Johannes Brahms (German Edition)

Ein deutsches Requiem, Op. 45 (Johannes Brahms)

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This is the edition that the choir conductor uses so I ordered 2 for my wife and her friend a few days before the first rehearsal. The copies arrived the day of the second rehearsal - pretty great for standard delivery to Canada. I am currently singing this with my choir and it is a truly stunning work!

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We had scores provided to us, but I just knew I was going to have a hard time saying goodbye so I bought my own. My order came in less than a week and was The choral group of which I am a member is planning to do this work in German in December of I wanted a head start so that I could learn the German pronunciation during the summer.

This edition is very clear and helpful. I am very happy with this edition of the Brahms. It is exactly what I wanted as a desk copy. I want to do this work sometime as I am a choir director. I sang tenor in the Requiem at Oberlin in in German.

I needed this specific edition for a choral performance. It arrived within a week, even with standard shipping. This site uses cookies to analyze your use of our products, to assist with promotional and marketing efforts, to analyze our traffic and to provide content from third parties. You consent to our cookies and privacy policy if you continue to use this site. Please see our Privacy Policy for details.

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Brahms was quite moved when he found out years later that Robert Schumann had planned a work of the same name. Brahms told Carl Martin Reinthaler , director of music at the Bremen Cathedral , that he would have gladly called the work " Ein menschliches Requiem " A human Requiem. Although the Requiem Mass in the Roman Catholic liturgy begins with prayers for the dead "Grant them eternal rest, O Lord" , A German Requiem focuses on the living, beginning with the text "Blessed are they that mourn, for they shall be comforted.

This theme—transition from anxiety to comfort—recurs in all the following movements except movements IV and VII, the central one and the final one. Although the idea of the Lord is the source of the comfort, the sympathetic humanism persists through the work.

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Brahms purposely omitted Christian dogma. In the Bremen performance of the piece, Reinthaler took the liberty of inserting the aria " I know that my Redeemer liveth " from Handel 's Messiah to satisfy the clergy.

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In addition to soprano and baritone soloists and mixed chorus, A German Requiem is scored for:. Since Brahms inserted the fifth movement, the work shows symmetry around the fourth movement, which describes the "lovely dwellings" of the Lord. These two slow movements also share musical elements, especially in their ending. Movements II and VI are both dramatic, II dealing with the transient nature of life, VI with the resurrection of the dead, told as a secret about a change.

Movements III and V are begun by a solo voice. In the third movement, the baritone requests " Herr, lehre doch mich " "Lord, teach me" ; the choir repeats his words several times, making the personal prayer more general. In the fifth movement, the soprano and chorus sing different text, corresponding to each other.

Ein deutsches Requiem, Op.45 (Brahms, Johannes)

As opposed to Baroque oratorios, the soloists do not sing any arias, but are part of the structure of the movements. Almost all movements, with the exception of IV and VII, connect different Bible verses, which lead from suffering and mourning to consolation.

The very last word of the work is the same as the first: The following table is organized first by movement, then within a movement by Bible quotation where appropriate , which generally also causes a change in mood, expressed by tempo , key and orchestration. The title of each movement is bolded. The choir is in four parts, with the exception of a few chords. The choir is not especially mentioned in the table because it is present throughout the work. The translation is close to the original.

Links to the King James Version of the Bible are supplied. Brahms marked some sections in German for tempo and character, trying to be more precise than the common Italian tempo markings. Notable orchestration devices include the first movement's lack of violins, the use of a piccolo, clarinets, one pair of horns, trumpets, a tuba, and timpani throughout the work, as well as the use of harps at the close of both the first and seventh movements, most striking in the latter because at that point they have not played since the middle of the second movement.

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