DGG 2-LPs 2707-018: Brahms - A German Requiem ++ KARAJAN - 1960s GERMANY SEALED

	C$		70
	$		51

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Background -

Factory SEALED since the late 1960s.
Johannes Brahms' Ein deutsches Requiem (1863-1867) is not a setting of the German translation of the standard Requiem text. Rather, Brahms set a selection of Bible verses in German, treating death and its repercussions, and emphasizing consolation over religious observance. He avoided explicitly Christian references, at one time even suggesting that the work be called the "Human Requiem." The German Requiem took shape gradually, undergoing a number of revisions and additions in the course of its creation. First performed in a six-movement version in 1868, the work had its emotional roots in the death of the composer's mother three years earlier. The maternal spirit of much of the text, with its words of consolation that speak more of memory of the dead than return of the dead is a direct allusion his mother's death in 1865, and a reflection of Brahms' disillusionment with dogmatic religion. As a counter to this, there is a more paternal element in the second, third, and sixth movements, which invoke the inevitability of death and its eventual defeat. In spite of its evolving over a period of 11 years, there is a unity of style, mood, and form that is surprising in a work not planned as a unit from the beginning. There are some disparities in balance and scoring, however, the breadth, power, and sheer beauty of the work surely rank it among the great masterpieces of choral-orchestral music.
The first person to see the "finished" score was the other important woman in Brahms' life, Clara Schuman, who wrote to him, "I am completely filled with your Requiem, it...takes hold of a person's whole being like very little else." In 1869, Brahms inserted a new movement as the fifth of the work's seven, and in this, its present form, the Requiem was presented at the inaugural concert at Leipzig's Gewandhaus concert hall. Over the next decade the work was performed more than one hundred times in German-speaking countries alone. The Requiem, which predated all of the composer's symphonies, was the first large-scale orchestral piece for which Brahms gained universal acclaim; its radiant warmth has made it a perennial audience favorite.
Recent intepretations of the German Requiem seem to be evolving from a tradition of automatic application of the formula "slow = reverent" into a newer approach that observes Brahms' often faster, more flowing tempos. Choirs with the desire to perform the Requiem but lack the resource of an orchestra may wish to investigate Brahms' own arrangement of the accompaniment for piano, four hands. - Rovi
Herbert von Karajan was among the most famous conductors of all time -- a man whose talent and autocratic bearing lifted him to a position of unprecedented dominance in European musical circles. He was born on April 5, 1908 in Salzburg, Austria, to a cultured Austrian family of Greek descent (their original name was Karajannis). His musical training began at the Mozarteum Conservatory in Salzburg where he studied piano with Franz Ledwenke, theory with Franz Zauer, and composition with Bernhard Paumgartner, who encouraged Karajan to pursue conducting. Karajan graduated from the conservatory in 1926, and continued his studies at the Vienna Academy of Music and Performing Arts, where he studied piano with Josef Hofman and conducting with Alexander Wunderer and Franz Schalk. Karajan's conducting debut came on January 22, 1929, with the Mozarteum Orchestra in Salzburg. Consequently, the young maestro directed a performance of Strauss' Salome at the Salzburg Festspielhaus, and was named principal conductor of the Ulm Stadttheater, where he remained in that capacity until 1934.
The next fourteen years saw the young conductor's reputation grow rapidly. He was named music director of the Aachen Stadttheater (1934-1942), had his debut at the Vienna State Opera (1937), and accepted a position with the Deutsch Grammophon Gesellschaft (1938-1943). In 1939, Karajan was appointed conductor of the Berlin State Opera, and director of the Preussiche Staatskapelle Symphony concerts. In 1948, he was appointed for life, to the position of director of the Chorale Society at the Society of the Friends of Music, in Vienna.
In 1948, Herbert von Karajan also served at the Vienna Symphony Orchestra, the Philharmonia Orchestra, and La Scala, before succeeding Wilhelm Furtwängler as the music director of the Berlin Philharmonic Orchestra -- a union that would cement his reputation as one of the world's premier conductors. In 1955, Karajan brought that orchestra to the United States on the first of many international tours. The decade that followed saw Karajan accept several appointments, including those to the Salzburg Festival and the Vienna State Opera. In 1967, Karajan had his Metroplitan Opera debut, conducting a performance of Wagner's Die Walküre, and the same year, founded the Salzburg Easter Festival. In 1968, the Herbert von Karajan Foundation was founded to support the research of "conscious musical perception.”
Herbert von Karajan was awarded the "Ring of the Province of Salzburg," Golden Grammophone, Arts Prize (Lucerne), Grand Prix International du Disque, Gold Medal of the Royal Philharmonic Society, German Golden Disc Prize, UNESCO International Music Prize, Olympia Prize of the Onassis Foundation, and multiple Grammophone awards, among others. He was elected to an honorary senate seat at the University of Salzburg. The maestro was also recognized with honorary degrees from a host of universities.
Karajan, along with Akio Morita and Norio Ohga (president and vice-president respectively, of Japanese Sony Group), unveiled and presented the Compact Disc Digital Audio System in 1981. In 1982, Karajan founded Telemondial S.A.M. with Uli Markle, in an effort to document the maestro's illustrious legacy on videotape and laser disc, and to help broaden the scope of "musical expression," through the use of modern technology. In 1984, Karajan recorded the complete Beethoven symphonies with film adaptation, made possible by his own Telemondial. In 1988, Deutsch Grammophone released a collection of one hundred "masterworks" recordings made by the conductor. Herbert von Karajan's discography is impressive to say the least, and will certainly endure in musical arenas, as some of the most valued interpretations of the repertoire available. Herbert von Karajan, often referred to as "general music director of Europe," died in Salzburg of heart failure July 16, 1989. - David Brensilver

