Brahms Requiem: A Subjective Interpretation (Movement Seven)

Words:

Selig sind die Toten, die in dem Herren sterben, von nun an. Ja der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

Translation:

Blessed are the dead, which die in the Lord, from henceforth. Yea, says the Spirit, that they may rest from their labours; and their works do follow them

To some, the Seventh Movement may feel slightly anti-climatic, following the high notes hit in Movement Six. Why didn't Requeim end on the final C major chord played in the Sixth Movement? Well, to do so - in my opinion - would not close the loop. Like all grand narratives, a closure is necessary - and such closures are usually linked back to the beginning. Movement Seven is one such example.

Performed in F major - which is also the dominant chord of Movement One - the seventh movement is a work of self-reflectivity as the key themes of life and death, in which Requeim opens with, are brought to mind. Both the sopranos and tenors play key roles in this final episode in articulating the soulful words "Selig sind die Toten, die in dem Herren sterben, von nun an" (Blessed are the dead, which die in the Lord, from henceforth) while the altos and basses in turn sing the challenging words of "Ja der Geist spricht" (Yea, says the Spirit).

The piece concludes in a final pianissimo with the hallowed words of "Selig"...thus ending with the very same words that the journey of Requiem starts with.

A truly moving work.

Brahms Requiem: A Subjective Interpretation (Sixth Movement)

Words:

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir. Siehe, ich sage euch Geheimnis: Wir werden nicht alle entschlafen, wir werden aber all verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzen Posaune.

Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden.

Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?

Herr, du bist würdig, zu nehmen Preis und Ehre und Kraft, denn du hast alle Dingeerschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

Translation:

For here have we no continuing city, but we seek one to come. Behold, I show you a mystery: we shall not all sleep, but we shall all be changed, in a moment, in the twinkling of an eye, at the last trump:

For the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.

Then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created.

Movement Six is where the entire spirit of victory of Requiem is focused upon and contains some of the most explosive and energetic movements I have come across in Western music. The piece contains several climatic moments, each one mightier and more vigorous than the preceding one - before achieving their final culmination in a stunning 151-bar C major fugue (40 per cent of the piece) of glorious praise.

The piece though starts off in E flat major at a walking beat - similar to a deep breathe before a plunge - before taking on an aura of mystery with the words "Siehe, ich sage euch Geheimnis: Wir werden nicht alle entschlafen, wir werden aber all verwandelt werden" (Behold, I show you a mystery: we shall not all sleep, but we shall all be changed)

Upon the conclusion of these words (barely one-fifth into the piece), the true message of Movement Six takes shape with the Baritone solo sounding the words of 1 Cor 15:52 "und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzen Posaune" (in a moment, in the twinkling of an eye, at the last trump) subsequently echoed in a resounding manner by the choir, signalling a thunderous response from the orchestra.

The words "Denn es wird die Posaune schallen, und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden" (For the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed) are taken upon strongly in a quick and lively (Vivace) tune. This is the first climatic moment of the piece - which is abruptly ended by a short Baritone solo - creating a runway in anticipation of the next climatic moment.

"Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?" (Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?) is where the full force of the orchestra and the choir are being summoned to assail and to wage battle against death and the grave. Death is made a mockery of, the grave no longer wields its power on the human race as Brahms intends for us to know. The final shout of "Holle, wo ist dein Sieg" - a mighty 12-bar fortissimo segment - is where the power of the grave is finally stopped. This is where the work reaches its highest point with a fugue of majestic power and strength.

The fugue is divided into two interconnected portions juxtaposed distinctively against one another; one, "Herr, du bist würdig, zu nehmen Preis und Ehre und Kraft"(Thou art worthy, O Lord, to receive glory and honour and power) and two, "denn du hast alle Dingeerschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen" (for thou hast created all things, and for thy pleasure they are and were created). In my opinion, the latter is a response to the former; the former - despite its mighty voice - achieves it completion and perfection only through the "still small voice" of the latter; the former sets up the stage, the latter sews in the details; the former defines the character of the piece , the latter locks home the message that is sent; the former is a glorious anthem of victory, the latter is a gliding expression of hope. The piece ends on a high - one that is sufficient to act as a fitting conclusion to any musical piece; but Brahms refuses to allow the music to end - to do so, would be akin to Tolkien concluding his masterpiece writing "Lord of the RIngs" at the moment where Frodo throws the ring into the cracks of Mount Doom.

One final chapter awaits. A chapter that seeks to weave up the details of this wonderful musical narrative.

