BRAHMS A GERMAN

YANNICK NÉZET-SÉGUIN conductor ELIZABETH WATTS STÉPHANE DEGOUT baritone LONDON PHILHARMONIC and BRAHMS A GERMAN REQUIEM

In the genesis of A German Requiem (Ein And so the creation of A German Requiem Lutheran equivalent) but a selection of at the work’s conclusion – another act of Deutsches Requiem) there were two giants of began in earnest, Brahms sending two biblical excerpts from the books of Psalms, reassurance). The second is a simple I-III-IV musical Romanticism steering the conceptual completed movements to Schumann’s Revelation, Ecclesiastes, Isaiah and Hebrews, idea (think the first three notes of the carol strands both musical and emotional. ‘If he widow Clara just months after his mother’s the epistles of St Paul and the gospels of ‘Once in Royal David’s City’) which features will only point his magic wand to where the passing. In the summer of 1866 it was St Matthew and St John (among others). consistently in the other movements as both powers amassed in the orchestra and chorus complete; Schumann’s wish for a musical a thematic motto and an incidental gesture. lend him their might’, said Robert Schumann glimpse of the heavens from Brahms’s pen Despite the abstracted, humanist qualities of Soon, therefore, the music feels familiar; the of Johannes Brahms, ‘yet more wonderful had been posthumously granted. But despite much of his chosen texts, Brahms’s musical movements, though different, referencing one glimpses into the mysteries of the spirit the backdrop of death against which it was inspirations were more traditionally sacred another’s sentiments rather than providing world would await us.’ Schumann believed conceived, the requiem Brahms created is and ritualistic. Schumann had instilled in him the traditional thematic contrast between a large-scale choral-cum-orchestral work a very hopeful one. It’s also a very German a fascination for music of the Renaissance everlasting damnation and eternal paradise. from his young acolyte’s pen would prove a one: a piece that captures a cultural rather and Baroque eras, and the spirit of such masterpiece. But Brahms needed more than than dogmatic view of Brahms’s Germany, music shines through much of A German In addition to these references to the verbal inspiration. And he eventually got it: carrying the gift of spiritual comfort rather Requiem, through its sense of balance, its compositional past, Brahms also turns to in February 1854 Schumann unsuccessfully than the threat of impending judgment. instrumental and choral colours, its musical the contrapuntal technique of , long attempted suicide and was admitted to The first performance proper of A German painting of words and its watertight cohesion associated with sacred music. The second, an asylum; two years later he died, his Requiem – then for baritone soloist, chorus (the latter itself a Brahmsian hallmark). third and sixth movements of the Requiem wife Clara, with Brahms, at his bedside. and orchestra – was heard in Bremen on Good are capped by fugal codas, though heard in Friday, 1868. The composer subsequently In fact, Brahms creates music in his requiem a fully Brahmsian idiom using chromatic, Brahms’s reaction to the loss of his artistic added the fifth movement with soprano that somehow carries the assurance and expressive melodic shapes that avoid both guiding star was the sketching of a symphony soloist, and the newly completed piece was contentment of a steadfast faith. This he virtuosity and archaic awkwardness. Indeed, that never saw the light of day. Instead, first heard in Leipzig in February 1869, soon achieves partly through his reliance on two Brahms’s music is all his own, and whilst some ten years later, Brahms re-used the thereafter being recognised as the first motifs, each movement taking either one he may himself have described the piece material as the starting point for a requiem major masterpiece of a matured composer. as its basis. The first of these is the Bach as being as much a human as a German (other chunks made their way into the chorale theme Wer nur den lieben Gott lässt requiem, it is also a deeply personal one. Piano Concerto). The tragedy of What Brahms wrote wasn’t only walten (If thou but suffer God to guide thee), Schumann’s death would doubtless have accomplished and profoundly moving, it which is detectable in Brahms’s second Towards the end of his inaugural season haunted him still, but there was another was also unprecedented. It includes no movement funeral march, and also steers as the London Philharmonic Orchestra’s deadly blow coming Brahms’s way: the death direct reference to Christ, and sets not the the work’s opening bars (recurring, therefore, Principal Guest Conductor, Yannick Nézet- of his beloved mother in February 1865. words of the Requiem (or even their as Brahms recalls his opening material Séguin came to Southbank Centre’s Royal Festival Hall to conduct Brahms’s masterwork. members of the orchestra and chorus. What 02 Denn alles Fleisch es ist wie Gras For all flesh is as grass Memories of Kurt Masur’s deeply-rooted, followed was a performance that was indeed traditionally Germanic performances with slow, but brought with its tempi a resolute Denn alles Fleisch es ist wie Gras For all flesh is as grass, the orchestra still lingered; audiences sense of stillness and calm. The intense und alle Herrlichkeit des Menschen and all the glory of man were curious and expectant given the concentration from conductor, orchestra, wie des Grases Blumen. as the flower of grass. young Canadian’s limited appearances in chorus and soloists induced a rare atmosphere Das Gras ist verdorret The grass withereth, London at that time: he had conducted of profundity in the Royal Festival Hall and und die Blume abgefallen. and the flower thereof falleth away. the orchestra only three times before. a reflective audience silence of nearly a minute following the Requiem’s final bars. So seid nun geduldig, lieben Brüder, Be patient therefore, brethren, The talking point on Saturday 4 April 2009, bis auf die Zukunft des Herrn. unto the coming of the Lord. even before the concert had begun, was Siehe, ein Ackermann wartet Behold, the husbandman waiteth Nézet-Séguin’s tempi. ‘It will be slow’, said Andrew Mellor auf die köstliche Frucht der Erde, for the precious fruit of the earth, und ist geduldig darüber, and hath long patience for it, bis er empfange den Morgenregen und until he receive the early and latter rain. Abendregen.

