This is the most wonderful recording of a great work of inspiration and sheer magnificence. It's interesting to note that it's 12 minutes shorter than the Davis performance. This is because Gardiner takes faster, flowing and exciting tempos. This work can be a bit laborious if taken too slowly. Bravo to Gardiner for avoiding that problem.

A very satisfying performance. The recording is remarkable for the quality and clarity of the sound. Perhaps the best recording in this respect.

Mein Mann liebt Brahms Deutsches Requiem. Es ist unglaublich schön und es war geschrieben für die, das Leid tragen. Wenn ich gehe möchte ich diese Musik hören.

The best recording of the Requiem I've ever heard! Ausgezeichnet!

Absolutely love this recording. Didn't know JEG had done a period - instrument recording of Brahms' German Requiem. Very nice!

@afrofinka

8 жыл бұрын

+Clayton Peak even two recordings ! This is the second one.

My favourite Requiem. Brahms owns lush harmonies and is master of the 'Interval'. I have sung this several times in large choirs, once under the direction of Helmet Reilling, which was broadcast on radio. I always leave the production of this work with tear-stained face. Not a classical Requiem, but Requiem for the living. Perfect.

Gardiner est une conducteur extraordinaire!

great tempo, great dynamic, great sopranos in the choir, I really like the interpretation…

I believe a lot of music lovers reject historically informed performances because they have amassed a lot of recordings with modern instruments and are reluctant to start all over. I was such a person but I'm so glad I made the change. Period instruments sound so much better with their lighter touch, transparency and (especially for brass instruments) their characterful, even "pungent", sound.

@klop4228

6 жыл бұрын

Period brass is so much better sounding than modern brass. Although I'm a guy who enjoys the sound of the Renaissance Rackett (look it up), so what do I know...?

@ThreadBomb

5 жыл бұрын

A lot of older music never really sounded right to me until I started listening to HIP recordings. As you say, the clarity and pungency of the sound are vital to these works. That said, I still don't really like historical instruments in chamber music (the recordings I've heard, anyway).

@annamcancarini6953

Жыл бұрын

People don't like hip because it is a scam and a fraud, an ideological abuse. This performance is ridiculous, unlistenable. Brahms is not a madrigale.

La versión de Gardiner me conmovió profundamente...está llena de sutilezas expresivas,las voces del coro y los solistas son frescas y no excesivamente impostadas y gracias a ello el relato gana en humanidad y sentimiento.Además me gusta mucho como aligera y juega con los aspectos rítmicos en las partes jubilosas.Lamento las imagenes elegidas para acompañar la música ya que no tienen que ver con el concepto de esta obra maestra.Alfons P i B

A superb performance! Thank you for this posting of this exceptional work.

quelles voix splendides...wouaouwww pour le son....impeccable ....dynamisme et contrastes de brillant a sombre ainsi que les nuances,les sforzando....oh la la ....tout a fait reussi........x

Immer macht mich weinen, weil es spricht die Wahrheit von das :Leben und dem Tod. R.K.B.

This is so beautiful in every way- Thank you.

Apart from this excellently clear and powerful interpretation (I feel like I had the score under my eyes), I especially enjoy reding your various comments. Thank you Fritz "Maisenbacher" and Alex Reik for rising the level of the debate to such depths!

@alexreik424

6 жыл бұрын

GILLES: fritz masturbator, as always, has been only full of himself, a musical incompetent who is equally full of shit with his wasteful outpourings. Society would do well to force him to go back to his original callings as bear-trainer or swine-herd

Es increíble como se funden y amalgaman los sonidos de la orquesta con las voces humanas, y se continúan unos en otros. Extraordinarios los planos sonoros obtenidos. Una experiencia musical y vital única. Es un trabajo cumbre de Gardiner para la historia. Mario Carlos Ginzburg

