WHAT YOU ARE ABOUT TO HEAR

Brahms (1833-1897)

Ein deutsches Requiem, Op 45 (1865–1868)

I. Selig sind, die da Leid tragen

II. Denn alles Fleisch es ist wie Gras

III. Herr, lehre doch mich

IV. Wie lieblich sind deine Wohnungen

V. Ihr habt nun Traurigkeit

VI. Denn wir haben hie keine bleibende Statt

VII. Selig sind die Toten

Johannes Brahms wasn’t a religious man. Despite his traditional Protestant upbringing, and despite faithfully reading the Bible throughout his life –for consolation and insight, he said – he described himself as an agnostic and a humanist. He even admitted to his biographer Max Kalbeck in the last year of his life that he had never believed in life after death. So why would he write a Christian mass for the dead? To answer that, we need to look at both the background and the unusual form of Ein deutsches Requiem.

Brahms composed the work from 1865 to 1868, when he was in his mid-30s. In other words, this isn’t the work of an old man contemplating his own mortality. Indeed, the piece’s origins go back even further, to 1857, the year after the tragic early death of Brahms’ great friend and mentor Robert Schumann. It was Schumann who had hailed Brahms in print as ‘the saviour of German music’, and it was to the Schumanns – Robert and his wife Clara – that the young Brahms looked for constructive criticism of his music, as well as encouragement and compositional inspiration.

Following Schumann’s death, Brahms began work on a symphony. He never completed it, but he resurrected its slow movement for a choral work, ‘Denn alles Fleisch, es ist wie Gras’, which later became the second movement of Ein deutsches Requiem. In some senses, at least, Brahms began his Requiem with the memory of his cherished champion fresh in his mind.

It was another death – of his beloved mother in February 1865 – and Brahms’ subsequent period of deep mourning that spurred the composer on to resume work on what would become Ein deutsches Requiem. He completed three of its movements before the end of the year. In many ways, therefore, the work can be seen as a memorial to two of the most influential people in Brahms’s life: his biological mother and, we could plausibly argue, his artistic father.

The piece’s first three movements were premiered in Vienna in December 1867, and the first performance of a sixmovement version (missing what’s now the fifth movement) was given on Good Friday 1868 in Bremen Cathedral. The first performance of the work in its final version took place in February 1869 at the Leipzig Gewandhaus, to great acclaim: the piece was performed more than 20 times throughout Europe in the year following its premiere, and its success catapulted Brahms to international fame.

But what of its unusual title? Brahms didn’t intend to convey any narrow-minded nationalism in his Requiem. Instead, to him, it was a ‘German’ Requiem simply because its text was in his native tongue rather than in Latin. (In fact, he told the director of music at Bremen Cathedral that he would happily have called the work ‘A Human Requiem’.)

But it’s not quite as simple as just a choice of language. The texts that Brahms himself selected from the German Lutheran Bible stand in stark contrast to the traditional words of the Catholic Requiem. There’s no mention of the horrors of the Last Judgement, nor any pleas for mercy from God or prayers for the dead. Indeed, there’s only a passing reference (in the final movement) to redemption through the death of Christ. While the Latin Requiem text focuses on the dead, Brahms’ text selection is aimed very much at the living, offering encouragement and hope to those grieving, and presenting God as a source of comfort. Brahms saw the work as providing a universal, non-denominational response to the inevitability and sorrow of death. His piece charts a journey from anxiety to comfort, and each of its seven movements ends in a mood of confidence or loving promise. like phrases, and, aside from a couple of more animated episodes, the movement maintains its opening mood of restraint and consolation throughout.

Not everybody approved, of course. So worried were the clergy at Bremen Cathedral by Ein deutsche Requiem’s lack of Christian dogma that they insisted on adding the aria ‘I know that my redeemer liveth’ from Handel’s Messiah to the 1868 performance. Critic George Bernard Shaw was less than impressed by the work, writing: ‘It could only have come from the establishment of a first-class undertaker.’ And Richard Wagner, Brahms’ great rival, was outraged by what he saw as the bourgeois Protestant ethics of the piece. Brahms refused to be drawn into a fight, though: in response, he simply praised Wagner as a composer of genius.

