Apart from the astounding performances by the orchestra, the choir, and conductor, Philippe Herreweghe, I think it's imperative to point out the beautiful & visible enunciation of the lyrics by members of the choir (no small feat much too often); the facial expressions that so clearly prove that each choir member is delighted in the act of performing this masterpiece; the quality of the recording, and last but not least, the videography: intelligent, relevant, sensitive, precise, and informative. I am not forgetting Johannes Brahms: I am merely overwhelmed by the absolute beauty of this piece every time I hear it performed. Sadly, it is not performed as frequently as his other exquisite works. I wish it were otherwise. Thanks for everything!
This is one of the greatest work for chorus ever. It should be performed more often. The opening theme it's so Bach, by the way. I'm deeply attached to Toscanini's recording of this masterpiece, yet this version is excellent.
Splendide conduite de choeur et d'orchestre par Philippe Herreweghe,pour cette musique si allemande,fantastique,romantique,gothique!...et bien plus encore!Un joyau!
Wonderful in every way -- the piccolo solo at the end haunts my soul -- thank you, Thaddeus -- thanks for giving us this herrliche, unsterbliche Musik!!
Exactly! So much for those oafs who decry his orchestration. I love the way he orchestrates! And the final chord...missing the mediant....those bare 5ths say it all!
Oh that tenor section soaring throughout the hall is outstanding with their entrance at 8.15 in the video. I had to keep listening to them. They are some of the best tenors in the EU. This Chorus is superb. Even though Herreweghe founded the Collegium Vocale Gent, I'm not sure he still prepares the Chorus. I read something somewhere that implied they have another Chorus Director other than Herreweghe.
Eine Deutsches Requiem Schicksalslied Nänie Alto Rhapsody Gesang der Parzen These five works alone could elevate Brahms status to the pantheon of great composers, let alone his marvelous symphonies, concerti and chamber music.
great performance ! The last stanza of the poem is set to a music that makes you sink away in total oblivion. Or, the power of silence in music... The work dates from 1882, the same year that Wagner premiered 'Parsifal' in Bayreuth, as his ultimate musical testament: a symbiosis of opera and oratorium. He needs almost 4 hours to express the same powerful music style and content, whereas Brahms with this work barely needs 12 minutes. In der Beschränkung zeigt sich manchmal ebenfalls Meisterschaft...
@@harryhagan5937 I have no Intention to put both giants against each other. I am, to be honest, a true Wagnerian, who has great reservations towards the art of Brahms. But I was deeply impressed by this chorus, as I am also of his German Requiem and Altrhapsodie. Sometimes the power of the small equals or surpasses that of the monumental. It was an honest remark. But I remain in heart a Wagnerian. That's all.
Translation of Goethe's poem (from wiki): Let the race of mankind fear the gods! For they hold dominion over them in their eternal hands, and can demand what they please of us. Doubly so should those fear them who have been exalted by them! On cliffs and clouds stools stand ready around golden tables. If a dispute arises, the guests are pitched down, abused and shamed, into the deep dark of night; and they wait futilely, bound in the dark, for justice to be served. But they [the gods] remain at their eternal feast at the golden tables. They step from mountain to mountain, up above: from the abysses of the deep steams the breath of suffocating Titans, like a burnt offering, a light mist. The rulers turn away their blessed eyes from entire races of people, shunning the sight in their descendants of those formerly beloved and silently-speaking features of our ancestors. So sang the Fates; the banished one listens in his night-dark lair to the songs of the ancient ones, thinks of his children and grandchildren and shakes his head.
instead of feast in stanza 4 you can also translate fortresses, which is my intuition. but, it‘s ambiguous. but fortresses is more likely because the gods did certainly not indulge in eternal feasts, they had other business to do, and are furthermore not as hedonistic as the word eternal feast would suggest. and the German word Festen is plural btw. etc.
