Johannes Brahms

Johannes BrahmsPowerpointCheri WegwitzProf JewkesMusic 101012/07/20121Johannes Brahms

http://www.bach-cantatas.com/Lib/Brahms-Johannes-2.htmBorn May 7, 1833Died April 3, 18972

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http://www.roadtogermany.com/info/hamburg.htmlJohann Jakob and Christina Nissen BrahmsGermanyJohannes Brahms was born in Hamburg, Germany on May 7, 1833 to Johann Jakob and Christina Nissen Brahms. Johann Jakob Brahms was one of the towns musicians and had learned to play several instruments. He earned a living playing in local dance hall. It was he who taught Brahms to play both the violin and piano. However, Johannes Brahms was a natural. At the age of six, he created his own method of writing music in order to write down the melodies he created on paper. This was the beginning of a long career in music.3http://en.wikipedia.org/wiki/Eduard_Marxsen

http://en.wikipedia.org/wiki/File:Johannes_Brahms_1853.jpg

Eduard MarksenYoung Johannes

http://kehilalinks.jewishgen.org/miskolc/remenyi.htmlEduard Remenyi & Johannes BrahmsNot only did Brahms learn from his father, but he also received a formal education in music. At age seven, he began studying piano under Otto Cossel, a well known pianist and student of Eduard Marksen. (Eduard Marksen was a German pianist, composer and teacher who was trained by musical greats of his time.) By age 10, Brahms threw his 1st concert to raise money for his education. It turns out, this wasnt needed. This same year, Brahms was chosen to begin studying piano under Eduard Marksen, free of charge. When Johannes Brahms was a teenager, he was able to use his musical education to find work in order to financially help his family. Brahms gave music lessons and played piano in taverns and dance halls. He worked so much that his health started to deteriorate. It was at this time he was offered a position in Winsen-an-der-Luhe, Germany. He was employed to conduct a small male choir where he was able to write his 1st choral compositions. At age 20, Brahms toured with Eduard Remenyi, a Jewish Hungarian violinist. It was at this point that Brahms could be considered a professional conductor and musician and was able to find his own style.4Who Inspired Brahms?

Ludwig von Beethovenhttp://www.csudh.edu/oliver/beetport/beetport.htm

Johann Sebastian Bachhttp://www.last.fm/music/Johann+Sebastian+Bach/+images/70999994Johannes Brahms took the warm feeling of the Romantic period and combined it with the control of classical influences such as Johann Sebastian Bach and Ludwig van Beethoven, two of Brahms heroes. He became master of symphonic and sonata style in the 2nd half of the 19th century. Although he was greatly influenced by Bach and Beethoven, there were many local musicians who impressed and influenced him. During the rest of this biography, Ive broken down major achievements as well as a timeline of musicians who influenced him in his career. This shows us the order in which these events helped develop Brahms as a musician/composer5Important Life EventsIn 1850, as mentioned earlier, Brahms met Hungarian violinist Eduard Remenyi who introduced him to gypsy dance songs which influenced some of his later compositions.

In 1853, Brahms met Robert & Clara Schumann who helped him with his career.

In 1854, Brahms composed his first famous piece, Piano Trio #1

In 1856, Robert Schumann died. Brahms ended up composing A Funeral March in his honor.

In 1857, Brahms worked with singer Julius Stockhausen on two concerts. It was here in which Brahms was established as an important song composer.

In 1858, Brahms Piano Concerto in D minor was performed with Joachim conducting. It was well received in Hamburg, Germany. Brahms was appointed as conductor of a ladies choir in Hamburg.

In 1863, Brahms gave a concert in Vmet Richard Wagner, a German composer, conductor, and theater director. Due to this concert that Richard Wagner invited him to become the conductor of Singakademie in Vienna.

In 1864, Brahms was able to dedicate the majority of his time towards composing due to his wonderful repuation.

In 1865, Brahms mother died. He started to write a German Requiem in her memory.In 1880, Brahms not only received a doctorate but also achieved worldwide acceptance.On April 3, 1897 Johannes Brahms died.