Aber des Herrn Wort bleibet in Ewigkeit. But the word of the Lord endureth for ever.

Die Erlöseten des Herrn werden wiederkommen, And the ransomed of the Lord shall return, und gen Zion kommen mit Jauchzen; and come to Zion with songs Freude, ewige Freude wird über ihrem Haupte sein; and everlasting joy upon their heads; BRAHMS A GERMAN REQUIEM Freude und Wonne werden sie ergreifen, they shall obtain joy and gladness, und Schmerz und Seufzen wird weg müssen. and sorrow and sighing shall flee away.

01 Selig sind, die da Leid tragen Blessed are they that mourn 03 Herr, lehre doch mich Lord, let me know mine end

Selig sind, die da Leid tragen, Blessed are they that mourn, Herr, lehre doch mich, Lord, let me know mine end, denn sie sollen getröstet werden. for they shall be comforted. dass ein Ende mit mir haben muss, and the measure of my days, Die mit Tränen säen, They that sow in tears und mein Leben ein Ziel hat, und ich davon muss. what it is; that I may know how frail I am. werden mit Freuden ernten. shall reap in joy. Siehe, meine Tage sind einer Handbreit vor dir, Behold, thou hast made my days as an Sie gehen hin und weinen, He that goeth forth and weepeth, und mein Leben ist wie nichts vor dir. handbreadth; and mine age is as nothing before thee; und tragen edlen Samen, bearing precious seed, Ach, wie gar nichts sind alle Menschen, verily every man at his best state is altogether vanity. und kommen mit Freuden shall doubtless come again with rejoicing, die doch so sicher leben. Surely every man walketh in a vain show; und bringen ihre Garben. bringing his sheaves with him. Sie gehen daher wie ein Schemen, surely they are disquieted in vain; und machen ihnen viel vergebliche Unruhe; he heapeth up riches, and knoweth not who 06 Denn wir haben keine bleibende Statt For here have we no abiding city sie sammeln und wissen nicht wer es kriegen wird. shall gather them. Denn wir haben keine bleibende Statt, For here have we no abiding city, Nun, Herr, was soll ich mich trösten? And now, Lord, what wait I for? sondern die zukünftige suchen wir. but we seek one to come. Ich hoffe auf dich. My hope is in thee. Siehe, ich sage euch ein Geheimnis: Behold, I show you a mystery: Der Gerechten Seelen sind in Gottes Hand, But the souls of the righteous are in the hand of God, wir werden nicht alle entschlafen, we shall not all sleep, und keine Qual rühret sie an. and there shall no torment touch them. wir werden aber alle verwandelt werden; but we shall all be changed; und dasselbige plötzlich, in a moment, 04 Wie lieblich sind deine Wohnungen How lovely are thy dwellings in einem Augenblick, in the twinkling of an eye, zu der Zeit der letzten Posaune. at the last trump; Wie lieblich sind deine Wohnungen, How lovely are thy dwellings, Denn es wird die Posaune schallen, for the shall sound, Herr Zebaoth! O Lord of hosts! und die Toten werden auferstehen unverweslich, and the dead shall be raised incorruptible, Meine Seele verlanget und sehnet sich My soul longeth, yea, even fainteth und wir werden verwandelt werden. and we shall be changed. nach den Vorhöfen des Herrn; for the courts of the Lord; Dann wird erfüllet warden Then shall be brought to pass mein Leib und Seele freuen sich in dem my heart and my flesh crieth out for the das Wort, das geschrieben steht: the saying that is written: lebendigen Gott. living God. Der Tod ist verschlungen in den Sieg. Death is swallowed up in victory. Wohl denen, die in deinem Hause wohnen, Blessed are they that dwell in thy house; Tod, wo ist dein Stachel? O death, where is thy sting? die loben dich immerdar. they will be still praising thee. Hölle, wo ist dein Sieg? O grave, where is thy victory?