Transparant en goed verstaanbaar. Prachtig

Orchestre Révolutionnaire et Romantique Violins I Peter Hanson, leader Kati Debretzeni Sharon Jaari Sophie Barber Marcus Barcham-Stevens Madeleine Easton Matilda Kaul Fiona Stevens Roy Mowatt Declan Daly Martin Gwilym-Jones Miranda Playfair Violins II Matthew Truscott Jayne Spencer Iona Davies Matthew Ward Nicolette Moonen Anne Schumann Julia Hanson Hakan Wikstrom Hildburg Williams David Chivers Violas Judith Busbridge Tom Dunn Lisa Cochrane Ian Rathbone Oliver Wilson Stella Wilkinson Mark Braithwaite James Slater Cellos David Watkin Ruth Alford Catherine Rimer Robin Michael Olaf Reimers Penny Driver Gabriel Amherst Double basses Valerie Botwright Cecelia Bruggemeyer Markus Van Horn Elizabeth Bradley Andrew Durban Flutes Marten Root Neil McLaren Piccolo Judith Treggor Oboes Michael Niesemann Ina Stock Clarinets Timothy Lines Guy Cowley Bassoons Jane Gower Györgyi Farkas Contrabassoon Ian Cuthill Horns Anneke Scott Joseph Walters Gavin Edwards David Bentley Jorge Renteria Trumpets Neil Brough Robert Vanryne Trombones Adam Woolf Abigail Newman Stephen Saunders Tuba Jeffrey Miller Timpani Robert Kendell Organ Edmund Connolly Silas J Standage (Requiem) Harps Nuala Herbert Thelma Owen Monteverdi Choir Sopranos Miriam Allan Charmian Bedford Elenor Bowers-Jolley Katy Butler Amy Carson Donna Deam Katherine Fuge Juliet Fraser Pippa Goss Angharad Gruffydd-Jones Alison Hill Emilia Hughes Angela Kazimierczuk Charlotte Mobbs Lucy Page Katie Thomas Belinda Yates Altos David Bates Heather Cairncross Margaret Cameron Peter Crawford Joolz Gale Annie Gill Carol Hall Frances Jellard Charles Richardson Susanna Spicer Tenors Jeremy Budd Andrew Busher Peter Davoren Vernon Kirk Nicholas Mulroy Tom Raskin Nicolas Robertson Paul Tindall Basses Tom Appleton Richard Bannan James Birchall Matthew Brook Julian Clarkson Samuel Evans Gabriel Gottlieb Charles Pott David Stuart Will Townend Lawrence Wallington

Mooie uitvoering! Love this recording!

Grandisima interpretación! !

Beautiful, terrifying, frightening. Call it what you will, all I know is it scares me to death and that is why I love it so much

This is probably my favorite version of this piece. Only thing is I wish the basses were a little louder. Though this is such a touching, powerful interpretation. Movement 6's, "Denn es vird de Posaune schallen" gives me goosebumps every time. Especially, of course, when it is sung right, and with great power, like it is here. Bravo!!!

This is a bang-up performance, ably served by the full, clear sound. The whole thing sounds "fresh", as if just plucked from the vine.

I do not know anything about what it is "supposed" to sound like, but I do know that I much prefer this interpretation for the simple reason that I do not have to keep turning up and down the volume to strain to hear tiny pianissimos and protect my ears from blasting fortissimos.

@klop4228

6 жыл бұрын

To be fair, that might not be interpretation, but audio compression, the double-edged sword that it is. One the one hand, what you said. On the other hand, you sometimes get a quiet section followed by a sudden fortissimo which gets quietened ridiculously and so sounds quieter.

I also appreciate the lush, broad orchestration of Brahms, Beethoven, and many other classical composers. And I love some of the more recent recordings with technology that can better reproduce awesome dynamic range, depth and nuance. I find some of the Historically Informed Performance styles have become pretty thin and vapid. This performance seems to strike a good middle road-- it's not broad nor plush, but neither is it frail. I find it robust, immediate, and in your face. I love how this performance treats the libretto. Listening to movement 2 in this recording while reading the translation, I'm positively gobstruck.

et voila les frissons que l'oeuvre merite

Stunning recording!!!! Bravo Maestro!!!! Love Gardiner’s Beethoven especially Leonore and Missa Solemnus. Great sound, tempos and passion. Brahms sounds even better, truly inspired by the powerful and dynamic interpretation of this great masterpiece.

It is a pleasure to have a conversation with gentlemen as Mr. James Martin who expresses his opinions in such an elegant and clear manner, with richness in argumentation. Thank you so much Mr. James Martin! To Mr. Mat Phi: apart from his conceited idea to enlighten people and to open their mind, I would like to remember him that I put forward an argument: conductors as Walter and Klemperer were directly linked to the late romantic tradition: they met directly composer as Mahler.

All I know is this is how I want a choir to sound.

ich mag es immer noch.

I think the choir here is a much higher caliber and better sounding choir then most choirs in this piece... The sopranos are never flat on high notes like many other choirs (ex. 2:04), every onset is perfectly in tune and together (no scooping or "easing into" the note, as often happens), and they blend incredibly beautifully. And the singers in the choir do still vibrate some; they just don't wobble and warble around.

