Event is Live
CARNEGIE HALL PRESENTS
Orchestra of St. Luke's
Brahms's Requiem with Heras-Casado
Thursday, February 16, 2017
8 PM
Stern Auditorium / Perelman Stage
In his sublime Ein deutsches Requiem, Brahms created a work that evokes the contemplative spirit of Bach, though far from lacking any drama. The mournful march “Denn alles Fleisch, es ist wie Gras” (“For all flesh is as grass”) and the grand sixth-movement fugue carry tremendous emotional weight. Ein deutsches Requiem also offers hope and consolation, as evidenced in the beautiful soprano aria “Ihr habt nun Traurigkeit” ("Ye now have sorrow") and the quiet closing chorus “Selig sind die Toten, die in dem Herrn sterben” ("Blessed are the dead which die in the Lord").
Performers
Orchestra of St. Luke's
Pablo Heras-Casado, Principal Conductor
Sophie Karthäuser, Soprano
Florian Boesch, Baritone
Musica Sacra
Kent Tritle, Music Director
Program
LUTOSŁAWSKI Musique funèbre
BRAHMS Ein deutsches Requiem
Event Duration
The printed program will last approximately 90 minutes with no intermission. Please note that there will be no late seating.Pre-Concert Talk
Pre-concert talk starts at 7:00 PM in Stern Auditorium / Perelman Stage with Paul Berry, Adjunct Assistant Professor of Music History, Yale University.
This concert is made possible, in part, by an endowment fund for choral music established by S. Donald Sussman in memory of Judith Arron and Robert Shaw.
At a Glance
The provocative concept at the heart of the Requiem
of Johannes Brahms is spelled out in its title—Ein deutsches Requiem—that is a distinctly German work and not just
a new setting of the Roman Catholic Mass for the Dead. Although a relatively
unobservant Lutheran, Brahms possessed a deep knowledge and appreciation of the
Christian Scriptures, and wanted his Requiem to speak not only to the experiences
of the devout, but also in broader humanistic terms about death and life.
Instead of using the traditional Latin texts of the Requiem Mass, Brahms crafted a customized libretto from a dozen books of the Bible (using Martin Luther’s canonical German translation). The narrative that results does not trace any specific incidents in the life of Jesus, nor does it convey any discernible doctrinal or theological argument. Instead, it speaks in universalizing terms about the passage from life to death, and especially the nearness of death in the midst of life. Brahms gives voice to this message, using all of the musical resources at his disposal—innovative orchestral effects, tender and memorable melodies, and carefully crafted choruses.
The Musique funèbre of Polish composer Witold Lutosławski offers a fitting wordless prelude to Ein deutsches Requiem—and not only because of its title. Like Brahms, Lutosławski was intensely invested in reimagining and reinterpreting the practices of previous generations of composers in bold new idioms. This impulse is as much present in the ambitious and highly structured fugues of the Requiem as in the more dissonant compositional effects of the Musique funèbre.
Instead of using the traditional Latin texts of the Requiem Mass, Brahms crafted a customized libretto from a dozen books of the Bible (using Martin Luther’s canonical German translation). The narrative that results does not trace any specific incidents in the life of Jesus, nor does it convey any discernible doctrinal or theological argument. Instead, it speaks in universalizing terms about the passage from life to death, and especially the nearness of death in the midst of life. Brahms gives voice to this message, using all of the musical resources at his disposal—innovative orchestral effects, tender and memorable melodies, and carefully crafted choruses.
The Musique funèbre of Polish composer Witold Lutosławski offers a fitting wordless prelude to Ein deutsches Requiem—and not only because of its title. Like Brahms, Lutosławski was intensely invested in reimagining and reinterpreting the practices of previous generations of composers in bold new idioms. This impulse is as much present in the ambitious and highly structured fugues of the Requiem as in the more dissonant compositional effects of the Musique funèbre.