05 Ihr habt nun Traurigkeit And ye now therefore have sorrow Herr, du bist würdig zu nehmen Thou art worthy, O Lord, to receive Preis und Ehre und Kraft, glory and honour and power, Ihr habt nun Traurigkeit; And ye now therefore have sorrow; denn du hast alle Dinge erschaffen, for thou hast created all things, aber ich will euch wieder sehen, but I will see you again, und durch deinen Willen and for thy pleasure und euer Herz soll sich freuen, and your heart shall rejoice, haben sie das Wesen und sind geschaffen. they are and were created. und eure Freude soll niemand von euch nehmen. and your joy no man taketh from you. Ich will euch trösten wie einen seine As one whom his mother comforteth, so will 07 Selig sind die Toten Blessed are the dead Mutter tröstet. I comfort you. Selig sind die Toten Blessed are the dead Sehet mich an: Behold with your eyes, die in dem Herren sterben, von nun an. which die in the Lord from henceforth. ich habe eine kleine Zeit Mühe und Arbeit gehabt, how that I laboured but a little, Ja, der Geist spricht Yea, saith the Spirit, und habe grossen Trost gefunden. and found for myself much rest. dass sie ruhen von ihrer Arbeit, that they may rest from their labours, denn ihre Werke folgen ihnen nach. and their works do follow them. YANNICK NÉZET-SÉGUIN conductor ELIZABETH WATTS soprano STÉPHANE DEGOUT baritone london philharmonic choir

Yannick Nézet-Séguin has Elizabeth Watts was a chorister Internationally-acclaimed The London Philharmonic Choir was been Music Director of the at Norwich Cathedral and French baritone Stéphane founded in 1947 as the chorus for the Rotterdam Philharmonic studied at the Royal College Degout graduated from London Philharmonic Orchestra. It is widely Orchestra and Principal Guest of Music. She was selected by the Conservatoire National acclaimed as one of the nation’s finest