Yeah - this is awesome!!! Thank you for knowing "Brahms"

My new favorite version.

Timings: 1 0:00 2 10:45 3 23:26 4 32:00 5 37:13 6 44:36 7 55:12

The Monteverdi Choir The Revolutionary and Romantic Orchestra Ann Monoyios Soprano Rodney Gilfrey Bass Sir John Elliot Gardiner, musical direction. Great performance in period instruments with male alto choir.

@sybedijkstra1

2 жыл бұрын

@Zuma Zero, Rodney Gilfrey and Charlotte Margiono are the soloists of the older (1991) Gardiner performance. Here a link to Ihr habt nun Traurichkeit with Charlotte Margiono kzread.info/dash/bejne/Youlz7Wmg5nPZMY.html

I've heard lots of interpretations. I LIKE this one. :)

Johannes Brahms - Ein Deutsches Requiem Matthew Brook, Katharine Fuge John Eliot Gardiner Orchestra/Ensemble: Monteverdi Choir, Orchestre Révolutionnaire et Romantique

wundervoll

Quelle ferveur, quel souffle!

Ich habe gern, zu hören.

Thankyou for this video. I think this masterpiece is better almost without vibrato, like in this performance, expecially for an adults' choir, otherwise high notes are dirty and not clear.

Pure Beauty. ❤️

great gardiner

I agree with you,the debate should remain cordial.In any case noone was there to check how people performed in the time of Brahms,but sorry to tell, there are many writings from that time helping us to understand a bit more how they would and as long as you don't want to read them,let me be conceited.According to me,mixing up tradition and historical sources is a mistake but that's the eternal debate between historical and modern performers.

Merci à celui ou celle qui me dira quel est le nom de la statue, et au passage merci pour Brahms et pour tous les amoureux et admirateurs de musique classique et d'oeuvre aussi transsandante que celle-ci.

@annochka63

6 жыл бұрын

La statue est L'ange de la douleur, et elle se trove à Rome, dans le cimitière acatholique (ou Des Anglais) de rue Cestio. Elle a été scuptée à la mort de sa femme par l'auteur, William Wetmore Story, mort lui aussi, peu de mois après, accablé par la douleur

Can't keep eyes open.... falling asleep.... help me...

Hier hat sich der Maestro im Klangbild verirrt!

@christophbader3713

8 жыл бұрын

Sehe ich überhaupt nicht so. Er sieht es eben eher als Motette mit Orchester, und wenn ich genauer drüber nachdenke - ist ist wohl einfach so.

wow!

Excellent absolutely excellent.

For another interpretation, listen to Giulini’s, Karajan’s, Solti’s recordings. Or Abbado’s interpretation which combines a romantic approach with a certain agility of proceeding and a with a remarkable differentiation of sound levels by using also a chamber choir. (This list does not purport at all to be complete)

great!

I don't know about 'correct' or 'nice-sounding' against other 'modern' or 'non-HIP' performances, but what I can say about this against other recordings is that I can actually hear words. Like, the German language.

Das beste Recording was ich weiss!

@makinbaconpancakes1126

7 жыл бұрын

Hristo Dantchev okay and now in german again.

Commozione ❤️👏❤️

und alles fleish starts gallantly with baroque bassoons.. lets call them bassoonets can't hear the orchestra... but lo a baroque contrabassoon.. the brass is playing in another room. good baritone

Ok, but to define precisely the "intentions" is the purpose of historical performance. Playing on historical instruments allows the performer to get a bit closer to these intentions. If you were a performer yourself you would know that it is completely different to play on a romantic wooden flute than a modern one in metal or to play on gut strings and not on steel ones.

What a pity, we don't know the name of solists', the orchestra and the choir.

@Tariska10

9 жыл бұрын

Thanks, Jeremy

@berlin36moto

9 жыл бұрын

Eszter Tariska you don t need to know.

you hope? what is this book, the gospel? anyway.. we know how brahms can be performed. conductors as furwaengler, walter, toscanini, klemperer, karajan, etc. belonged to a generation that could be pupils of those who directly heard the first performance of brahms. walter was an assistent of mahler, and mahler met brahms. so.. there is a continuity within the tradition. how brahms, mahler,verdi, puccini, bruckner etc must sound is not a mistery..then it is a matter of rasonable choice or of taste

Wow, people really seem to take ostensibly trivial performance details very serious on this site...