Magnificent, like all of Brahms’s choral works (which someone helpfully enumerated below). Thanks so much for posting this live visual performance. A real treat. Is there some reason why some conductors decline the time-honored practice of using a baton?
It's a personal preference. I'm seeing more conductors -- particularly in the Nederlands -- not using a baton, such as for Mendelssohn's Elias, Lobesang, Beethoven's Missa Solemnis all come to mind where the conductor did not use a baton. Also for the Fauré Requiem in Copenhagen. The conductor should do whatever he/she feels most comfortable with. I've seen some conductors use a baton for a symphonic choral performance, but for some parts of the choral sections, not use the baton, then pick it up later.
This work refers to the Oresteia of Aeschylus. It's about the curse on the House of Atreus that first came down from their earliest ancestor Tantalus, who served his own son to be eaten at a feast of the gods.
Gardiner once remarked that Brahms was probably thinking about Schumann's fate and that of his children when he wrote this. I think he has a point there.
I can't imagine why this piece is so rarely performed.
een van de vele geniale stukken van Brahms. wat een rijkdom mogen wij als moderne afgevlakte mensen genieten.
Apart from the astounding performances by the orchestra, the choir, and conductor, Philippe Herreweghe, I think it's imperative to point out the beautiful & visible enunciation of the lyrics by members of the choir (no small feat much too often); the facial expressions that so clearly prove that each choir member is delighted in the act of performing this masterpiece; the quality of the recording, and last but not least, the videography: intelligent, relevant, sensitive, precise, and informative. I am not forgetting Johannes Brahms: I am merely overwhelmed by the absolute beauty of this piece every time I hear it performed. Sadly, it is not performed as frequently as his other exquisite works. I wish it were otherwise. Thanks for everything!
This is one of the greatest work for chorus ever. It should be performed more often.
The opening theme it's so Bach, by the way.
I'm deeply attached to Toscanini's recording of this masterpiece, yet this version is excellent.
Splendide conduite de choeur et d'orchestre par Philippe Herreweghe,pour cette musique si allemande,fantastique,romantique,gothique!...et bien plus encore!Un joyau!
Wonderful in every way -- the piccolo solo at the end haunts my soul -- thank you,
Thaddeus -- thanks for giving us this herrliche, unsterbliche Musik!!
Exactly! So much for those oafs who decry his orchestration. I love the way he orchestrates! And the final chord...missing the mediant....those bare 5ths say it all!
Ich wünschte das ich tausendmal am "thumbs-up" klicken könnte... größte Klasse!
+Joris Holtackers Ja wirklich, und unbeschreiblich schön!
Rare recording of this hidden masterpiece. Thanks!
The ending of this piece is just devastating and so very ominous.
初めて聴いた曲ですが気に入りました❤
素晴らしい演奏だと思います😊
深く爽やかなサウンドです。
素敵な動画どうもありがとうございます！
Oh that tenor section soaring throughout the hall is outstanding with their entrance at 8.15 in the video. I had to keep listening to them. They are some of the best tenors in the EU. This Chorus is superb. Even though Herreweghe founded the Collegium Vocale Gent, I'm not sure he still prepares the Chorus. I read something somewhere that implied they have another Chorus Director other than Herreweghe.
Seltene Aufnahme dieses verborgenen Meisterwerks. Danke sehr!
Desconocía esta obra: una belleza
Eine Deutsches Requiem
Schicksalslied
Nänie
Alto Rhapsody
Gesang der Parzen
These five works alone could elevate Brahms status to the pantheon of great composers, let alone his marvelous symphonies, concerti and chamber music.
Ein Deutsches Requiem; otherwise, I agree. Such a big genius.
great performance ! The last stanza of the poem is set to a music that makes you sink away in total oblivion. Or, the power of silence in music...
