Sergiu Celibidache's 1957 recording of Brahms' Ein deutsches Requiem easily ranks among the most thrilling and satisfying on disc, which is no small recommendation, given the multitude of outstanding versions. The conductor's grasp of the work's architecture, both as a whole and in each movement, makes this a riveting performance; the Requiem has rarely sounded so vividly dramatic. The opening movement, "Blessed Are They That Mourn," seems slow at first compared to common performance practice. There is no slackness in
Celibidache's approach, though; the sense of ethereal equipoise that the stately tempo induces beautifully evokes the serenity that the text describes, and it doesn't take long before this relaxed pace is entirely convincing, even revelatory. The second movement, "Behold All Flesh Is as the Grass," is all the more gripping in its contrast; the ominous, thunderous second and fourth iterations of the theme are overwhelming in their emotional punch. "How Lovely is Thy Dwelling Place" is taken a little faster than usual, building to irrepressible ecstasy at its climax. Kölner Rundfunk-Sinfonie-Orchester and Chor respond with exquisite sensitivity to
Celibidache's leadership, especially in the timbral variety they bring to the Requiem's shifting moods. Bass
Hans Hotter is not in top form here: the wobble that occasionally marred his performances is in evidence, but his singing is so deeply impassioned that his uneven tone is forgivable. Soprano
Agnes Giebel sings with a lovely, floating tone, effortlessly negotiating the high tessitura of her solo, and she fully conveys the warm maternal comfort of the text. The sound is period, but very fine for its period, with no sonic issues to interfere with the impact of the performance.
Celibidache's version should strongly interest anyone who loves the Requiem. Highly recommended.