I advise you to read "Classical and Romantic Performing Practice 1750-1900" Clive Brown. I hope you'll not talk about lack of vibrato afterwards...

Who´s the Baritone??

BraHMS and what German culture is and means!

Death and Suffering

I have a recording of the German Requiem with John Eliot Gardiner / Monteverdi / Orchestre, but it's a different, older one with Rod Gilfrey as the baritone soloist. I absolutely LOVE that one, just like I LOVE Gardiner's Beethoven symphonies, but this particular recording is really not doing it for me. At all. Strange how the same conductor can produce two such different takes. Brahms orchestrates a big, plush ocean of sound, and this doesn't have it. Plus most of it seems way too fast. If you can find the Gilfrey version, buy it. Otherwise, listen to van Karajan instead of this.

@kedemberger8773

9 жыл бұрын

I had bought the earlier Philips recording with Gilfry and the great Margiono back in the 90s and I was severly dissappointed with Gardiner and the recording team there. Weak playing, effete, precious phrasing and no backbone. The soloists were wonderful. I believe this later recording to be eons more direct, sensible and involving. The ritards in the 6th movement sounded then so artificial, applied. Here they are a lot more convincing. The sound itself is clearer and more realistic. No competition. The soloists here, however, are subpar. For the best Brahms Requiem there's Kempe. Not really Karajan's piece IMO. And he uses the WIener Singeverein on most of his recordings and they are a wobbly, under the pitch, screaming band. Oh no.

@ThreadBomb

5 жыл бұрын

Too fast? I've just heard the first two movements, and if anything Gardiner is too slow. The second movement in particular needs to be more muscular.

mostly fine (love the vibratolessness), but the cheesiest ever final 'wo .......... ist ..................... dein ................................... Sieg" (I hate to imagine what he does with 'vor Gott vor Gott vor Gott' in the Ninth)

@kyrie73

7 жыл бұрын

Murray Bowles The first recording on Philips was cheesier. Here he is relatively restrained. I love this performance but the soloists are awful.

32:00

John Eliot Gardiner

I’m a tenor. I have sang the Brahms requiem before. It may look easy but this choir music on STEROIDS. You need depth, a solid sound, a fabulous developed breath support and ease not only with high notes but with high tessitura, what it’s witten for the tenor is very high. My complain is that the sopranos overpower everybody else during this recordings and one can not hear anyone else. I hear the tenors but they are on the light side and that’s not what Brahms is about. Brahms = the Verdi and Wagner of choral music. Singers need so much BODY in their voice for this requiem. Both solos did not make the cut here. Too light! You don’t need to have a dramatic instrument in your throat BUT you do need depth in your voice - asked that Lucia Popp who has a lyric extremely natural yet rich instrument with a lot of body. She is perfect for this music. The tempo is too fast too!! Way too fast and Brahms is all about holding those long resonant spinning notes!

@kedemberger8773

5 жыл бұрын

let me guess: your'e American, right?

@Triosfrios

5 жыл бұрын

Don't forget the pitch. A 440 should be A 432. Then the sound would be what Brahms intended. It always sounds so screechy thanks to 20th century conductors who raised the pitch to A 440! Brahms didn't intend that screechy sound but the Karajans of this world messed it all up!

@jamieday1174

4 жыл бұрын

@@kedemberger8773 let me guess: you're a tool, right?

Gardiner is a good conductor, well known for his performances and recordings within renaissance and baroque repertoires. I appreciated his Mahler (lieder eines fahrenden Gesellen) too. Here.. his approach shows some limits. The sound is aleays clear and this allows to listen to the articulation of the polyphony. But.. it lacks 'vibrato' and so the sound does not have 'body', even in the Choir. Brahms is Brahms, not Palestrina. No charm.

@deinauge7894

7 ай бұрын

if you look for recordings of singers of the 19th century (and there are some who recorded their voices when it became possible) you won't hear much vibrato. and a much clearer sound, not a big washed out ocean. Recordings of Brahms playing piano himself are also on the fast side. What they don't show is the steady tempo and strict synchronization we hear in modern recordings (including this one).

There is a difference between the forced "opera-vibrato" and the natural vibrato which is always present in a human voice...

