After these events it is a bit of a challenge to try to express in words a couple concepts that run deeper than words - the power of participation in a musical performance like this; the strength of a family that supports that participation.
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| family members in attendance . . . |
This was my fourth year performing with Arizona MusicFest orchestra and choir; year three for PJr.
CPG and I had performed the Brahms Requiem in 2012 with Choral Union - also a delightful experience. It is a wonderful, moving work.
As I've done occasionally in the past, I'll post my thoughts about the work by pasting my pre-concert email right into this post (it appears at bottom).
For me, the thrill of participating in these performances is not wearing off, even slightly. Perhaps it has something to do with 30+ years primarily in a work-a-day setting, such that the punctuation provided by these performance opportunities remains so compelling. But I think it's moreso the fundamental wondrous-ness of these events - among the very finest works of art produced by anyone, anywhere, anytime. During the performance I find myself - amidst Brahms's genius being communicated by high-level orchestra, soloists, chorus - in a bit of awe, and wishing that time could slow down.
Then there's the surrounding family support-narrative. Not just for attending the concert - though that alone is a significant time commitment for folks with busy schedules. PJ spends four hours Sunday morning shopping and prep'ing food. After the concert, I'm just sitting around talking (ok, also
sipping; bourbon in this case) with our guests about the performance and whatever - center of attention for the portions of the conversation that are focused on the concert - while PJ and her food prep assistants - not the center of attention - swirl around smiling, talking, but always working and getting things done: one appetizer after another appears, drinks are poured, then the grill gets going, all of a sudden a full meal is ready for everyone, then the emptied dishes disappear, then dessert appears from somewhere. PJ and team is swirling around throughout, smiling; I'm still sitting around talking and enjoying myself immensely, without having to do anything while this huge effort - which makes the evening - goes on around me.
It makes for a pretty good life, I say.
________________________________
From: Paul Gales
Sent: Saturday, February 22, 2014 11:20 PM
Subject: Brahms Requiem
Hi folks –
Brahms’s Requiem is
often called the “German Requiem” because he wrote it to be performed in the
vernacular (German in his case, of course) rather than in Latin. We will
be performing it in the vernacular tomorrow (English in our case, of course).
CPG and I were in a German-language performance back in 2012, and at bottom is
a slightly adapted version of what I wrote then regarding the seven movements.
Performance time will be
around 70 minutes – so a long single work, but a short overall program for the
concert.
Brahms was a late
Romantic composer of incredible skill; also a deeply religious figure who
supposedly studied the Bible every night. (And in chaste love, or
something, with Robert Schumann’s piano virtuoso wife, but that’s another
story.)
In addition to the
wondrous music – which really needs to be the focus here – the work operates at
the intersection of three fundamental notions: coping with sorrow at
losing loved ones who have died; coping with the fragile nature of our own
existence; and wondering whether those others who have passed away – and yes,
eventually we ourselves – experience an afterlife.
I think about how
audiences received the Requiem when Brahms wrote this in the
1860s. Premature death was commonplace. People of all ages died at
home. The wake was held at home. Everyone regularly attended
funerals. Watching others die must have given pause to even the young-and-healthy
– very aware of mortality, the transitory nature of our lives. And the
Christian faith predominated. For those that perhaps no longer believed –
an increasing percentage post-Enlightenment – they still had been educated in a
Christian setting and were entirely familiar with the concepts. The Bible
passages selected by Brahms were the language 19th century Europeans
used as a framework to think about those three fundamental notions.
So what do we make of
this in 2014 – when most folks die in an antiseptic hospital or hospice
setting; very few die prematurely; and religious faith – and certainly spending
time reflecting on notions two and three of the three notions mentioned a
couple paragraphs above – are out of fashion, to say the least?
All this is beyond me, but
I do suggest a simple and pretty obvious thought: that almost certainly
we must miss out on a lot in life if we too-rigorously avoid thinking about
death – can one really feel the precious-ness of what we experience day to day
if we don’t see it through lens of fragility, uncertainty, and an inevitable,
daily-approaching end-point?
Too many of us who will
be attending the concert tomorrow have been faced with thinking about this in
the context of very recent losses of very close family members. Perhaps
you will find this performance another opportunity to reflect on this. I
know I will be thinking during the performance of folks we’ve lost, as I have
during the rehearsals.
In any event – the music
is pretty amazing. The orchestra and soloists are professional-plus
level. The church provides a unique seating opportunity – you will be
able to see the conductor communicate with the orchestra and chorus, pick out
individual parts, etc. How exciting that this work allowed the
supremely-talented Brahms to work with such a wide palette - full orchestra,
full chorus, soloists, and endless subsections and combinations. Watch
the sections come in and out; listen for lines moving back and forth among
us. Don’t just follow the sopranos and violins, who tend to stand out
because of their higher pitch – there are lovely, interesting things happening
throughout.
It’s also quite a
thought, at least to me, that this work has been performed regularly for 150
years now – with every likelihood that performers and audiences alike will be
enjoying it 150 years hence. It’s exciting to be a part of the continuum
with these works.
Paul Jr. and I are
grateful for the support, and hope you much enjoy.
-------------------
(from April 2012):
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 . . .” (Added 2/22/14: We were told in
rehearsals that this movement was added after the other six movements had
been written, specifically as Brahms’s way of dealing with the death of
his own mother, which occurred during the three-year period while the work
was written. As you listen, I’m pretty sure that will give a
different cast to what you’re hearing. It’s just wonderful.)
- 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 . . . “ (Added 2/22/14: “blessed are
they . . .” in the English text) 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.
Paul M. Gales
(602) 325-3207 direct |
(480) 444-1270 fax
8765 E. Bell Road, Suite
110 | Scottsdale, AZ 85260