In 1854, Schumann wrote his first famous piece, Piano Trio #1, which had parts written for the piano and cello. In 1856, Brahms good friend and acquaintance Robert Schumann died. This really affected him and because of all Robert Schumann had done for him, he tried to help Clara and her children as much as he could. Brahms ended up composing A Funeral March in his honor.In 1857, Brahms worked with singer Julius Stockhausen on two concerts. It was here in which Brahms was established as an important song composer. In 1858, Brahms Piano Concerto in D minor was performed with Joachim conducting. It was performed in three places but only well received in Hamburg, Germany. It was due to the well received performance that Brahms was appointed as conductor of a ladies choir in Hamburg. In 1863, Brahms gave a concert in Vienna, Austria where he met Richard Wagner, a German composer, conductor, and theater director. Due to this concert that Richard Wagner invited him to become the conductor of Singakademie in Vienna. In 1864, Brahms achieved his dream of being able to devote himself to his composing and due to his growing reputation, he was able to do just that. It was from here to 1880 in which he did most of his composing and has written at least 213 songs. Were not sure the exact number as Brahms was a perfectionist and so constantly re-worked pieces. Also, he didnt let all of his pieces become published.In 1865, Brahms mother died. This greatly affected him as he was very close to his mother and she to him. Its been cited that she would read about his successes and weep for joy. They had a great relationship and so had a hard time getting over this loss. He started to write A German Requiem in her memory. In 1880, Johannes Brahms received a doctorate from the University of Breslau. It was this year that he achieved worldwide acceptance. This was thanks in part to Hans von Bulow, a German conductor, pianist, and publicist who was very instrumental in helping a few composers/musicians become successful.Johannes Brahms never quit composing and not only revised some of his works at the very end of his life but also created some of his most famous masterpieces. This shows his mind was active up until the very end. On April 3, 1897, Johannes Brahms died from cancer of the liver and was buried next to two of his favorite musicians, Ludwig von Beethoven and Franz Schubert. Not only was he honored by Vienna but also by the entire musical world. His music is still played today.

6German RequiemInspired by his mother

Johanna Henrika Christiane Nissen 1789-1865

https://geniusmothers.com/genius-mothers-of/famous-artists-writers-musicians/Johanna-Henrika-Christiane-Nissen/Though its controversial as to which of Johannes Brahms pieces is most famous, it is fair to say that this piece has a special place in history. As my mother passed away when I was young, I was intrigued when I found out Brahms was inspired to compose this in honor of his mothers passing. It was then I knew I wanted to choose this piece.

7Though typically Latin, Brahms honored his mother by composing his requiem in German

http://petermenkin.blogspot.com/2011/02/lutheran-bible-found-in-wisconsin.htmlhttp://www.indiana.edu/~ulu/University Lutheran Church in WisconsinA German Requiem was written for worshipand much of the text was taken from the Bible.A German Requiem is a composition based on Biblical texts and often cited as one of the most important pieces of choral music created in the 19th century.Though traditionally most requiems are written in Latin, Brahms honored his mother and his heritage and wrote his requiem in German with the text taken from his German Lutheran Bible. As it was typical of this time frame to name songs based on their form and structure, this work is in compliant of this tradition. German being the language is was written and Requiem being any piece or music composed or performed to commemorate the dead. Also, in Catholicism it means a mass for the repose of the souls of the dead. In this case, its both. It was written to commemorate his mother as well as to be used in a church setting. However, instead of being written for just one church, Brahms intended this work to be enjoyed by all people and all churches. He was quoted saying that though it was titled A German Requiem because it was written in the German language, he would gladly change if to A Human Requiem because he really wanted it to be enjoyed by all. This was also shown in the fact he purposely omitted traditional Christian dogma about the redeeming death of the Lord as well as not even mentioning Jesus Christs name. Though these traditional parts are left out, the rest of the text was all taken from the Bible. His work was also different in that rather than beginning with prayers for the dead, A German Requiem focuses on the living and even begins with a part from the Beattitudes. The text has a common theme which transitions anxiety to comfort. You can feel these transitions throughout the song. The idea is that the Lord is the source of the comfort. Though he departs from Catholic tradition by writing in German rather than Latin, this piece is still considered sacred, however non-liturgical. (Protestant Christians are assigned a non-liturgical status) Due to containing Biblical text, there is an idea of sympathetic humanism which persists throughout the work.