@craigbloomfield8546

5 жыл бұрын

Healthy operatic singing should never have a "forced" vibrato. Healthy singing will often have a natural vibrato that is even and clear, but not forced. However, not all voices necessarily have a vibrato per se. Some, at their healthiest and most open, are as clean and smooth as crystal. As long as the person is singing healthily (and beautifully), that's all that matters (to me). :)

11:48

If you don't want to improve your knowledge or to open your mind reading very relevant writings on the way the music was performed in the XIXth century,let me remind you that the vibrato as an element of tone production appeared at the turn of the XIXth century with Ysaÿe. I won't copy here all the writings on the subject that we have from Joachim and other performers of the time of Brahms,youshould simply inform yourself a bit more before showing such a disrespect for the historical performance

das ist unfassbar zu leise. wann wird das demnächst live gespielt?

@romearomeo

8 жыл бұрын

Wie laut soll es denn sein?

@drogba440

8 жыл бұрын

+David Linden Hallo David Live zu sehen am 02.04..16 Stadthalle Ettlingen. Gruß Manfred

Outregious.

Es klingt für mich zu fest nach "Barocke Aufführungspraxis"....es wirkt steril und lebt zu wenig. Perfektion allein macht noch lange keine Musik. Lässt doch diese so wunderschöne und großartige Musik das Herz berühren.

@Videocommunicator

9 жыл бұрын

Anna-Maria Locher Ich habe diese Aufnahme gerade erst entdeckt, und beim ersten Satz sind mir die Tränen gekommen, so gerührt war ich, so "getröstet" habe ich mich gefühlt. Spricht das für "steril"? Oder für "fest"? Oder nicht doch dafür, dass "diese so wunderschöne und großartige Musik das Herz berührt" - auch und gerade auf diese Weise! Ich habe das Requiem oft gehört, und in der Historischen Aufführungspraxis bin ich auch tätig. Dass Gardiner nach seiner alten Aufnahme des Requiems, für die ich eine solche Kritik akzeptiert hätte, jetzt noch so viel tiefer eintauchen kann, war nach seiner Interpretation der Brahms-Sinfonien vielleicht nicht unvorhersehbar, ist aber doch eine schöne Überraschung.

@berlin36moto

9 жыл бұрын

Anna-Maria Locher hä?

@romearomeo

9 жыл бұрын

Mir persönlich berühren die Aufnahmen eines Klemperer, Sawallisch oder auch Karajan viel mehr. Ich muss auch zugeben das ich nicht so Fan von diesen Historischen Aufführungspraxis bin. Vielleicht würde wir uns sogar noch sehr wundern wenn wir wirklich hören könnten wie es z.B.in den Zeiten von Bach geklungen hat....auch da....ein Erbarme dich aus der Matthäuspassion höre ich viel lieber mit noch eine Julia Hamari oder Kathleen Ferrier als mit diesen heutige Altus- Besetzungen. Aber es ist doch schön das es so viele verschiedene Aufführungen gibt, irgendwie kommt doch jeder zur seine Rechnung.

@Videocommunicator

9 жыл бұрын

Über Geschmack möchte ich hier nicht streiten, zumindest nicht in Stichworten. Und sicher würden wir uns wundern, wenn wir eine Interpretation unter Bachs Leitung hören könnten - es wäre sicher nichts, was wir kennen. Trotzdem gibt es Quellen zur Aufführungspraxis der Bachzeit, und die möchte ich schon zur Kenntnis nehmen, sie bringen uns der Sache zumindest näher. - Wenn man die uns zur Verfügung stehenden Aufnahmen von Brahms-Werken sichtet, dann gibt es ja nicht nur Klemperer, Sawallisch, Karajan oder andere auf der einen Seite und die "Historische Aufführungspraxis" auf der anderen Seite. (Schon innerhalb jedes dieser Felder gibt es eine große Vielfalt von Interpretation.) Ich möchte daran erinnern, dass es auch viele historische Brahms-Aufnahmen gibt, mit auch heute bekannten Orchestern und doch einem sehr anderen Ansatz von Interpretation. Im Fall der Sinfonien habe ich mich schon sehr damit beschäftigt und Aufnahmen gefunden, die mich sehr berühren, z. B. die vierte mit Amsterdam Concertgebouw Ortest/Mengelberg und die dritte mit den Wiener Philharmonikern/Clemens Krauss, beide, wenn ich mich recht erinnere, aus den Dreißigern. Bei allen neueren Studio-Aufnahmen ist das oft kleinteilige Schneiden der Feind einer lebendigen Interpretation, diesen Einfluss bemerkt man bei Aufnahmen etwa seit den 50er Jahren. Ich war ganz erstaunt, als ich hier auf You Tube ein recht neues Video mit der Interpretation der 3. Sinfonie von Brahms durch die Sächsische Staatskapelle Dresden unter Chr. Thielemann fand und Thielemann die Wiederholung der Exposition des ersten Satzes tatsächlich anders, geraffter, größer, gestaltete als den ersten Durchgang. Das gibt es in geschnittenen Studioaufnahmen kaum noch - und deren Ästhetik der Perfektion und Angleichung hat leider auf Spielpraxis und Hörgewohnheiten doch sehr abgefärbt. Insofern kann man sich freuen, dass auf You Tube noch reichlich Live-Aufnahmen dokumentiert sind.

