From: slagle@lmsc.lockheed.com (Mark Slagle)
Subject: Re: Ein Deutsches Requiem (was Re: Christa Ludwig)
Reply-To: slagle@lmsc.lockheed.com
In-reply-to: mjw@Xenon.Stanford.EDU's message of Wed, 22 Jul 1992 23:34:51 GMT
Organization: You wouldn't ask this if you'd seen my desk.
	<1992Jul20.004748.15515@research.canon.oz.au>
	<CB.92Jul22162253@tamarack13.timbuk>
	<1992Jul22.233451.7241@CSD-NewsHost.Stanford.EDU>
Date: Thu, 23 Jul 92 21:31:20 GMT

In article <1992Jul22.233451.7241@CSD-NewsHost.Stanford.EDU>, mjw@Xenon.Stanford.EDU (Michael Wolverton) writes:

> Chris Brewster writes:
>>Ian Daniel writes:
>>
>>>   ...what is Klemperer's Deutsches Requiem like? ...
>>
>>I consider Klemperer's version *the* one to get.  
>>[lots of informed praise deleted]

> I have two recordings which are really fine all-around: the
> Gardiner/Monteverdi CD on Phillips and the Shaw/Atlanta CD on Telarc.
> The Gardiner is a smaller sound than you might usually get with this
> piece, and you can occasionally tell that they're using original
> instruments, but the singing and interpretation are first-rate.
> (Listen especially to the attention to text and phrasing in the trio
> of the 2nd movement -- Wow!).  But as good as the Gardiner is, it's
> nudged out by the Shaw recording for me.  Both of these recordings
> have the additional advantage over Klemperer of modern sound.

I don't know the Klemperer.  I agree about the Gardiner, though.
Some people say the orchestra is too "thin" or that it doesn't
have the dynamic range.  But the chorus does have the range, and
a more positive way of looking at the orchestra matter is that
it emphasizes the chorus, which is good, and that the lighter
touch helps the clarity.

I like the Shaw overall.  Teldec has gotten a full, rich sound
on the disk and it has the big everything feel.  But that works
against it in some places.  The fugue in the third movement (I
think, I had borrowed this one from my brother and it's been a
while) gets muddy in some places.  Also I still think the pacing
of the sixth is ponderous.  Gardiner's sixth takes the same 
time, roughly, so either the lighter orchestral touch (on the
continuo) helps or he's mixing up the tempo better.  Shaw seems 
to be a bit too rigid in his pace.

But my favorite, by quite a bit, is the Solti with Kiri Te Kanawa
and Bernd Weikl.  I think it's nearly perfect in all respects.
The only quibble that I have is that Dame Kiri may play it a
little too heavy on some parts of the solo in the fifth.  She
sings it beautifully, of course, but sometimes I want just a
touch more sweetness in the tone.  She's just a tad bigger than
she has to be in places.  But, as I said I love this recording.
And nobody in any version, live or recorded, that I have heard
has ever gotten the chorus entrance so chillingly perfect and
stirring.  It still makes me shiver the way it sneaks into my
consciousness and blends with the instrumental chord.  I love
this piece, and I love this rendition.
--
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Mark E. Slagle                                 PO Box 61059
slagle@lmsc.lockheed.com                       Sunnyvale, CA   94088
408-756-0895                                   USA
Newsgroups: rec.music.classical