8Info about A German RequiemContains Seven MovementsConsists of a Chorus, Solo Voices and a Complete OrchestraOrchestra consists of piccolos, flutes, oboes, clarinets, bassoons, contrabassoon, horns, trumpets, trombones, tuba, timpani, strings, harps, and an organ.

arthursclipart.orgThis is a multi-layered piece, which is broken up into seven movements and brings together a mixed chorus, solo voices and a complete orchestra. It is considered a large scale work as it includes the complete orchestra including a soprano and baritone soloists. The whole piece lasts 65-80 minutes long and is Brahms longest composition. The complete instrumentation used are a piccolo, two flutes, two oboes, two clarinets, two bassoons, a contrabassoon, four horns, two trumpets, three trombones, a tuba, timpani, strings, harps and an organ.

9First PerformedBremen CathedralGood Friday, April 10, 1868en.wikipedia.org

In 1867, before this work was all the way complete, three of the movements were debuted. However, it went over poorly due to a misunderstanding with the timpanist who mixed up pf (piano forte) with f (forte) and ff (fortissimo). This resulted in a completely unbalanced symphony and Brahms never hired the timpanist again. Six months later, this piece now had six complete movements and was performed on Good Friday, April 10, 1868 in the Bremen Cathedral. This was a big success and was a turning point in his career as up to this point, critics wondered if he was still riding on the curtails of his good friend Robert Schumann. It was this piece which laid to rest that criticism. One month later, Brahms finished the last movement which became the fifth movement. This piece is deemed the one which most honors his mother. It was scored, or written, for a soprano soloist and choir.

10Breakdown of the Movements

i. Starts with Blessed are from the Beattitudesii. A re-worked version of his funeral march piece.iii. Solo singing, Lord, teach me.iv. Focuses on the lovely dwellings of the Lord.v. This piece was specifically written for his mother and features a soloist and chorus singing different texts.vi. Focuses on the resurrection of the dead and gives hope.vii. Ends how it began. Blessed are from Beattitudes.Due to the whole piece being 65-80 minutes and so wont be covered in the next section, here is a quick breakdown of all movements. Whats important to remember is the focus of the work is on comfort, hope, reassurance, acknowledging a reward for personal effort rather than judgement, vengeance, sacrifice and Christian symbolisms, which was a-typical for church music of this time period. Hope is shown even at the very beginning as well as the very end as the first and last words of this work are, Blessed.This starts with Blessed Are (taken from the Beattitudes) and is written in F major with no violins to achieve the desired effect.B flat minor. He reworked his funeral march piece (which he wrote in honor of his good friend Schumann after he passed) This movement deals with the transient nature of life.In this movement, there is a solo singing, Lord, teach meThis movement focuses on the lovely dwellings of the LordThis piece is the piece written specifically for his mother and has a soprano and chorus singing different texts.This movement focuses on the resurrection of the dead and the hope this gives..This movement ends again how it began. Blessed are from the Beattitudes again, in F major.

11Brahms 2nd Movement of A German Requiem

bracknellchoral.org.ukBracknell Choral SocietyAs we are only supposed to choose 15 minutes of songs to create a listening guide for and this piece is 65-80 minutes long, I decided to focus on Brahms 2nd movement of A German Requiem which if found on youtube.com titled, Brahms: A German Requiem (Movement 2) and produced by Bracknell Choral Society, it is exactly 15 minutes long. As stated earlier, this piece was reworked from his funeral march which he wrote in the 1850s. This piece is written in German and as Im not fluent in German, I was not able to understand the spoken text. That said, I tried to find some translations to submit in my listening guide and did a breakdown in what the lyrics made me feel as well as what I thought I heard.

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Listening GuideFor

A German RequiemClick here to listen to A German Requiem130:00Introduction. Bassoon starts. B flat minor0:11Woodwinds enter0:20Drums enter0:38All other instruments enter and have begun melody one which descends through two octaves in the violins. There is a slow tempo in triple time which in this minor harmony has an ominous feel like a funeral march.0:53 Tones change. Melody becomes more upbeat. Goes to major.1:22 Song goes back to bassoon playing only.1:29The choir joins as well as all instruments. There is a slow pace. The choir starts by singing For all flesh it is as grass.(in reference to 1 Peter 1:24)1:43Sopranos finally joins in. Upbeat arpeggios are heard2:02There is a slight pause , where the focus is one the choir. This is in G flat major. The choir sings, and all the glory of man 2:10The tone changes again giving a feeling of hope. The orchestra does an interlude and we can hear the timpani strong here as other instruments are reaching a climax.

