Jul 2015

Requiem Brahms


Forum Opéra about the Brahms:

Si on se penche sur les aspects qui ont permis une telle réussite, il faut citer en premier lieu la prise de son, réalisée dans les conditions acoustique idéales de la Salle Flagey à Bruxelles. Là où Mariss Jansons nageait dans le brouillard, les ingénieurs de Penguin Records placent l’auditeur au plus près des instruments et des voix, sans perdre de vue la grande arche. Un exemple parmi des dizaines : les harpes, détail essentiel de l’orchestration sont parfaitement audibles dans le 1er mouvement, et même dans les déchaînements du deuxième. Un régal ! Le Brussels Philharmonic, qui vivotait jusqu’il y a une dizaine d’années, est concentré, professionnel et réactif. Il n’offre pas la splendeur de timbres des grandes phalanges internationales, mais le propos est ailleurs.


BBC Radio 3 reviewed two new versions of the Brahms Requiem, one by the Concertgebouw Orchestra and Mariss Jansons, one by the Vlaams Radio Koor, theBrussels Philharmonic and Hervé Niquet, issued on Epr Classic. So nice to hear our version was found to be exciting and innovative!

Listen yourself on
at 02h12m

“A deliberately revisionist recording”

"Niquet is making a musical point and an aesthetical point and, if you like, a theological point. I love his lack of patina, of sentimentality; his is one of these Requiems which never gives you an uncomfortably churning feeling in the stomach…"

“It seems as if Janssons is focusing on the mourning, while Niquet has decided to focus on the promised joy in the wake of the mourning, as he moves his very lively and fresh-voiced choir on and on...”

Denn alles fleisch is a full four minutes shorter than Janssons, and it becomes something of an earth dance. If we go onto Herr lehre doch mich, the pacing is so much more urgent, the Greek baritone Tassis Christoyannis’ singing so easeful: it floats by as the simple, gentle breath of a prayer.”

“Young Belgian soprano Lore Binon has a seductive, light-moving, girlish angel of a voice, but it very much fits [Niquet’s] way of doing things, and it suits the spirit of the aria: in spite of the fact that you weep now, you will rejoice, and no man taketh that joy from you. That’s what Brahms says!”

“This is so compelling, so exciting: it matches exactly what Brahms wants to do in this music. We need this urgent momentum and this sense of instinctive speech rhythms instead of the traditionally slow and lugubrious “choral society” over-reference, which is perhaps not quite appropriate here.”



after the cd also the live recording for Canvas


Simone Lamsma - Robert Kulek

"For the High Resolution community the sound is of as much importance as the musical content. In this respect Challenge Classics let no wish unanswered: Superior sound is guaranteed. Steven Maes for Serendipitous has done an excellent job, as he did last year for the Beethoven violin sonatas with Isabelle van Keulen and Hannes Minnaar (Challenge Classics CC 72650)".

We finished today the SACD master of the sonates for piano and violin.
With the two admirable and fantastic musicians Simone Lamsma on violin and Robert Kulek playing the piano.
Recording studio 1in Hilversum.

Sonata for Violin and Piano in F major MWV Q26 (1838)
Sonata for Violin and Piano (1914)
Sonata for Violin and Piano No.2 in D minor Op.121 (1851)