Brahms Requiem: A Subjective Interpretation (Fifth Movement)

Words:

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen. Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden. Ich will euch trösten, wie einen seine Mutter tröstet.

Translation:

And ye now therefore have sorrow: but I will see you again, and your heart shall rejoice, and your joy no man taketh from you. Behold with your eyes, how that I have but little labour, and have gotten unto me much rest. As one whom his mother comforts, so will I comfort you.

Movement Five was composed by Brahms in memory of his mother and it is in this spirit of love in which movement five must be understood. Bounded between grief and joy, pain and comfort, the movement opens with a beautiful soprano solo - meditative and reflective - thus defining the character of the piece. The words "Ich will euch trösten, wie einen seine Mutter tröstet" are repeated by the choir throughout - essentially underlining the message of this piece "As one whom his mother comforts, so will I comfort you". Fused together with the voice of the soprano, it is supremely moving - a poignant reminder of Christ's comfort and love for his people (incidentally where the words are taken from - John 16:22). The piece ends on a pianissimo - in silent anticipation of the glorious Sixth Movement that follows it.

Brahms Requiem: A Subjective Interpretation (Fourth Movement)

Words:

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.
Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

Translation:

How lovely are thy tabernacles, O Lord of hosts! My soul longs, yea, even faints for the courts of the Lord: my heart and my flesh cries out for the living God. Blessed are they that dwell in thy house: they will always be praising thee.

Movement Four marks a transition from the melancholic gloom that characterized the previous two movements to a work that rings forth a message of hope, redemption and joy. Composed in entirely in E flat major, it is tranquil and contains some of the most expressive musical lines I have encountered. The use of Perfect 4ths and a Major 6th to express the words "Wie Lieblich" (How lovely) are, to me, sums up the beauty of this movement and the challenge to the musicians and singers to articulate the full expression of Brahms' intention.

A short fugue "die loben dich immerdar" (they will always be praising thee) is another key highlight of Movement Four as the various voices in turn resound the richness of the joy of praising God. The slight undulating terrain of quaver notes lends its voice in expressing both the delicateness and depth of the meaning of these words. The movement then returns to its original form - but not before climaxing in a final Wie Lieblich - marking the end a a truly magnificent transition.

Brahms Requiem: A Subjective Interpretation (Third Movement)

Words:

Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Handbreit vor dir, und mein Leben ist wie nichts vor dir.Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln, und wissen nicht wer es kriegen wird. Nun, Herr, wes soll ich mich trösten? Ich hoffe auf dich. Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an.

Translation:

Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee. Surely every man walks in a vain show: surely they are disquieted in vain: he heaps up riches, and knows not who shall gather them. And now, Lord, what wait I for? My hope is in thee. The souls of the righteous are in the hand of God and there shall no torment touch them.

Taken from the Book of Psalms, the opening lines of the third movement are possibly the most moving in this entire work as the soloist - followed by the choir - rings out the lines of " Herr, lehre doch michdaß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß" (Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am) - articulating the human cry towards God and plea towards his Maker.

The first half of this piece - right up to the fugue - primarily involves the choir echoing the words of the baritone soloist regarding the frailty of our lives and the vanity of our finest endeavors. The mood of this movement is gloomy, paralleling the previous movement; but in this case, in a much more personal and emotional manner - where the message of temporal human existence is brought to an individual level - thus achieving a greater sense of resonance with us.

But like Movement Two, the final word does not belong to death.

After pondering the question "Nun, Herr, wes soll ich mich trösten?" (And now, Lord, what wait I for?), Brahms provides a reply in a most victorious form as the movement is transformed from a grey of gloom into an anthem of joy*. This is done through the use of a series of triplets that sound the message of hope before achieving their final culmination in a D major fugue as the choir in turn resound the words of "Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an" (The souls of the righteous are in the hand of God and there shall no torment touch them). With a combination of both tonal and rhythmic complexity, Brahms superbly weaves a message of remarkable hope in God's providence and protection of the righteous. This finally reaches its majestic climax in an aria that shouts out the promise "keine Qual rühret sie an" (that no torment shall touch (the righteous).

*As scholars have pointed out, the first and last movement, second and sixth, third and fifth movements are juxtaposed against one another to demonstrate the overall unity and integrity contained within the message of this work. Its notable that both the third and sixth movements conclude with a fugue - suggesting that Movements One to Three and Movements Four to Six can be seen within a broader thematical framework of death and life, despair and hope respectively. As emphasized already, the final message of this work is about life winning out over death - as seen by the messages contained within both fugues.