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Vaughan Williams on Music$
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David Manning

Print publication date: 2007

Print ISBN-13: 9780195182392

Published to Oxford Scholarship Online: October 2011

DOI: 10.1093/acprof:oso/9780195182392.001.0001

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Brahms, Choruses from the Requiem

Brahms, Choruses from the Requiem

(p.417) Chapter 101 Brahms, Choruses from the Requiem
Vaughan Williams on Music

David Manning

Oxford University Press

The year of the Leith Hill Musical Festival, in common with the rest of Europe, celebrates the 100th anniversary of the birth of Johannes Brahms, which took place in Hamburg on 7 May 1833. Brahms is the last of the group of great German composers that for 150 years made the terms “classical” and “Teutonic” synonymous in music. In this group none has been more essentially Teutonic than Brahms, and of his works none is more essentially Teutonic than the German “Choruses from the Requiem.” The words that Brahms has set have, of course, nothing to do with the Roman rite—Brahms calls it “Ein deutsches Requiem.” It was to be for the German people what the “Missa pro defunctis” is for the Latins. Brahms chose words from the Lutheran Bible to illustrate the mysteries of death and the future life.

Keywords:   Johannes Brahms, Requiem, Lutheran Bible, mysteries of death, future life, music, composers

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