Brahms – A “Human” Requiem

A German Requiem by Johannes Brahms is one of the great masterpieces of choral/orchestral literature.  Composed to texts selected by the composer, A German Requiem is both a deeply personal statement by Brahms, as well as an offering of consolation and comfort to the living.  The name A German Requiem (Ein deutches Requiem) was never the first choice of the composer, who actually preferred ‘Human’ Requiem.  However, the fact that he used a text chosen from Martin Luther’s German translation of the Bible instead of the traditional Latin text of the Roman Catholic liturgy became an important characteristic of the work.

Two deaths are considered to have had considerable influence on Brahms in the writing of his Requiem.  The first was the death of his dear friend and mentor, composer Robert Schumann, in 1856.  It is widely assumed that the death of his mother in 1865 eventually led Brahms to add a seventh movement to what had been premiered in 1868 as a six movement work.  This additional movement incorporates a moving soprano solo, probably memorializing his mother, and is placed as movement five in the now seven movement composition, premiered in 1869.

After completion of his monumental masterpiece—by far the largest work he ever composed—Brahms eloquently expressed his deep satisfaction:  “Now I am consoled.  I have surmounted obstacles that I thought I would never overcome and I feel like an eagle, soaring ever higher and higher.”  His Requiem has provided similar consolation for countless performers and listeners in the nearly century and a half of its existence.   What a gift to all humanity is this masterpiece by Johannes Brahms.

Always a Time for Love

Okay, I’ll admit I’m writing this blog about love THREE days after Valentine’s Day, but I was in the midst of concerts then!  Anyway, Love should be an acceptable topic more than just one day a year, so here goes!   I want us to consider today some of our favorite choral pieces on the subject of romantic love.  I’ll start with mine and then I’d “love” for you to offer yours.

On the top of my list would be the Liebeslieder Walzer, Op. 52, and the Neue Liebeslieder Walzer, Op. 65, by Johannes Brahms.  These tributes to love, Vienna, and the Strauss waltzes are fresh everytime I hear, sing or conduct them.   Another set of songs that has become a favorite of mine in recent years is Five Hebrew Love Songs, composed by Eric Whitacre, with words by his wife, Hila Plitmann.  These are lovely pieces and you can almost “feel” in them the love between Eric and Hila.   Rene Clausen has created a beautiful setting of the Robert Burns poem, Oh My Luve’s Like a Red, Red Rose and David Dickau has done likewise with i carry your heart with me by e.e. cummings.

I could name many more, but I think I’ll let you folks contribute now.  I know there must be a lot of titles out there, for as we all know, choral musicians are a romantic bunch!

National Anthem Performances

Now that the turmoil is beginning to subside over the extremely unfortunate Super Bowl performance of the National Anthem by Christina Aguilera, I believe I’ll offer my “two cents” worth.  While I would argue that one performance of The Star Spangled Banner, no matter how mangled, probably doesn’t deserve the amount of attention it has already received, my intention here is to discuss something larger than Miss Aguilera’s disappointing rendition.

Rather than considering the mangled lyrics (which can certainly be influenced by the pressure of the moment), I’d like to discuss the vocal histronics that seem to be such a part of our National Anthem offerings these days.  It seems to me this all started years ago when vocalists singing our nation’s song chose to go for the high note on the word “free” near the end of the piece.  It was usually a soprano (sorry, ladies) who would engage in this bit of “showing off,” but it always proved to be a distraction for me.  Since those days, we’ve witnessed increasingly ornamented and self-grandizing performances, almost always drawing attention to the performer rather than to the piece itself.  While the Banner is admittedly a difficult song to sing, and not necessarily the best or most appropriate text (I much prefer America, the Beautiful, both textually and musically), it is still our National Anthem and deserves to be performed with respect and dignity.

Hopefully, this latest abomination of our nation’s song may lead to more respectful and dignified renditions (although I seriously doubt it).  What do you think?

Super Bowl Songs

This is the weekend for the biggest “American” sporting event of the year, the Super Bowl.  While I can’t say I’m a big football fan, I do at least try to get into the spirit of the game during this time.   I would imagine that most of you reading this blog are musicians, so my challenge to you is to come up with some good “football” songs.  I’ll get you started.  There is the obvious choice, perhaps the worst country song lyric ever written (and that’s making quite a statement) – Drop Kick Me, Jesus, Through the Goal Posts of Life.  Keeping the “religious” theme going for a moment, I would offer the old Contemporary Christian song, Pass It On.   We can move into the more popular realm with Another One Bites the Dust or We Will Rock You (We Are the Champions) by Queen.

Now it’s your turn.  Suggest some titles and start singing!