Brahms S A German Requiem

A detailed study examining The German Requiem, Brahms's controversial, and his largest, masterpiece.

Michael Steinberg's highly successful listener's guides--The Symphony and The Concerto--have been universally praised for their blend of captivating biography, crystal clear musical analysis, and delightful humor. Now Steinberg follows these two greatly admired volumes with Choral Masterworks: A Listener's Guide, the only such guide available to this most popular of musical forms. Here are more than fifty illuminating essays on the classic choral masterworks, ranging from Handel's Messiah, Bach's Mass in B Minor, and Beethoven's Missa Solemnis, to works by Haydn, Brahms, Mendelssohn, and many others. Steinberg spans the entire history of classical music, from such giants of the Romantic era as Verdi and Berlioz, to leading modern composers such as Elgar, Rachmaninoff, Vaughan Williams, and Stravinsky, to contemporary masters such as John Adams and Charles Wuorinen. For each piece, Steinberg includes a fascinating biographical account of the work's genesis, often spiced with wonderful asides, such as the true story of Mozart's Requiem--Salieri had nothing to do with the composition of it, nor did he poison Mozart, who most likely died of rheumatic fever. The author also includes an astute musical analysis of each piece, one that casual music lovers can easily appreciate and that musicians and more serious fans will find invaluable. The book also includes basic information such as the various movements of the work, the organization of the chorus and orchestra, and brief historical notes on early performances. More than twenty million Americans perform regularly in choirs or choruses. Choral Masterworks will appeal not only to concert goers and CD collectors, but also to this vast multitude of choral performers, an especially engaged and active community.

Organ and piano duet teams will appreciate Billie Nastelin's skillful arrangement of the beautiful "How Lovely Is Thy Dwelling Place" from the Brahms Requiem. Each player has opportunities with both melody and accompaniment, and congregations and audiences will request this over and over. Two copies of the music are included. Also arranged for organ/piano duet by Nastelin: "And the Glory of the Lord," from Messiah (GOPD9901),

This edition of Brahms's greatest, most ambitious vocal work is reprinted from the definitive edition of the composer's works prepared by Breitkopf & Hartel of Leipzig. Inexpensive, yet sturdily constructed to provide years of pleasurable use, this full score combines all the musical parts in a clear, readable format, with wide margins and large noteheads. Brahms conducted the first major performance of the "German Requiem" in Bremen Cathedral in April 1888. The occasion, attended by many distinguished musicians, among them Clara Schumann, provided the 34-year-old composer with his first great public success. Scored for mixed chorus, solo voices, and full orchestra, the "Requiem" reflects Brahms's virtuoso grasp of nineteenth-century vocal technique as well as the polyphonic vocal traditions of the previous three centuries. Above all, it radiates Brahms's stalwart individuality, technical mastery, and stirring emotional appeal, which were soon to secure his unique position in the musical world. The "German Requiem" is in seven sections (the fifth was added shortly after the Bremen performance), which distinguishes it from the five-part Roman Catholic requiem. Brahms chose its nondenominational format to express faith in the resurrection rather than the fear of the day judgment. Now, over a century later, this masterpiece of choral music is one of the most performed and recorded works in the repertoire of religious music."

This book is intended to help those who are contemplating performing or studying the Brahms Requiem. It provides historical information, performance considerations, musical analysis, and resource material for all who enjoy the musicology behind this magnificent work. It is especially directed toward conductors, but it is also useful for choristers and soloists as well. A wonderful instructional tool!

Examines in detail the contexts of Brahms's masterpiece and demonstrates that, contrary to recent consensus, it was performed and received as an inherently Christian work during the composer's life.

Beller-McKenna counters music historians's reluctance to address Brahms's Germanness, wary perhaps of fascist implications. He gives an account of the intertwining of nationalism, politics, and religion that underlies major works, and enriches both our understanding of his art and German culture.