COMPOSED 1865–1868
PREMIERE February 18, 1869; Leipzig, Germany
LAST DPO PERFORMANCE May 2013
DURATION 72 minutes
Brahms’s A German Requiem was fully completed in 1868, but he had begun work on it as far back as 1854, probably inspired by the suicide attempt that year, and death shortly after, of his musical hero and friend, Robert Schumann. The 1868 premiere of six movements of his Requiem became Brahms’s first great triumph in his career and solidified his stature as one of Europe’s greatest composers. Later in 1868, Brahms added a seventh movement—its premiere taking place in 1869. The Requiem differs from the typical Catholic Mass for the Dead. First, the “German” in its title refers to it being in German, not Latin. And second, rather than creating a musical prayer to help the departed into heaven as Requiems typically do, Brahms focuses on consoling those left behind.
Brahms set the text of the first movement in a darkly somber tone. Though solemn, the music expresses a sweetness veiled by mourning. Brahms’s orchestration here is unusual, omitting the violins, clarinets, and piccolo, and—very rare for Brahms—the use of the harp here and in later movements. As the violas, cellos, and basses solemnly play a sighing opening melody, they begin with a three-note, ascending motive that will be used throughout to unify the entire work.
The longest movement of the work, “For all flesh is as grass ...” begins as a slow funerary march, with the low registers and funeral drums (timpani) introducing the first theme. The chorus enters in a dim but moving chant, expressing some of the most sobering and poetic verses in the Bible. From this musical darkness the mood shifts to radiance, ending with miraculous serenity.
The baritone soloist enters into a recitative dialogue with the chorus. Crying out a sobering message, he sings “Lord, teach me that there must be an end to me” directly to us, the chorus then echoing from afar. The music builds in urgency into a remarkable double fugue, one for the chorus and another for the orchestra—held together with a low D-pedal point in the timpani, tuba and trombones, a note that remains fixed underneath harmonic changes—all ending in spine-tingling power.
The upper winds open with a simple and consoling descending melody. The melody is then inverted, which magically makes it sound more hopeful, three bars later when the chorus enters singing “How lovely is thy dwelling place, Lord.”
Brahms added the meltingly lovely fifth movement after hearing a triumphant performance of the work in six movements in 1868. Likely in memory of his deceased mother, who Brahms was very close to, the movement is a setting of maternal comfort and profound compassion.
The text and music of the sixth movement speak of the mysteries (and salvation) that permeate the New Testament. Indeed, the opening of the movement is almost without a tonal center, shifting through beguilingly misty tonal landscapes. Then, Brahms presents several themes in sequence, all of which eventually begin to topple over one another into one of the great climactic endings of the entire work.
The final movement recalls the music of the first, but now bathed in new light. The basses and cellos sing a similar motif to that of the opening in the first movement, but here the music is more fluid, and the violins have been reinstated. Here also, the work of consolation for the bereaved is finished, and Brahms chooses text showing comfort for those who have died and look to an eternal rest: “Blessed are the dead which die in the Lord.” The closing section evokes a sense of comfort and quiet glory. At the Requiem’s final, breathtaking bars, the harp plucks teardrops into the hush of eternity.
| ORIGINAL GERMAN TEXT | ENGLISH TRANSLATION |
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1. Chorus Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben. |
They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him. |
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2. Chorus So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is geduldig darüber, bis er empfahe den Morgenregen und Abendregen. Aber des Herrn Wort bleibet in Ewigkeit. Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen. |
Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain. But the word of the Lord endureth for ever. And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away. |
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3. Baritone Solo and Chorus Der Gerechten Seelen sind in Gottes Hand und keine Qual |
The souls of the righteous are in the hands of God, and there shall no torment touch them. |
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4. Chorus Wohl denen, die in deinem Hause wohnen, die loben dich immerdar. |
Blessed are they that dwell in Thy house, they will be still praising Thee. |
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5. Soprano Solo and Chorus Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden. Ich will euch trösten, wie Einen seine Mutter tröstet. |
Ye see how for a little while I labor and toil, yet have I found much rest. As one whom his mother comforteth, so will I comfort you. |
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6. Baritone Solo and Chorus Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten wervandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod is verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg? Herr, du bist Würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben, sie das Wesen und |
Behold I shew you a mystery: We shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. Then shall be brought to pass saying that is written: Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory? Thou art worthy, O Lord, to receive glory and honor and power: for Thou hast created all things, and for Thy pleasure they are and were created. |
| 7. Chorus Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach. (Revelations 14:13) |
Blessed are the dead who die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labors; and their works do follow them. (Revelations 14:13) |