Transcript Brahms Requiem Prese..

Johannes Brahms (1833-1897)
• German composer of the Romantic Era, also know as a pianist
• Born in Hamburg, but lived and worked most of his life in Vienna
• Composed music for piano, chamber ensembles, symphony
orchestra, solo voice, and for choirs
• Can be considered a traditionalist composer (or “academic” composer)
• Took these traditional compositional techniques and put them into
works that expanded the orchestral colors, harmonies, and
melodies
• Preferred to write “pure” music (music that existed for its own sake)
• Had close ties with many famous composers of his time, including Robert
Schumann, Johann Strauss Jr., and Franz Liszt
• Also performed with famous performers like pianist Clara Schumann,
and the violinist Joseph Joachim
• In religious terms, he is considered to be a “free-thinker,” even a
non-believer, but certainly an agnostic
Ein Deutsches Requiem (A German Requiem)
• Composed between 1865 and 1868
• His mother’s death in 1865 provided the impetus (or inspiration)
for composing this work
• Sections had been composed earlier
• Second movement was originally conceived of as a sonata for two pianos
• Within two months of his mother’s death he had completed the 1st,
2nd, and 4th movements
• A performance of movements 1-3 occurred in December of 1867
• On Good Friday of 1868 the entire 6-movement work as it existed at
that time was performed
• Soon after this performance he wrote the final movement (#5), which is
a tribute to his mother
• The final, seven-movement version of A German Requiem was
premiered in Leipzig on 18 February 1869
• This is the longest work that Brahms ever wrote
Compositional forces
• soprano and baritone soloists and chorus
• woodwinds: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and
contrabassoon brass: 4 horns, 2 trumpets, 3 trombones, tuba
• percussion: timpani
• strings and harp (one part, preferably doubled)
• organ (ad libitum - to be used as desired, but not essential)
Text
• Traditional requiem text is the Latin Mass for the Dead.
• This traditional text is very long, divided into numerous sections
• Most Requiem settings up to this time were meant for LITURGICAL purposes
• Brahms selected his own texts from Luther’s translation of the bible
• Obviously the text is in German
• He owned two copies of the Lutheran Bible,
one from 1833 and the other from 1545
• These texts are drawn from Matthew, Peter, James, John, Hebrews,
Wisdom, Corinthians, Revelation, Sirach, and the Psalms
• None of the original Latin text is included
The nature, or purpose of A German Requiem
• First line of the traditional Latin Requiem text:
• Requiem aeternam dona eis, Domine (Rest eternal grant them, O Lord)
• Note how this text is focused on the DEAD (those that have passed on)
Brahms chose texts that were focused on the LIVING (those that remain on earth)
• The overall feel is one of comfort for the
living, rather than fear of eternal damnation
• Brahms even commented that he would have actually
preferred to call it a “Human Requiem”
• Since Brahms was essential a “free-thinker,” note that he
chose texts that never mention CHRIST. (Eliminates Christian
dogma, that Christ died for our sins and rose again)
• He aims to capture a UNIVERSAL human experience, rather
than a narrow doctrinal one, and addresses the living, rather
than the dead
• All this being said, remember that this is an intensely personal composition
Structure
• A seven-movement work, with the middle movement serving as a
centerpiece for the entire work.
• This movement (#4) talks about the “lovely dwellings” of the
Lord, is by far the most comforting
• Movements 1 and 7 are for choir only. Both begin with “Selig sind” (Blessed are
they), and are unified thematically as well, especially considering the end of both
movements
• Movements 2 and 6 are both very dramatic in nature, #2 talking about how life
is short and fragile (for all flesh is as grass) and #6 talking about how we shall all
be raised in the end, that death will not conquer life
• Movements 3 and 5 are both begun with a solo voice. In #3, the baritone
intones a prayer that is echoed by the choir, in #5 the soprano (one who has
died) comforts those who remain, the choir echoes her sentiment but with
different words
• Many themes (and as a result all the movements) are unified through the use
of a three-note “motive” involving a skip of a third followed by a step in the
same direction
Movement #1
Most unique aspect of this movement is the orchestration. Brahms does not use the
piccolo, clarinets, half the horns, trumpets, timpani, and either of the 1st or 2nd
violins in this movement. (Violas and cellos are divided into 2 parts each) Gives a
warm, rich sound to the texture.