@romearomeo

9 жыл бұрын

Es ist sehr spannend...die noch ältere Aufnahmen faszinieren mir eigentlich am meisten und wenn sie live sind ist es noch besser, ich bin auch der Meinung das es bei den Studio-Aufnahmen von der lebendige Interpretation viel verloren geht. Für mich gibt's also auch nicht nur Karajan, Sawallisch etc. Und wie sie sagen, man findet zum Glück noch viele live Aufnehmen.

Vergogna

Reproducing Brahms's intentions and reproducing how his music sounded in his own lifetime are not the same thing. One is only partially possible, and the other is totally impossible.

@petermetcalf519

5 жыл бұрын

We may differ in considering which is which.

Being a pupil of Brahms's (or a pupil of a pupil) doesn't, in itself, guarantee anything. Some pupils perform in a style very close to their teachers'; others depart widely from it. Yes, Mahler met Brahms; but I doubt if even of his own performances of Brahms were very faithful to Brahms's intentions. If you want to get an idea of what Brahms's music sounded like in his own lifetime (only a partial idea, of course), there's no substitute for historical research.

what brought him to treat Brahms with baroque instruments? Brahms is not Haendel! Can hardly hear the bases.. a baroque english horn drones so englishly. Messi di voce all over the place, and hardly hear the orchestra..the baritones come in early... first 4 minutes, several injured on the battle field.. minute 5;40 the tenors trot in so englishly.mit freude! min 10 the sopranos so quaintly sing getrastet werdan.. the o umlaut is important.. it's the German requiem.. Brexit has not yet conceded Brahms to the Brits.

@annamcancarini6953

Жыл бұрын

This interpretation is simply ridiculous. Not german at all. Painfully 'Monteverdian'. Awful!

I feel very torn, but I must say, as a HUGE Gardiner/Monteverdi Choir fan of decades (literally), this is disappointing. Certainly, it is "pretty" enough, but it lacks the richness and depth of their previous recording (see end of post). I'm not being nostalgic for the heck of it. I have been listening to them long enough to have heard them redo quite a number of recordings. While the new interpretations were different, they were credible and beautiful in their own right. This, however, doesn't work. The voices here are a bit too light and thin ( especially the sopranos - almost boy-like in some approaches); the tempi are frequently syruppy in passages where it is unnecessary as the actual phrasing itself is mournful enough and some of the transitions are awkward - not seamless as Gardiner is known to do) and the soloists....*no comment*. The result is that It loses the two things one loves most about this work - the colour and the melodic lines (magically haunting when done perfectly, with one voice handing over to another so subtly that one can't tell where the tenors ended and the altos began) - as they did the first time around). If you love this, check out the previous one: www.amazon.com/Brahms-Deutsches-John-Eliot-Gardiner/dp/B00TG0BTO6. This recording proves that EVEN my beloved Sir John can make artistic mistakes. It makes him more human somehow. :)

@ThreadBomb

5 жыл бұрын

Interesting post, thanks.

Mozart version is better :3

@LewisHamsterHammond

9 жыл бұрын

it's different, I wouldn't say 'better'.

@shengloongtan229

9 жыл бұрын

Get what you mean ;-) Maybe I should say "I like Mozart version more than this"

@BigRiver374

9 жыл бұрын

Lets be clear in that these are not different "versions" of the same piece. They are extremely different from each other in nearly everyday. If you consider that Mozart was a classical composer and Brahms a Romantic, the differences are easily explained and understood. You may prefer Mozart's requiem to Brahm's, but please don't be ignorant to the fact that they are inextricably different. It's apples and oranges.

@shengloongtan229

9 жыл бұрын

I prefer orange then :|

@tamillab2538

6 жыл бұрын

They're completely different and have no point of comparison

Kindergartengruppen Musikverein ? Klingt scheußlich...