Conductor of the London © Thomas Dylan SONY the Young Concert Artists Trust Supérieur de Musique de Lyon and consistently meets with critical acclaim. Philharmonic Orchestra (YCAT) in 2004, won the 2006 and then became a member of Continuing to perform regularly with the since 2008/2009. 2008 included Rotterdam Kathleen Ferrier Prize, the 2007 Outstanding the Atelier Lyrique de l’Opéra de Lyon. London Philharmonic Orchestra, the London Philharmonic’s acclaimed Far East tour and Young Artist Award at the Cannes “MIDEM Philharmonic Choir also works with many his début with Gounod’s Classique Awards” and gained international Degout gained international attention when other throughout the United Roméo et Juliette. In 2009 he débuted at the recognition at the 2007 BBC Cardiff Singer he made a triumphant début as Papageno at Kingdom and makes annual appearances at BBC Proms, New York’s Mostly Mozart Festival of the World Competition, winning the the Festival d’Aix-en-Provence in 1999. Since the BBC Proms. It has performed under some of and Metropolitan Opera (New York) with Rosenblatt Recital Song Prize and selection for then, he has appeared at the Opéra de Paris the world’s most eminent conductors – among Carmen and recorded with the Rotterdam BBC Radio 3’s New Generation Artists Scheme. (La Bohème, Die Zauberflöte, Ariadne auf them Pierre Boulez, Mark Elder, Sir John Eliot Philharmonic Orchestra. Highlights of 2010 Her first recording of Schubert Lieder for Sony Naxos), Berlin Staatsoper (Orfeo), Théâtre Royal Gardiner, Bernard Haitink, Kurt Masur, Sir Roger include and Berliner Red Seal was Gramophone Magazine’s ‘Editor’s de la Monnaie (Orfeo, Pelléas et Mélisande, Così Norrington, Sir Simon Rattle, Sir Philharmoniker débuts; a North American Choice’ in February 2009. fan Tutte), Theater an der Wien (Orfeo) and the and Klaus Tennstedt. The London Philharmonic tour with Rotterdam Philharmonic; Mahler’s Metropolitan Opera (Romeo et Juliette). Choir has participated in more than seventy Eighth Symphony; and Salzburg Festival opera Her operatic work has included: Susanna He has also performed at the Salzburg Festival recordings, including a Gramophone Award productions with Vienna Philharmonic and (Le Nozze di Figaro) for Santa Fe Opera and (Così fan tutte), Glyndebourne Festival Opera winning performance of Mahler’s Eighth Mozarteum Orchestras. He is a sought-after Welsh National Opera, Flora (The Knot Garden) (Così fan tutte) and the Royal Opera House, Symphony under Klaus Tennstedt. The Choir guest conductor of many fine orchestras in for Music Theatre Wales and the Royal Opera Covent Garden (La Cenerentola). often travels overseas and in recent years Europe, North America and Canada, including House and Papagena (Die Zauberflöte), it has appeared at the Canary Islands and Staatskapelle Dresden, Chamber Orchestra of Barbarina (Marriage of Figaro), Purcell’s Degout has recorded Werther and Così fan Lucerne music festivals, and given concerts in Europe, Philadelphia and Boston Symphony. King Arthur, both Music and Hope (Orfeo) tutte along with Pelléas et Mélisande in DVD Europe, Hong Kong, Malaysia and Australia. for English National Opera (Young Singers’ format for Virgin Classics. In addition, the Fauré He pursued his musical studies in his native Programme 2005-2007) and Mandane (Arne’s Requiem for Naïve, La Bohème for Deutsche Montreal and later with . Artaxerxes) in a ROH/Classical Opera Company Grammophon and a piano version of Brahms’s He has been Music Director of the Orchestre co-production at the Linbury Studio. A German Requiem. Métropolitain du Grand Montréal since 2000 and has built up an extensive discography with them. London Philharmonic Orchestra Highlights from the London Philharmonic Orchestra’s label For more information or to purchase CDs telephone +44 (0)20 7820 4242 or visit www.lpo.org.uk The London Philharmonic Orchestra is known of concerts between September and May as one of the world’s great orchestras with each year. In summer, the Orchestra moves a reputation secured by its performances in to Sussex where it has been Resident at the concert hall and opera house, its many Glyndebourne Festival Opera for over 40 award-winning recordings, its trail-blazing years. The Orchestra also performs at venues LPO-0044 LPO-0043 LPO-0042 international tours and its pioneering around the UK and has made numerous education work. Distinguished conductors tours to America, Europe and Japan, and who have held positions with the Orchestra visited India, Hong Kong, China, South Korea, since its foundation in 1932 by Sir Thomas Australia, South Africa and Abu Dhabi. Beecham include Sir Adrian Boult, Sir John Pritchard, Bernard Haitink, Sir Georg Solti, The London Philharmonic Orchestra made Klaus Tennstedt, Franz Welser-Möst and Kurt its first recordings on 10 October 1932, just Masur. Vladimir Jurowski was appointed the three days after its first public performance. Orchestra’s Principal Guest Conductor in It has recorded and broadcast regularly March 2003 and became Principal Conductor ever since, and in 2005 established its in September 2007, succeeding Kurt Masur. own record label. These CDs are unique: Mahler Symphony No.2 Brahms Symphonies Nos.1 & 2 Dvořák Requiem The London Philharmonic Orchestra has amongst them are archive, studio and live been resident symphony orchestra at concert recordings including world-première Southbank Centre’s Royal Festival Hall since performances. These are also available as LPO-0026 LPO-0010 LPO-0008 1992 and there it presents its main series high quality downloads. www.lpo.org.uk

© Patrick Harrison © Patrick Beethoven Symphony No.9 Britten War Requiem Haydn The Creation JOHANNES BRAHMS (1833–1897)

75:54 A German Requiem (Ein Deutsches Requiem)

01 12:05 Selig sind, die da Leid tragen 02 16:50 Denn alles Fleisch es ist wie Gras 03 10:07 Herr, lehre doch mich 04 05:54 Wie lieblich sind deine Wohnungen 05 07:00 Ihr habt nun Traurigkeit 06 12:19 Denn wir haben keine bleibende Statt 07 11:39 Selig sind die Toten

YANNICK NÉZET-SÉGUIN conductor ELIZABETH WATTS soprano STÉPHANE DEGOUT baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR Abigail Young guest leader Neville Creed chorus master

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL London

LPO – 0045