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Women's Choirs Amy Blosser, Editor <[email protected]> women’s chorus. His output includes a music teacher. Brahms studied piano WWomen'somen's ChoirsChoirs just over 100 pieces that were written and a variety of instruments, and it was Iris Levine, for women’s chorus or could be sung likely that his time playing popular mu- National R&S Chair by women’s chorus. Opus 37, titled Drei sic at private gatherings fi rst infl uenced <[email protected]> Geistliche Chöre, is a lesser known but ac- his love of folk music. Brahms started cessible set of three pieces for advanced composing at a young age, but later women’s chorus. One might begin by destroyed many of these compositions discovering resources, addressing style, due to lack of confi dence in his abilities. Brahms’s Drei Geistliche Chöre editorial markings, and performance Sadly, the destroyed music included by considerations for this underperformed compositions and arrangements of mul- Shannon Gravelle music. After this initial step, the conduc- tiple choral works for a men’s chorus he tor should proceed to investigate their conducted in 1847–1848, when he was historical backgrounds, analyze the for- a mere fourteen years old.2 Brahms and mal structure, key relationships, and text Brahms wrote much of his juvenilia Women’s Chorus Scholarship settings. Finally, and most importantly, the in the style of Renaissance polyphony, conductor should sequence rehearsals which refl ected his interest in early When asked to list works by Jo- to teach the choir the skills and knowl- music. While he composed for a broad hannes Brahms, many will cite one or edge they need for success. dynamic range and used innovative more of the following: Ein Deutches Brahms’s compositions for women’s harmony that typifi ed the Romantic era, Requiem, Liebeslieder Waltzes, Ungarische chorus are worth knowing, studying, he also employed the styles of earlier Tänze [Hungarian Dances], Wiegen- and performing for their musical, edu- periods. Many of his early compositions lied, Alto Rhapsody, Akademische Festou- cational, and historical value. His output came from exercises he composed to vertüre [Academic Festival Overture], for women’s chorus is large and was master polyphonic techniques,3 such as and his four symphonies. Unfortunately, among the fi rst to be written for women canon, double canon, contrary motion, Brahms’s early vocal music is often miss- outside of religious settings. Each of the fugue, and imitation. ing from the rotation of commonly Drei Geistliche Chöre can be performed performed choral works, and therefore, individually. However, the total duration is not as well known. In the September of all three pieces is only fi ve minutes, Work with Women: and October 2012 issues of the Choral which makes it a reasonable length to Hamburg Frauenchor Journal, Marika Kuzma pointed out the program. Brahms’s first official conducting lack of scholarship on his unaccompa- 4 1 post was in Detmold in 1857 where nied choral Lieder. Some of the earliest he worked during the months of Sep- pieces Brahms composed were for Johannes Brahms: tember through December, allowing General Output of Music and Style him to travel throughout Germany in Johannes Brahms, born in 1833, was the off-season. During the summer of Shannon Gravelle is a doctoral candidate the second child of Johanna Henrika 1858, he went to Göttinger to visit his at the University of Iowa and music Christiane Nissane and Johann Jakob friend Julius Otto Grimm. While there, director at St. Andrew Lutheran Church Brahms. His father, an amateur musi- Brahms worked with Grimm’s women’s in Cedar Rapids, Iowa. cian, infl uenced both Johannes and his chorus,5 giving him his fi rst real expo- younger brother Fritz, who later became sure to female voices in a choral setting. CHORAL JOURNAL Volume 53 Number 9 75 In addition to Göttinger, he often trav- and Clara exchanged letters. Eventually, I must fi rst write to you about my eled to and taught in his hometown of they returned the letters to the original delightful Hamburg Girls’ Choir. Oh, Hamburg.6 On one visit, he played organ author. Unfortunately, she destroyed my dear girls, where are you now! I for a wedding at which an ensemble of the letters she wrote to him before shall not even turn round when the 11 beautiful things I have written for women sang. Afterwards, Brahms was 1858, leaving the contents unknown. you are sung to me here. The whole asked by one of the women to compose His surviving correspondence with her forty of you will stand before me, pieces for a group of ladies to sing. Thus, indicates that he often kept her abreast and in spirit I shall see you and listen the Hamburg Frauenchor was born.7 of his musical endeavors. For example, to you. Believe me one of my fondest The group