Yellowknife Choral Society

Brahms’ German Requiem

For some years, Johannes Brahms had been considering various ideas for a Requiem, but it was not until 1866, when he was 33, that he began work on it seriously. It was completed the following year with the exception of the fifth movement, which he added later in order to achieve a more balanced structure.

Brahms may have written the Requiem in memory of his mother, who died in 1856; it is equally possible that he had in mind his great friend and mentor, Robert Schumann, whose madness and tragic death had profoundly affected the young Brahms. As with all great music, the universal message of its vision transcends the circumstances of its conception.

The work’s title reflects Brahms’ use of the Lutheran Bible rather than the customary Latin one. He compiled the text himself from both Old and New Testaments, and from the Apocrypha. It has little in common with the conventional Requiem Mass, and omits the horrors of the Last Judgement and any final plea for mercy or prayers for the dead. It also makes only a passing reference in the last movement to Christian redemption through the death of Jesus. Not surprisingly, the title of “Requiem” has at times been called into question, but Brahms stated intention was to write a Requiem to comfort the living, not one for the souls of the dead. Consequently the work focuses on faith in the Resurrection rather than fear of the Day of Judgement. Despite its unorthodox text, Ein Deutsches Requiem was immediately recognised as a masterpiece of exceptional vision, and it finally confirming Brahms’ reputation as a composer of international stature.

The similarity of the opening and closing movements serves to unify the whole work, while the funeral-march of the second is balanced by the triumphant theme of the resurrection in the towering sixth movement. Similarly, the baritone solo in the third, “Herr, lehre doh mich”, is paralleled in the fifth by the soprano solo, “Ihr habt nun Traurigkeit”. The lyrical fourth section, “Wie lieblich sind deine Wohnungen”, is therefore at the heart of the work, framed by the solemnity of the first three movements and the transition from grief to the certainty of comfort in the last three. Set ordinarily with full orchestra, Aurora Chorealis will offer an intimate performance at featuring guest soloists and four-hands piano accompaniment.

Performances are on March 29th and 30th and start at 7:30pm.  Tickets are available at the NACC box office or online at www.naccnt.ca. Prices are $18 for Youth/Senior and $25 for Adults plus $2 NACC service charge

Concert Sponsor: Avalon Rare Metals Inc.
Thanks also to: NWT Arts Council