The German Requiem is not a Mass in the traditional liturgical sense; rather, Brahms sets a very personal and carefully-assembled group of texts from the Lutheran Bible in this seven-movement work for soloists, choir and large orchestra, centring around themes of transience, grief and consolation. As one of the most affecting sacred works of all, the German Requiem has overcome all linguistic barriers and achieved worldwide success, reflecting the composer’s comment that “as concerns the text, I confess that I would happily leave out the “German” and simply substitute “humanity”.
Our study edition adopts the musical text of the New Brahms Complete Edition (Henle edition HN 6029) and thus is of the highest musicological accuracy. The informative preface not only describes the genesis of the German Requiem reflecting the latest research, but also looks critically at the legends, suppositions and preconceptions that have surrounded the work from the outset.
- Ein deutsches Requiem op. 45
The first reference to Ein deutsches Requiem comes in two letters of Johannes Brahms (1833 – 97) to Clara Schumann of “April” and 24 April 1865, when he was almost 32 years of age. In the first of these he enclosed one movement from a work identified as “a kind of German Requiem”, in the second he identified the known movements 1 and 2 and the movement he had sent as … more
About the composer
His significant output comprises chamber music, piano works, numerous choral compositions and songs (including settings of folk-song lyrics), as well as large-scale orchestral works in the 1870s and 1880s. His compositions are characterized by the process of developing variation. He is considered an antithesis to the New German School around Liszt, and an advocate of “absolute” music.
|1833||Born in Hamburg on May 7, the son of a musician. His first piano instruction with Willibald Cossel at age seven, then with Eduard Marxen; first public performances from 1843.|
|1853||Concert tour through German cities; he meets Schumann, who announces him as the next great composer in his essay “Neue Bahnen” (“New Paths”). A lifelong, intimate friendship develops with Clara Schumann.|
|1854–57||Piano Concerto No. 1 in D minor, Op. 15.|
|1857–59||Choir director, pianist, and teacher at the royal court in Detmold.|
|1859–61||Director of the Hamburg Women’s Choir.|
|1860||Manifesto against the New Germans around Liszt.|
|1863||Cantata “Rinaldo,” Op. 50.|
|1863–64||Director of the Wiener Singakademie.|
|1868||Partial performance in Vienna of “A German Requiem,” Op. 45 (the complete work premiered in Leipzig in 1869)|
|1871–74||Artistic director of the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna.|
|1873||Haydn Variations, Op. 56a, for orchestra.|
|from 1877||His symphonic output begins with the Symphony No. 1 in C minor, Op. 68 (begun 1862); composition of the Symphony No. 2 in D major, Op. 73; the Symphony No. 3 in F major, Op. 90 (1883); and Symphony No. 4 in E minor, Op. 98 (1884–85): cantabile themes, chamber-music-like style.|
|from 1878||Travels in Italy.|
|1878||Violin Concerto in D major, Op. 77, for Joseph Joachim.|
|1881||Piano Concerto No. 2 in B-flat major, Op. 83, with a scherzo movement.|
|1886||Honorary president of Vienna’s Tonkünstlerverein (Association of Musicians).|
|1897||Four Serious Songs, Op. 121. Dies in Vienna on April 3.|