Johannes
Brahms (1833-1897): This
imposing and emotional work largely established Brahms’ reputation
while he was
still in his mid thirties. It
is not a
conventional requiem since it doesn’t use the words of the catholic
Requiem
Mass, but instead draws texts from the Lutheran (or “German”) Bible,
more in
the manner of an oratorio. It
speaks of consolation
for the living rather than the commemoration of the dead. Although Brahms had
probably been planning
such a work since Schumann’s death in 1856, it was actually begun in
response
to the death of his mother at the age of 76
in January 1865, completed only gradually
and not performed in full until 1869. Three
of the eventual seven movements were given for the first time in Vienna
in 1867,
and Brahms conducted six in Bremen the following year, when friends
from his
home city of Hamburg were among the performers.
The first movement, subdued and reflective, sets words of comfort for those who mourn; while the second is a pounding funeral march with a text about the frailty of earthly life. In the third the baritone soloist joins the choir with a plaintive melody which continues the theme of the impermanence of the human condition before suddenly giving way to a confident fugue. The fourth movement is the famous and lyrical “Wie lieblich sind deine Wohnungen” (“How lovely are thy dwelling places”: Psalm 84) often sung separately by choirs in concerts and church services. The last-completed movement, the fifth, involves the soprano soloist and refers, with poignant beauty, to the comfort given by a mother. The baritone returns for the sixth movement, with texts about the conquest of death, principally from 1 Corinthians: this movement starts sombrely, has an agitated central section and concludes in a stately and extended fugue. The final movement returns to the mood of the opening one, with familiar words of reassurance from Revelation. The first
performance in Britain of Ein Deutsches
Requiem was
in 1871 at the private London home of the eminent concert
pianist Kate Loder (Lady Thompson); and for this occasion Brahms made
the
four-hand piano version of the accompaniment. Brahms was still a relatively
inexperienced orchestral writer at this date and the piano version
reveals the
rhythmic and harmonic structure of the music with sharper clarity and
greater
intimacy than the orchestra often does (in fact it can be performed
quite
effectively even without the choir!). Peter Harbord, North Yorkshire Chorus Text and translation (pdf) |