The importance here is the introduction of the major and minor melodies. The major melody is a feeling of hope while the minor melody which is an ominous funeral march. 0:00Introduction. Bassoon starts. B flat minor0:11Woodwinds enter0:20Drums enter0:38All other instruments enter and have begun melody one which descends through two octaves in the violins. There is a slow tempo in triple time which in this minor harmony has an ominous feel like a funeral march.0:53 Tones change. Melody becomes more upbeat. Goes to major.1:22 Song goes back to bassoon playing only.1:29The choir joins as well as all instruments. There is a slow pace. The choir starts by singing For all flesh it is as grass.(in reference to 1 Peter 1:24)1:43Sopranos finally joins in. Upbeat arpeggios are heard2:02There is a slight pause , where the focus is one the choir. This is in G flat major. The choir sings, and all the glory of man 2:10The tone changes again giving a feeling of hope. The orchestra does an interlude and we can hear the timpani strong here as other instruments are reaching a climax.

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2:30There is a crescendo and a pause2:35There is another pause and then its the bassoon only again.2:40All instruments, including timpani start playing again. Voices sing softly but are homophonic with the sopranos an octave higher.3:20Choir becomes forte. However sopranos are absent with violins playing in their place.3:50Chords change suddenly to a bright melody. However, you can still hear the ominous funeral march in the background. 4:25There is another slight pause as well as melody change. Choir has a counterpoint. Sopranos begin singing, then altos and basses join together and last, the tenors enter. Volume but were back to the ominous feelingThe importance in this area is the recurrenceof the ominous feelings throughout these pieces. Another important part is where the sopranos are surprisingly absent with the violins in their place. 2:30There is a crescendo and a pause2:35There is another pause and then its the bassoon only again.2:40All instruments, including timpani start playing again. Voices sing softly but are homophonic with the sopranos an octave higher.3:20Choir becomes forte. However sopranos are absent with violins playing in their place.3:50Chords change suddenly to a bright melody. However, you can still hear the ominous funeral march in the background. 4:25There is another slight pause as well as melody change. Choir has a counterpoint. Sopranos begin singing, then altos and basses join together and last, the tenors enter. Volume lowers but were back to the ominous feeling

154:30In this part of the song, there is a focus on the text. The instruments are playing piano.4:45Focus returns to the instruments. There is a focus on the flute which is playing an upbeat, happy melody.4:55Focus here is on the choir. The choir divides into 2 parts (polyphonic) and is in major form.5:20 Instruments return and this is reminiscent of the first sentence. Focus here is on the flute and harp that are playing lightly and gracefully.5:50 Bassoon only again playing in minor mode. This begins again like the beginning, exactly. From now, to 8:15, youll see that this is exactly like how this song begins. B flat minorThe importance of this section is after the extended upbeat melody, we have a return back to how the beginning of the song is. Weve gone a full circle. 4:30In this part of the song, there is a focus on the text. The instruments are playing piano.4:45Focus returns to the instruments. There is a focus on the flute which is playing an upbeat, happy melody.4:55Focus here is on the choir. The choir divides into 2 parts (polyphonic) and is in major form.5:20 Instruments return and this is reminiscent of the first sentence. Focus here is on the flute and harp that are playing lightly and gracefully.5:50 Bassoon only again playing in minor mode. This begins again like the beginning, exactly. From now, to 8:15, youll see that this is exactly like how this song begins. B flat minor

