
Brahms intended his 'German Requiem' to console the bereaved, rather than serving as a liturgical prayer for the deceased, and wished to title it simply 'Human Requiem'.
Clara Schumann, a lifelong friend of Brahms, praised his 'German Requiem' as a 'mighty piece of music' that deeply moved her.
Orchestras in Brahms' era, particularly in Germany, typically had around 30 strings, unlike the 60 strings common in modern orchestras.
This recording by Roger Norrington and the Stuttgart RSO aims to recreate the sound world of Brahms' time, focusing on elements like sound, orchestra size, seating, tempo, and style.
Brahms' four symphonies are considered a central part of the orchestral repertoire, looking back to Bach, Haydn, Mozart, and Beethoven, and anticipating later symphonic development.
The recording uses a larger orchestral formation with a 'wind choir' for balance, but occasionally reduces the wind and strings to smaller proportions, as Brahms experienced in Leipzig or Meiningen.
The orchestra on this recording uses the 'German' seating arrangement, with violins opposite each other and basses behind the woodwinds, to enhance dialogue and brighten the sound.