First choral entrances are a cappella (sung without instrumental
accompaniment). Why?
Note the melodic cell on “Selig sind” that unifies the whole composition.
Listen for the harp at “Die mit Tränen säen” (joyous)
Note the fugal entrances at “werden mit Freuden”
Note the sigh motive on the word “weinen” (weep)
Note the return of the opening material towards the end of the movement (Selig sind)
Listen for the harps rising higher and higher at the end of the movement
(souls rising into heaven?)
Movement #2
This is the only movement where Brahms uses all of the instruments in the orchestra.
Note the very low notes to begin the movement, immediately followed by
very high notes in the strings. (This is the same melodic cell used in
movement #1, but reversed in direction)
Listen for the timpani (this is a death march of sorts)
Note the low range of the fist choral entrances (alto, tenor and bass in
octaves - all singing the same notes)
After a brief interlude by the orchestra, this entrance is repeated, but now
with sopranos added and much higher and louder.
Note the change in mood at the text “So seid nun geduldig” (So be patient)
Listen for the harps at the text that talks about the early and latter rain sounds like raindrops?
Movement #2 (continued)
After this section, the ominous death march reappears, the opening
section is repeated.
Note how triumphantly Brahms sets the text “Aber des Herrn Wort” (But the
word of the Lord endureth forever) The largest “But” in choral music?
This leads to a triumphant passage on the text “Die Erlöseten des Herrn” (The
ransomed of the Lord shall return”
Note how joyous the music is on the text “Freude und Wonne” (Joy and gladness) as
opposed to the way he sets the words “und Schmerz und Seufzen” (pain and sighing)
Also note how the text “wird weg” (go away) is set, as though the choir is throwing
the notes away.
Sections are repeated in modified format (Die Erlöseten des Herrn, etc).
This is followed by a gentle coda (concluding section) on the text “Ewige Freude”
(everlasting joy shall be on their heads) - Brahms ends the movement focusing on
joy, rather than death.
Movement #3
A prayer presented by the baritone soloist
His melodic lines are repeated by the choir in homophony (all parts singing the
same words in the same rhythm)
Listen for how Brahms switches the texture of the accompaniment (strings alone,
then woodwinds alone, etc.
Note how the music is foreboding, serious, how there are spaces in the melodic
line (as though the singers are halting, fearful) This is NOT a prayer of hope or
consolation
Section one ends with the first two lines of text repeated, interrupted by
the orchestra at loud dynamic, in throbbing triplets
Brahms then switches moods at “Ach, wie gar nichts sind alle Menschen” (Ah,
how insignificant all mortals are)
Chorus repeats the melody, words of the soloist (but only the first line of this
section of text)
Movement #3 (continued)
At “Nun, Herr, wes soll ich mich trösten?” (Now, Lord, in whom shall I find
consolation?) the soloist followed by the choir ask this question 17 times.
Note the use of the fugal structure here (text going at different times) sounds like a
crowd all calling out the question individually, but at the end of the section, they all
come together to ask the question as one.
Note how the orchestra dies away, music sounds unfinished - there is a moment of
silence - no one is answering the question?
The choir in low range gradually growing higher comes to the realization that “Ich
hoffe auf dich.” (I trust in you)
An intense fugue follows on “Der Gerechten Seelen sind in Gottes Hand” (The souls
of the righteous are in God’s hands) It’s hard to hear, but the motivic cell is present
in three locations in the fugue melody
Listen for the pedal point in the low brass, bassoons, low strings and timpani - they
play the same pitch for 36 measures - Brahms is depicting the sure faith in God unshakable, strong, firm, steady, etc.
