I have always appreciated Brahms daring setting of a Requiem in comparison to his contemporaries in other countries for a number of reasons: 1. Its eschewal of the traditional Latin mass liturgy and use of the German language marks Germanys strong ties to the Lutheran church and distance from the Roman Catholic settings, 2. Its brevity makes sure the music doesnt outstay its welcome while still providing a wholly emotional experience, 3. Its prayer-like piousness certainly stands against the&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Verdi-Requiem/dp/B003P93HJO/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Verdi Requiem</a>&nbsp;and&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Berlioz-Requiem/dp/B000001GCV/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Berlioz Requiem</a>, although Masurs interpretation in tempo certainly creates energy focused on a nervous, supplicative urgency that isn't present in the many languorous recordings available, and 4. Brahms persistent use of pedal points, hemiola, imitative or fugal choral work, winds vs. strings orchestrations, and balanced use of soloists vs. chorus are all a nice change even in comparison to&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Dvoraks-90-minute-devotional-Requiem-setting/dp/B00004SZU1/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Dvoraks 90-minute devotional Requiem setting</a>.

As to Masurs interpretation, it has certainly caused a rift in its listeners, but for me has given the work a much needed breath of fresh air. Even the top three search results for this work,&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Sir-Georg-Solti/dp/B0007KTBK8/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Sir Georg Solti</a>&nbsp;(who is well known for taking pressed, speedy tempos), the buoyant&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/James-Levine/dp/B0002DD5UC/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">James Levine</a>, and&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Andre-Previn/dp/B00005OBR3/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Andre Previn</a>&nbsp;time in between 70-80 minutes in performance time, whereas Kurt Masur (not usually known for his&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/urgent-recordings/dp/B000F9SZMG/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">urgent recordings</a>) and the New York Philharmonic come in at 60-minutes flat. As interpretations go, I dig this one, and as contentious as it might be, the increase in tempo creates some new moods, especially in Mvt. 2, 3, and 6, which give the text new meaning to me. How Lovely Are Thy Dwelling Places is presented here more as Viennese, mild urgency and flowing undercurrents dramatize the baritone movements without any sense of a manic pace, and none of the singing seems to be affected at all, even in the difficult contrapuntal sections. Most importantly to me, there are no over-romanticized ruminations presented here, which plagues many recordings of Brahms works, and Masur is able to keep the thick, Brahmsian textures  and singing phrases alive and does not venture into period-instrument classicism.

I love the soloists Sylvia McNair and Hakan Hagegard, both of whom elevated the performance of&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Slatkin-s-Carmina-Burana/dp/B004I6PWEG/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Slatkin's Carmina Burana</a>, and it is much the same here. Brahms makes sure the soloists do not outshine the chorus as in Verdi, nor are the soloists underutilized as in Berlioz; McNairs silky interpretation and Hagegards dramatic, solid tone throughout his range make this recording stand out from others. The Westminster Chorus, under the great Flummerfelt, is sturdy, confident, and professional, and does not show any kinks in their singing regardless of the ranges Brahms throws at them; their German diction is crisp, dynamics and articulations are often emphatic but well-judged, and best of all, they are an equal partner of the New York Philharmonic both in musicianship and in the sonic layout of the recording. I would heartily recommend this recording of A German Requiem if you can try out a new interpretation that breathes new life into an old warhorse; for this listener it worked, excellent performance and all!
I have always appreciated Brahms daring setting of a Requiem in comparison to his contemporaries in other countries for a number of reasons: 1. Its eschewal of the traditional Latin mass liturgy and use of the German language marks Germanys strong ties to the Lutheran church and distance from the Roman Catholic settings, 2. Its brevity makes sure the music doesnt outstay its welcome while still providing a wholly emotional experience, 3. Its prayer-like piousness certainly stands against the&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Verdi-Requiem/dp/B003P93HJO/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Verdi Requiem</a>&nbsp;and&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Berlioz-Requiem/dp/B000001GCV/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Berlioz Requiem</a>, although Masurs interpretation in tempo certainly creates energy focused on a nervous, supplicative urgency that isn't present in the many languorous recordings available, and 4. Brahms persistent use of pedal points, hemiola, imitative or fugal choral work, winds vs. strings orchestrations, and balanced use of soloists vs. chorus are all a nice change even in comparison to&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Dvoraks-90-minute-devotional-Requiem-setting/dp/B00004SZU1/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Dvoraks 90-minute devotional Requiem setting</a>. As to Masurs interpretation, it has certainly caused a rift in its listeners, but for me has given the work a much needed breath of fresh air. Even the top three search results for this work,&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Sir-Georg-Solti/dp/B0007KTBK8/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Sir Georg Solti</a>&nbsp;(who is well known for taking pressed, speedy tempos), the buoyant&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/James-Levine/dp/B0002DD5UC/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">James Levine</a>, and&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Andre-Previn/dp/B00005OBR3/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Andre Previn</a>&nbsp;time in between 70-80 minutes in performance time, whereas Kurt Masur (not usually known for his&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/urgent-recordings/dp/B000F9SZMG/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">urgent recordings</a>) and the New York Philharmonic come in at 60-minutes flat. As interpretations go, I dig this one, and as contentious as it might be, the increase in tempo creates some new moods, especially in Mvt. 2, 3, and 6, which give the text new meaning to me. How Lovely Are Thy Dwelling Places is presented here more as Viennese, mild urgency and flowing undercurrents dramatize the baritone movements without any sense of a manic pace, and none of the singing seems to be affected at all, even in the difficult contrapuntal sections. Most importantly to me, there are no over-romanticized ruminations presented here, which plagues many recordings of Brahms works, and Masur is able to keep the thick, Brahmsian textures  and singing phrases alive and does not venture into period-instrument classicism. I love the soloists Sylvia McNair and Hakan Hagegard, both of whom elevated the performance of&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Slatkin-s-Carmina-Burana/dp/B004I6PWEG/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Slatkin's Carmina Burana</a>, and it is much the same here. Brahms makes sure the soloists do not outshine the chorus as in Verdi, nor are the soloists underutilized as in Berlioz; McNairs silky interpretation and Hagegards dramatic, solid tone throughout his range make this recording stand out from others. The Westminster Chorus, under the great Flummerfelt, is sturdy, confident, and professional, and does not show any kinks in their singing regardless of the ranges Brahms throws at them; their German diction is crisp, dynamics and articulations are often emphatic but well-judged, and best of all, they are an equal partner of the New York Philharmonic both in musicianship and in the sonic layout of the recording. I would heartily recommend this recording of A German Requiem if you can try out a new interpretation that breathes new life into an old warhorse; for this listener it worked, excellent performance and all!