Brahms Requiem: A Subjective Interpretation (Second Movement)

Words:

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

Aber des Herrn Wort bleibet in Ewigkeit.
Die Erlöseten des Herrn werden wieder kommen und gen Zion kommen mit Jauchzen. Freude, ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

Translation:

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withers, and the flower thereof falleth away. Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandman waiteth for the precious fruit of the earth, and has long patience for it, until he receive the morning and evening 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.


The second movement is the longest movement in this work - about 15 mins - and is divided into two segments, each with its own distinctive message, but taken together, constitutes a dynamic whole that fuses the message of hope, joy and gladness against a temporal existence and the human aspiration for true redemption.

This tempo of the second movement starts off where movement one ends - in a slow, marching rhythm of D flat major that acts as a precursor to the words that follow.

As the choir ushers its entrance with the soulful words "Denn alles Fleisch es ist wie Gras", the orchestra rings a tune that is dark and mournful - a sharp reminder to modern man regarding the frailty of life. This passage is performed twice, the second in a forte tone that acts as a double reminder of sorts concerning the meaning of the passage.

Weaved within these words are the beautiful and moving words of "So Zeid Nun Geduldig, lieben Brüder, bis auf die Zukunft des Herrn" (Be patient therefore, brethren, unto the coming of the Lord) flowing out from an expressive E flat minor key. The introduction is the performed twice again, firstly in piano and subsequently in a mighty fortissimo with hammerstrokes (reminding me of Mahler's Sixth Symphony, movement one) that drives home the message of human finiteness.

But death and decay does not have the final say - at least not for Brahms.

What comes next is an explosion of hope as the combined choir bursts into a triumphant B flat major key with the words "Aber des Herrn Vort" (Albeit, the Lord's Word). The message of Isaiah 51:11 is then repeated - as Brahms demonstrates his innate refusal to allow death to have the final say. This is seen by the fleeting words of "Wird Weg" (Flee) as if Brahms intended sorrow and sighing (Schmerz, Seufzen) to disappear as soon as they appear. Instead, the tranquility and freedom of everlasting joy (Ewige Freude) is what sustains the second movement till its climatic conclusion - with a series of crescendos and dimuendoes - before it fades off, but with a message that will be forever remembered.

Brahms Requiem: A Subjective Interpretation (First Movement)

Words: Selig sind, die da Leid tragen, denn sie sollen getrostet werden. Die mit Tranen saen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

Translation: Blessed are they that mourn; for they shall be comforted. They that sow in tears shall reap in joy. They that go forth and weep, bearing precious seed, shall doubtless come again with rejoicing, bringing their sheaves with them (Psalsm 84, 2f)


The first movement is sung in a fairly slow (Ziemlich langsam) and with expression (und mit Ausdruck) as Brahms intended it to be. After a short but soulful introduction, the choir makes its entrance with the words of "Selig sind" (Blesed are...) - in which the entire spirit of Requiem is built upon.

Composed beautifully in F major, the first movement starts with a tranquility that is both haunting and comforting. The use of short spurts of crescendos and dimuendoes accentuates the soul of the piece - as if Brahms was trying to articulate the paradox of "Blessedness'. How is one able to understand and appreciate the blessing of life when faced with the certainty of death. Such is the profound nature of our existence which Requiem attempts to explore. In my opinion, the slowness of this movement serves as a form or reflection, in which the audience is challenged to see themselves "under the audit of eternity" (to quote Kierkegaard) and to foreshadow the subsequent two movements which explore the frailty of mankind's existence.

Despite its melancholic sway, Brahms ensures that the piece is not reduced to all "doom and gloom". Once again, this is a foreshadow of the latter movements (especially the seventh movement) where the joy and hope of life is masterfully composed. Hence the transformation from "Die mit Tranen saen (They that sow in tears) to "werden mit Freuden ernten" (shall reap in joy). Its as if Brahms - despite the knowledge of death and the sadness the event brings about - recognizes a higher and richer existence that takes place within the realm of life, and thus his conclusion, with a series of triplets, which captures the vitality - no matter how faint - and certainty of the message that "life is better than death".

Brahms Requiem - Some thoughts

I will be involved in the SSO-SSC upcoming performance of the German Requiem by Brahms in November. For those who are not familiar with this magisterial work by Brahms, Ein Deutsches Requiem is Johannes Brahms largest work and marked the entrance of the German composer into full maturity and international celebrity.

Over the past few months, I have had the marvellous privilege to partake in the practice of this piece, together with other singers from the Singapore Symphony Chorus, Hallelujah Oratorio Society and the Singapore Bible College Choir. All this meant extra choir sessions every Monday and Thursday (where necessary) under the watchful, yet enjoyable tutelage of the SSC's residential conductor Lim Yau .

I'll be posting a series of thoughts on this piece from today till our performance on Nov 13 as part of my reflection and preparation for the performance of this piece. As Beethoven once commented, "Music should strike fire from the heart of man, and bring tears from the eyes of woman"; this is particularly true of Requiem - the deeper one reflects on this work, the more profound - and moving - the work becomes.

I shall not elaborate too much on the historical context of this piece, most historical records suggest that Brahms wrote the Requiem following the death of his mother and the earlier the loss of his close friend, Robert Schumann. Despite the uncertainty over Brahms religious views, the material of the Requiem was taken from the Bible and seeks to explore the theme of life and death.

As such, much of what i am going to post over the next few weeks would be to explore Ein Deutsche Requiem within the context of the Christian faith and how this piece - despite the author's humanist leanings - remain a truly brilliant work, and a magnificent testimony to the Christian worldview and tradition.

Life updates

I have been really busy the past few months. In addition to my full time work as a civil servant, I have also embarked on my part time Masters program at RSIS in International relations as well being involved in the organization of the 2008 Stephen Tong Gospel Rally in Singapore which was held in September. In addition, my choir commitments have also increased; I will be involved in two upcoming performances at the Esplanade on Nov 13 (Brahms Requiem) and Nov 30 (Hallelujah Oratorio Society Christmas concert). Last month month (Sep 18-21), i went to Jakarta to attend the official opening of the Katedral Mesias - a megachurch designed by Rev Dr Stephen Tong and the product of some 16 years of planning and building.