Movement #4
Complete change in atmosphere from the 3rd movement, aura of quiet reflection,
gentleness, sublime tranquility
Flat out pretty - nothing pompous or overblown about this movement
Listen for the motive cell to start in the orchestra - but reversed in direction - then
in the soprano line (actually the soprano line is an exact inversion of the first flute
line - Brahms is always thinking…
Notice how the orchestration is much more sparse - almost a chamber orchestra sound
Notice the change in mood at “Meine Seele” (My soul), and how Brahms sets
the words “verlanget und sehnet” (yearns and longs)
Also note how Brahms sets the words “Herr Zebaoth” (Lord of hosts) and
“lebendigen Gott” (Living God) - always the high point of the phrase
And Brahms can’t help himself - he sets the final phrase of text “die loben dich
immerdar” (those who praise you forevermore) as a DOUBLE fugue (very academic)
Each phrase employs the use of the motivic cell in some way
Ends with a quiet coda, using the words from the beginning
Movement #5
The final movement composed by Brahms
Calm, reflective movement - nothing dramatic
Words of comfort sung by the soprano, the choir quietly echoes her sentiment
throughout, but unlike movement #3, they do not sing the same words as the soloist
This takes the very personal words of the soprano and makes them more universal we ALL want to comfort as a mother comforts her child
Also interesting the choir actually interrupts the soloist - her words are sung
OVER the choir - this is the only time where Brahms does this in the Requiem
Movement #6
Once again for baritone and chorus, like the 3rd movement - also similar in nature to
the uncertainty and somber feel of that earlier movement - but the choir begins
rather than the soloist
Note the weird harmonic progressions - Brahms is all over the place - makes the
music quite unsettled (we have no permanent place)
Baritone soloist interrupts (Behold, I tell you a mystery), choir repeats his words
Note how the music starts to become more dramatic and insistent when the soloists
sings “und dasselbige plötzlich, in einem Augenblick,” (and transformed suddenly, in
an instant,)
Note the change in the music when the choir sings “zu der Zeit der letzten Posaune.”
(at the sound of the last trumpet), the sound is suddenly much larger, forceful (full
brass enter)
Text is now even more dramatic “Denn es wird die Posaune schallen” (for the
trumpet will sound and the dead will rise up) - full orchestra and choir in
homophony - very powerful - this is the first time in the Requiem where Brahms
actually references the dead.
Movement #6 (continued)
Baritone interrupts, singing “Dann wird erfüllet werden das Wort, das geschrieben
steht:” (Then will be fulfilled the word that is written:) he is basically serving the
role of a preacher at this point
The choir then takes over again (using the same melodic material as earlier) on “Der
Tod ist verschlungen in den Sieg.” (Death is swallowed up in victory.)
Note how demanding the choir is on the text “Tod, wo ist dein Stachel? Hölle,
wo ist dein Sieg?” (Death, where is your sting? Hell, where is your victory?)
This section concludes with three dramatic statements by the choir “Wo? Wo?
Wo?” (Where? Where? Where?) Note how there is complete silence after each
statement - hell cannot answer - it knows that the Lord has triumphed
At the change in text that follows, Brahms once again returns to a fugue, this time
broad and majestic “Herr, du bist würdig zu nehmen Preis und Ehre und Kraft;”
(Lord, you are worthy to receive praise and honor and might;)
Movement #6 (continued)
Note how Brahms eventually sets apart the words “zu nehmen Preis und Ehre” by
bringing the choir into homophonic texture, each time these words are finally
finished with a huge chord with full orchestra on the word “kraft” (power)
Note the change in atmosphere at “denn du hast alle Dinge erschaffen” (for you have
created all things) sound is quieter, more reverential. This happens twice, but each
time Brahms builds up the sound again.
Movement concludes with the first line of the text from Revelation, notice there is no
orchestral passage to conclude - choir finishes the movement WITH the orchestra.