started small but expanded he would send her his compositions to memories is this choir of girls.14 to forty singers. review. In a letter dated September 18, Some of Brahms’s contemporaries 1859, Clara wrote to Brahms about the One of the choristers he showed thought he was not a great conductor. fi rst movements in Drei Geistliche Chöre: special attention to was Bertha Porubszy, Contradictory accusations were made later Bertha Faber, daughter of a Vien- stating that he was not friendly enough, The songs are charming and must nese pastor.15 Brahms was also interest- he did not point out the mistakes of his sound quite uncommon. How ed in her romantically, however, the most singers, and that he was too patient.8 beautifully the Adoramus fl ows, in signifi cant aspect of their relationship spite of its classical form. I at once However, Brahms had high expectations was her musical infl uence because she noticed how particularly tenderly the introduced him to Viennese folk music. for the Frauenchor. He created rules for end fi ts the words ‘Dein köstlich Blut,’ the women to follow that included fi nes before I had seen that you yourself He was already interested in folk music for tardiness or absences.9 His motto had called attention to these words. and this introduction kindled his excite- was “fi x oder nix,” which loosely means If only I could hear all these things!12 ment for the genre. Eventually their “up to the mark or nothing.”10 He held brief romance faded, but they remained to these standards even though he “Dein köstlich Blut” is translated to friends. Later he wrote Wiegenlied, also was not paid to conduct the Hamburg “your precious blood,” which is the last known as “Brahms’s Lullaby,” for Bertha’s Frauenchor. Although this was not the text sung in the fi rst movement, “O second son.16 only women’s chorus Brahms conduct- bone Jesu.” In addition to commentary It was Bertha who encouraged ed during his life, he held his tenure with on these two movements, Clara put Brahms to spend time in Vienna. She the Hamburg Frauenchor in high regard. together two concerts in which the invited him to start another women’s Frauenchor sang, one in January and one chorus there. He left the Detmold in November in 1861, the last year of chorus in 1859 and fi nished the last Work with Women: Brahms’s tenure with the Frauenchor.13 concert of the Hamburg Frauenchor in Clara Schumann She would have been familiar with much 1861, which allowed him the freedom to Prior to his time in Hamburg, Brahms of the music he wrote for women’s go to Vienna in 1862 to begin this new had met and worked with Robert chorus during this time. ensemble. While there, he continued to and Clara Schumann. In fact, Brahms compose, however, not as prolifi cally as met the Schumanns in 1853 and lived in Hamburg. During his time in Vienna, with them until Robert died in 1856. Work with Women: Other he penned the third and fi nal movement Brahms and Clara stayed connected, Infl uences or Musical Interactions of Drei Geistliche Chöre, “Regina coeli.” and during his time in Hamburg, he As evidenced by his relationship with Clara, Brahms was infl uenced and en- couraged by the women in his life. One General Overview of Works for example of this can be found in a letter Women’s Chorus he wrote to Clara in 1859. In this letter, Brahms wrote many of his works for he expressed his excitement about the HAMPDEN-SYDNEY COLLEGE women’s chorus during and his time Hamburg Frauenchor, describing a recent (Virginia) seeks choral director. with the Hamburg Frauenchor. Table 1 concert after which the singers had Tenure-track. is a listing of the music Brahms wrote given him an inscribed box as a gift of Details at apply.interfolio.com/22864 for women’s chorus and for individual appreciation. The letter also expressed female voices that could be sung by a affection for the Frauenchor: women’s chorus. He wrote Opus 12, 76 CHORAL JOURNAL Volume 54 Number 5 Table 1. Brahms’s Music for Female Voices Brahms’s Music for Female Voices Opus Number Ave Maria for four-voice women’s chorus and orchestra or organ Opus 12 Vier Gesänge für Frauenchor, 2 Hörner und Harfe [Four Songs for three-voice women’s chorus Opus 17 with 2 horns and harp] Drei Duette für Sopran und Alt mit Pianoforte [Three Duets for soprano and alto with piano] Opus 20 Der 13. Psalm [Psalm 13] for three-voice women’s chorus with organ or piano Opus 27 Drei Geistliche Chöre [Three Sacred Choruses] for unaccompanied four-voice women’s chorus Opus 37 Zwolf Lieder und Romanzen [Twelve Songs and Romances] for unaccompanied four-voice Opus 44 women’s chorus or with piano ad libitum Seven Lieder [Seven Songs] Opus 48 Movement One- Der Gang zum Liebchen [The Way to His Sweetheart] for three-voice women’s chorus Vier Duette für Sopran
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