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| before performance; CPG and I are patiently waiting for soloists and conductor to take the stage . . . |
I have this image of a devout Brahms studying his Bible nightly and coming up with a very personal requiem - based on Scriptural passages that he selected, rather than the traditional liturgical text.
Movement five sticks with me the most (of the seven movements). The interplay among soloist, orchestra, choir - extraordinary, I think. PJr took some good video clips, here's most of movement five. I like how it builds to the passages from around 3:10 - 4:15, that was fun to be in. Per email copied below, I liked the lyrics (einen seine Mutter . . . )
From movement V (please don't share any of the youtube links, they are privately posted . . .):
Movement two - part of this evokes graveyard procession - here's the build-up to the fourth time the main theme comes around (chorus enters around 1:15 after the build, tympani leading in) - I liked this portion -
Movement six - as mentioned in email below, this ends with a compelling, rather upbeat fugue - though one needs to listen to the earlier part of the movement for context - in the clip below, the fugue starts at around 5:34 - I like how each of the four voice parts expresses the theme in order; then I really like how the orchestra sound takes on a "shimmer" (for want of a better description) at 6:10 as the bass section of the chorus repeats the theme, that sounded really wonderful from our vantage point (the "shimmer" effect appears again at around 7:00). From movement six:
Movement seven - I wrote a lot about this in the email because I think it's such a delight. The "selig sind" theme brings the seven movements around full circle, just a fine finish. (The opening theme that I mention in the email below isn't included in this clip, though you can hear the tenors bring it back at 3:35.) Here's most of movement seven:
After the performance: tried a new (by us) place on Mill Ave - "Canteen" - we thought it might be nice because commonly owned with La Boca. We (Ray & Linda, MB, Amy, CPG, PJr, PJ & me; and Bob S.) were able to sit outside on the patio on a gorgeous evening. Other than the music getting a bit loud for conversation, the place worked very well for our purposes. And even the "loud" issue was a good sign - we had been warned that the place became more of a dance club later in the evening but our group had settled in, and was still in place much later than anticipated. Nice finish to the evening.
Click here for a portion of movement three.
Click here for a portion of movement four.
_____________________________________________________________
From: Paul Gales
Sent: Friday, April 20, 2012 9:43 AM
Subject: tonight's German Requiem
Sent: Friday, April 20, 2012 9:43 AM
Subject: tonight's German Requiem
Hi
folks –
CPG
‘n me had our final rehearsal with the orchestra last evening – absolutely
delightful. I’m as excited for this one as anything we’ve
performed. And grateful to have knowledgeable listeners that make the
effort to show up.
If
you’re interested, below are some thoughts that might (emphasis on “might”) be
useful as you listen to the performance.
In
any event, let’s plan to spend a bit of time together after the
performance. We’ll be happy to treat to a round of drinks (and bites if
anyone is hungry) – at a restaurant (if we can figure out something that works
for a group on a Friday eve), or we can sit and sip around the fire table in
our backyard on what should be a lovely evening. Details to come.
Paul
Things
I suggest listening for:
- As far as “requiems” go – this is the opposite of the Verdi. Verdi was fire and brimstone. This is sorrowful, meditative, hopeful, ultimately confident.
- Seven movements. Conceived as an integrated arc – movements 1 and 7 have similarities, as do movements 2 and 6, as do 3 and 5.
- This effect is most readily heard in movements 1 and 7 – you’ll hear “selig sind . . .” in both of these – “blessed are those who mourn for they shall be comforted”. Very similar feel between the two.
- Movement 2 – the beginning section evokes a funeral procession, to the graveyard or whatever. The timpani drives this along, it sounds great with live orchestra.
- Movement 4 stands on its own – closest to God – the main melody has been used as a hymn, so may sound familiar - “how lovely is thy dwelling place”. Brahms’ original version for full orchestra and chorus is a delight. Written in 3/4, sometimes feels waltz-ish.
- Movement 5 – soprano soloist – it may be hard to focus on anything other than the soloist’s melody because it’s so wondrous, I would say “achingly so” in some segments. But I really like the way Brahms has the orchestra and chorus working their lines underneath the soprano soloist, so listen for this. When we sing “einen seine Mutter . . .” in complement to the soloist, it just sounds cool – translates to something about “his Mother will comfort . . . “
- Among other charms, movement 6 has a great fugue for its final few minutes – you won’t be able to miss when the alto section starts it off – “Herr du bist wurdig . . .” - something about “Lord you are worthy to receive glory and honor”. This is fun to sing as the various parts come in and out of the fugue’s main theme. Very clear, great finish.
- And what I really like is saved for last – at the end of the fugue that completes movement 6 – it really seems like the entire work would just be over. But not with Brahms – he adds movement 7 – it leads off with a wondrous soprano line (which the bass/baritone immediately repeat). (And yes, the words are “selig sind . . . “ just like in movement 1.) Listen for this soprano line, it’s a perfect way to set off the fugue that just ended movement 6, it brings back the meditative mood. (And it’s really neat when the line comes back in a tenor section “solo” a few minutes later.) Movement 7 is a joy – very much “romantic” era feel, just a great finish as it hearkens back to movement 1, but with more.
OK,
I got a little over-excited and wrote more than I planned. Oh
well. Another good strategy would be to ignore all of the above and just
listen.
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