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.