The work dates from 1882, the same year that Wagner premiered 'Parsifal' in Bayreuth, as his ultimate musical testament: a symbiosis of opera and oratorium. He needs almost 4 hours to express the same powerful music style and content, whereas Brahms with this work barely needs 12 minutes. In der Beschränkung zeigt sich manchmal ebenfalls Meisterschaft...
johan verbruggen Yes, often in music, less is more.
Why pit one against the other? Both are great accomplishments we can enjoy.
@@harryhagan5937 I have no Intention to put both giants against each other. I am, to be honest, a true Wagnerian, who has great reservations towards the art of Brahms. But I was deeply impressed by this chorus, as I am also of his German Requiem and Altrhapsodie. Sometimes the power of the small equals or surpasses that of the monumental. It was an honest remark. But I remain in heart a Wagnerian. That's all.
@@Beethovens.Heritage very good, Johan! Me, too. No one beats Wagner!
Translation of Goethe's poem (from wiki):
Let the race of mankind
fear the gods!
For they hold dominion
over them in their eternal hands,
and can demand
what they please of us.
Doubly so should those fear them
who have been exalted by them!
On cliffs and clouds
stools stand ready
around golden tables.
If a dispute arises,
the guests are pitched down,
abused and shamed,
into the deep dark of night;
and they wait futilely,
bound in the dark,
for justice to be served.
But they [the gods] remain
at their eternal feast
at the golden tables.
They step from mountain
to mountain, up above:
from the abysses of the deep
steams the breath
of suffocating Titans,
like a burnt offering,
a light mist.
The rulers turn away
their blessed eyes
from entire races of people,
shunning the sight in their descendants
of those formerly beloved and
silently-speaking features
of our ancestors.
So sang the Fates;
the banished one listens
in his night-dark lair
to the songs of the ancient ones,
thinks of his children and grandchildren
and shakes his head.
instead of feast in stanza 4 you can also translate fortresses, which is my intuition. but, it‘s ambiguous. but fortresses is more likely because the gods did certainly not indulge in eternal feasts, they had other business to do, and are furthermore not as hedonistic as the word eternal feast would suggest. and the German word Festen is plural btw. etc.
@@Robert...Schrey it is useful to know the original german text of the poem by Goethe... it sounds completely different :)
Ces't tres tres tres formidable.
Prachtige uitvoering van een prachtig lied, in zijn ernst geheel passend bij Brahms.
Magnificent, like all of Brahms’s choral works (which someone helpfully enumerated below). Thanks so much for posting this live visual performance. A real treat.
Is there some reason why some conductors decline the time-honored practice of using a baton?
Because it's unnecessary. Can you detect the difference in performance quality between conducting with and without a baton?
It's a personal preference. I'm seeing more conductors -- particularly in the Nederlands -- not using a baton, such as for Mendelssohn's Elias, Lobesang, Beethoven's Missa Solemnis all come to mind where the conductor did not use a baton. Also for the Fauré Requiem in Copenhagen. The conductor should do whatever he/she feels most comfortable with. I've seen some conductors use a baton for a symphonic choral performance, but for some parts of the choral sections, not use the baton, then pick it up later.
@@MrMusicker I don't think that that is relevant to the question, rather it asks a reasonable question that deserves more than simply being blown off.
Wirklich nice 🖤💓
😉
Sublim!!!!
Wow.
A genius is only a medium...
This work refers to the Oresteia of Aeschylus. It's about the curse on the House of Atreus that first came down from their earliest ancestor Tantalus, who served his own son to be eaten at a feast of the gods.
Gardiner once remarked that Brahms was probably thinking about Schumann's fate and that of his children when he wrote this. I think he has a point there.
Brahms only WROTE that...
Nobody really knows what goes on in the brains of geniuses like Brahms.
Goethe was thinking of the curse on the House of Atreus, from Aeschylus' Oresteia.
bei so einer musik tanze ich immer hardcore buggy
King_Tiger d,omingo
Warum nicht? Auch die geistigen Neandertaler werden in unserer offenen Gesellschaft geduldet.
7:09...