The influence of Ein deutsches Requiem has been profound. Its focus on consolation and comfort can be felt in later Requiems by Duruflé and Fauré, and the freedom with which Brahms approached his text is even echoed in such a forward-looking work as Britten’s War Requiem. Rather than staying within the confines of tradition, in offering his personal message of hope and comfort at a time of sorrow – a feeling he knew well himself – Brahms created a work of glowing warmth and universal relevance.

Beginning as a slow-moving funeral march with a distinctive timpani rhythm, the second movement considers the transience of human life, building to two climaxes as if the mourning procession were passing by in front of us. The pace suddenly quickens, however, as the chorus reports the word of God, and the sombre atmosphere of its opening is replaced by one of unbridled joy.

The bass soloist delivers a troubled recitative on the impermanence of existence in the third movement, with interjections from the chorus, before a sudden swerve into the major as the chorus explains that all hope is with God. The brief fourth movement is a gently flowing chorale yearning for everlasting life in the house of God, and in the fifth movement, the soprano soloist ponders current sorrow and future joy in music of gentle acceptance.

The sixth movement is the closest Brahms comes to depicting the horrors of the Last Judgement, in an anxious opening for bass soloist and chorus. A sudden change to the major marks God’s victory over death, however, and the movement ends with a celebratory fugue.

The first movement is a gentle lament for those in mourning, beginning with a caressing melody that goes on to form the basis for the rest of the movement.

The chorus enters in prayerful, hymn-

There’s a distinctly Bachian feel to the opening of the seventh movement, which quotes from the earlier composer’s St Matthew Passion in its orchestral writing. It’s a broad, expansive movement that offers comfort and reassurance to the dead, ending in peace and acceptance.

© David Kettle

Brahms (1833-1897)

Ein deutsches Requiem, Op 45 (1865-68)

Matthew 5:4

Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Psalm 126:5,6

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.

1 Peter 1:24

Denn alles Fleisch, es ist wie Gras, und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

James 5:7

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

1 Peter 1:25

Aber des Herrn Wort bleibet in Ewigkeit.

Isaiah 35:10

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.

Matthew 5:4

Blessed are they that mourn, for they shall be comforted.

Psalm 126:5,6

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.

1 Peter 1:24

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.

James 5:7

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the morning and evening rain.

1 Peter 1:25

But the word of the Lord endureth for ever.

Isaiah 35:10

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.

Psalm 39:4-7

Herr, lehre doch mich, dass ein Ende mit mir haben muss, und mein Leben ein Ziel hat, und ich davon muss. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen vird. Nun Herr, wes soll ich mich trösten? Ich hoffe auf dich.

Wisdom of Solomon 3:1

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

Psalm 84:1,2,4

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

John 16:22

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll niemand von euch nehmen.

Ecclesiasticus 51:27

Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Isaiah 66:13

Ich will euch trösten, wie einen seine Mutter tröstet.

Psalm 39:4-7

Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and my life is as nothing before thee. Surely every man walketh in a vain show: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them. And now, Lord, how can I console myself? my hope is in thee.

Wisdom of Solomon 3:1

But the souls of the righteous are in the hand of God, and there shall no torment touch them.

Psalm 84:1,2,4

How lovely are thy dwelling places, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh rejoice in for the living God. Blessed are they that dwell in thy house: they will praise thee forever.

V

John 16:22

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man shall take from you.

Ecclesiasticus 51:27

Ye see how for a little while I labour and toil, yet have I found much consolation.

Isaiah 66:13

As one whom his mother comforteth, so will I comfort you.

VI

Hebrews 13:14

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

1 Corinthians 15:51,52,54,55

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 werden auferstehen unverweslich, und wir werden verwandelt 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?

Revelation 4:11

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 sind geschaffen.

VII

Revelation 14:13

Selig sind die Toten, die in dem Herren sterben, von nun an. Ja, der Geist spricht, dass sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

VI

Hebrews 13:14

For here have we no continuing city, but we seek one to come.

1 Corinthians 15:51,52,54,55

Behold, I show 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 the saying that is written: Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

Revelation 4:11

Thou art worthy, O Lord, to receive glory and honour and power; for thou hast created all things, and for thy pleasure they are and were created.

VII

Revelation 14:13

Blessed are the dead which die in the Lord from henceforth. Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.