• LPs made by DGG (Deutsche Grammophon) Records, in GERMANY
  

• LPs released in the 1960s
  

• LPs are recorded in STEREO

• Record Catalog Number: 2707 018

This listing is for a rare, out of print 2-LP boxed set - a FACTORY SEALED and assumed to be in MINT overall condition set PRESSED and ISSUED by DGG Records of a highly collectible title from their catalog - a superb title featuring -

Johannes Brahms // Herbert von Karajan & Berlin Philharmonic

2-LP Box Set Title -

Brahms: Ein Deutsches Requiem // Variationen uber ein Thema von Haydn

Track Listing -

Ein Deutsches Requiem Op. 45,
A1. Selig Sind, Die Da Leid Tragen.
A2. Denn Alles Fleisch, Es Ist Wie Gras.
B1. Herr, Lehre Mich Doch.
B2. Wie Lieblich Sind Deine Wohnungen.
B3. Ihr Habt Nun Traurigkeit
C1. Denn Wir Haben Hier Keine Bleibende Statt.
C2. Selig Sind Die Toten.
D. Variationen Über Ein Thema Von Joseph Haydn Op. 56a
Performers / Credits / Other Information -
• Baritone Vocals – Eberhard Waechter
• Chorus – Wiener Singverein
• Conductor – Herbert von Karajan
• Engineer [Balance] – Günter Hermanns
• Organ – Wolfgang Meyer
• Producer – Otto Gerdes
• Recording Supervisor – Hans Weber
• Soprano Vocals – Gundula Janowitz
24 page 12" booklet with notes and lyrics in German, English, and French. 
Sticker: Grandprix Du Disque Paris 
Catalog nos on LPs: 138 928 and 138 929

CONDITION Details:

The 2-LP box is in near mint condition as this item is FACTORY SEALED! The box has NO splits or crushed corners and NO cut out marks. The corners and seams are solid. The colors on the box are sharp and clean.

The 2-LPs are assumed to be in mint condition as this item is factory SEALED! 

A Short Note About LP GRADING -

• Mint = Only used for sealed items.
• Near Mint = Virtually flawless in every way.
• Near Mint Minus = Item has some minor imperfections, some audible.
• Excellent = Item obviously played and enjoyed with some noise.
• Very Good Plus = Many more imperfections which are noticeable and obtrusive.

For best results, always properly clean your LPs before playing them, even for brand new, sealed items.

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Do not let this rarity slip by!