes Brahms' Ein deutsches Requiem, primarily in conductors' preferences for slow tempos and large vocal and instrumental forces, so that the conventional interpretation tends toward solemnity and reverence. Yet Roger Norrington's lean, sharply articulated, and streamlined rendition with the Radio-Sinfonieorchester des SWR, the SWR Vokalensemble Stuttgart, and the NDR Choir purports to be closer to what Brahms would have desired, based on his originally indicated tempos and the small number ...
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Traditions have formed around Johannes Brahms' Ein deutsches Requiem, primarily in conductors' preferences for slow tempos and large vocal and instrumental forces, so that the conventional interpretation tends toward solemnity and reverence. Yet Roger Norrington's lean, sharply articulated, and streamlined rendition with the Radio-Sinfonieorchester des SWR, the SWR Vokalensemble Stuttgart, and the NDR Choir purports to be closer to what Brahms would have desired, based on his originally indicated tempos and the small number of choral and orchestral parts he used in his performances. Yet it helps to remember that Brahms later removed the metronome markings and never specified the number of singers and players in the score, so the pursuit of a historically informed version may be a moot point. Norrington's attempts at authenticity in 19th century works have been controversial, not necessarily because he uses historically attested techniques and seating arrangements, which are valid, but because his...
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