Organization

Direzione d'orchestra

Yannick Nézet-Séguin

Cantante

Soprano

Hanna-Elisabeth Müller

Baritono

Markus Werba

Direzione del coro

Gijs Leenaars

Orchestra

Berliner Philharmoniker

Others

Rundfunkchor Berlin

Ein deutsches Requiem, op. 45 -  (Un Requiem tedesco)

Uberlingen

Germania

Brahms’s Ein deutsches Requiem is a powerful, solemn work, yet its message shows the utmost compassion. While the horrors of the last judgement are the focus in traditional requiem settings, Brahms’s work sings sensitively of sorrow and consolation in the face of death. The conductor of this performance is Yannick Nézet-Séguin, music director of the Philadelphia Orchestra and music director designate of the Met in New York.

Berlino

Ein deutsches Requiem Brahms

Public

Un Requiem tedesco

Approvato

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballando

Chorus Director

Composizione

Coreografia

Coro

Costumi

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Luci

Maestro ripassatore

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Regia

Scenografia

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Tenore

Basso

Controtenore

Basso-baritono

Contralto

Mezzosoprano

Alto

Continuo

Mimi

Narrazione

Voce bianca

“I am completely satisfied with your Requiem,” wrote Clara Schumann enthusiastically to Johannes Brahms, who juxtaposed the tragedy of human mortality with the comfort and hope of eternal life in the work. “It is a very powerful piece, and grips the whole person in a way that little else does. The deep seriousness, together with all the magic of poetry has a wonderful, harrowing and soothing effect.” With his German Requiem, Brahms had not created ecclesiastical liturgical music in the classical sense. Rather, the work is a choral cantata based on freely chosen excerpts from the Lutheran Bible which revolve around the basic dualism of life and death, mourning and comfort, transience and transfiguration. There are no intercessions, which are otherwise prominently represented in the Catholic Latin text. Brahms also omits any mention of the redemption of Christ, which is central to the two denominations – something which caused problems at the time: “My Requiem is sung in Bremen every year. But since the name Christ does not occur in it, permission to use the Church is granted only on condition that this deficiency is remedied by a financial contribution.” Textually and musically, each of the seven movements ultimately makes clear just what it is that makes the comforting overall character of this interdenominational requiem: “Death, where is thy sting? O grave, where is thy victory?”

Yannick Nézet-Séguin, future successor to James Levine at the Metropolitan Opera in New York, now conducts Brahms’s Deutsches Requiem in the Berlin Philharmonie. In addition to the orchestra, the performers include the Rundfunkchor Berlin, rehearsed by its chief conductor Gijs Leenaars. The soprano soloist is Hanna-Elisabeth Müller who recently made her debut at the Met. At her side is Wiebke Lehmkuhl who debuted at the Vienna Musikverein and the Lucerne Festival in 2011, and made her first guest appearance at the Salzburg Festival one year after. The demanding baritone role is taken by the Austrian singer Markus Werba.

The concert opens with Carl Philipp Emanuel Bach’s motet “Heilig ist Gott”, composed in 1776 – a ceremonial theophany for contralto, double choir and orchestra, which occasioned the Bach son to employ the full range of tonality at his disposal. Despite its masterful design, the music conveys an impression of the greatest simplicity: “This ʻHeiligʼ,” according to the composer, “is an attempt [...] to attract far greater attention and sensation through ordinary harmonic progressions than any anguished chromaticism is able to achieve. It is my swan song [...], and should serve to ensure that after my death I am not too soon forgotten.”

English

Un Requiem tedesco by Brahms, sab 21 ott 2017, Da (2017/2017), Direttore d'orchestra Yannick Nézet-Séguin

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