166:00 All other instruments enter and have begun melody one whichdescends through two octaves in the violins. There is a slow tempo in triple time which in this minor harmony has an ominous feel like a funeral march.6:35Instruments change from the main ominous melody to the second melody which is upbeat.6:45Music becomes forte7:03 This changes to bassoon only again and goes back to its slower beat.7:10All instruments as well as choir returns. The choir is singing piano but the instruments are forte.7:40You can hear the contrast of the bassoon playing the ominous melody and the others playing the happy upbeat melody and feel the struggle.7:48Here the focus is on the choir which is singing the happy upbeat melody. 8:12There is a slight pause8:15Woodwinds and flutes start playing and begin a crescendo8:45 Woodwinds and flutes are playing forte and bassoons and drums are back but playing the ominous melody. 9:00Choir begins singing with orchestra and all are playing/singing the ominous melody.9:22There is a dimuendo hereThe importance of this section is the focus on the dynamics of the orchestra as well as the struggle between the two melodies. However, the happy melody seems to be overcoming. There is a big crescendo and then dimuendo that are important as well.6:00 All other instruments enter and have begun melody one which descends through two octaves in the violins. There is a slow tempo in triple time which in this minor harmony has an ominous feel like a funeral march.6:35Instruments change from the main ominous melody to the second melody which is upbeat.6:45Music becomes forte7:03 This changes to bassoon only again and goes back to its slower beat.7:10All instruments as well as choir returns. The choir is singing piano but the instruments are forte.7:40You can hear the contrast of the bassoon playing the ominous melody and the others playing the happy upbeat melody and feel the struggle.7:48Here the focus is on the choir which is singing the happy upbeat melody. 8:12There is a slight pause8:15Woodwinds and flutes start playing and begin a crescendo8:45 Woodwinds and flutes are playing forte and bassoons and drums are back but playing the ominous melody. 9:00Choir begins singing with orchestra and all are playing/singing the ominous melody.9:22There is a dimuendo here

179:37Flute and violins introduce the happy upbeat melody using syncopation and the bassoons have stopped playing. There is a timpani roll. The second verse of the text begins here with the choir singing, Be patient, therefore, brethren.10:00Bassoons return performing a countermelody.10:06 All instruments besides the bassoon drop off10:10The choir returns to singing and all instruments begin playing forte. is on the violins playing fortissimo in triplet rhythm. Trumpets and horns play the original melody.10:35 The music is happy, joyful, upbeat and bouncy in duple meter. The music is in major mode. Here the choir sings the last line of the 2nd verse. But the word of the Lord endureth forever. On the last word, there is a huge loud drop and there is a timpani roll.10:50Focus is on the choir who are singing the joyful melody. They started the 3rd verse, And the ransomed of the Lord shall return11:00 Bassoons come in playing the joyful melody forte. This begins transitioning to the slower and solemn melody. Dimuendo. The chorus has another counterpoint.11:20 This quickly returned back to the upbeat melody.This part is important to the song. Its leading to the climax and where the climax is resolved. First, we have the syncopation and timpani roll. The rhythm changes here in a triplet rhythm. At the 10:35 mark, song goes back to duple meter but right into major mode with a drop off into a timpani roll. At 10:50, the focus is on the choir singing joyfully. When bassoons enter, they begin playing the joyful melody in forte. However, then it transitions to the slower solemn melody with a counterpoint and then quickly returns to the upbeat melody. This mark is important because the joyful melody is dominant in this whole section. 9:37Flute and violins introduce the happy upbeat melody using syncopation and the bassoons have stopped playing. There is a timpani roll. The second verse of the text begins here with the choir singing, Be patient, therefore, brethren.10:00Bassoons return performing a countermelody.10:06 All instruments besides the bassoon drop off10:10The choir returns to singing and all instruments begin playing forte. Focus is on the violins playing fortissimo in triplet rhythm.Trumpets and horns play the original melody.10:35 The music is happy, joyful, upbeat and bouncy in duple meter. The music is in major mode. Here the choir sings the last line of the 2nd verse. But the word of the Lord endureth forever. On the last word, there is a huge loud drop and there is a timpani roll.10:50Focus is on the choir who are singing the joyful melody. They started the 3rd verse, And the ransomed of the Lord shall return11:00 Bassoons come in playing the joyful melody forte. This begins transitioning to the slower and solemn melody. Dimuendo. The chorus has another counterpoint.11:20 This quickly returned back to the upbeat melody.

1811:32There is a slight pause and song returns back to playing minor and the ominous, slower melody. Strings start the return, followed by the bassoons. There is a drop in volume so we can hear the voices showing repetition. The opening march is repeated as the melody enters. The instruments begin imitating each other with counterpoint.11:44 This returns to forte and the fast and happy melody is back12:04Another break and returns to bassoons only again.12:08The choir returns but is singing the slowly and ominously. We can hear horns in syncopation.12:15Another break, or slight pause and then the music begins building with a crescendo.12:29 Forte again with the choir singing intermittently in a great back and forth with the instruments. The voices have broken into parts between the sopranos and all others. The timpani is playing in a two note pattern.12:45There is rejoicing. Here there is a great balance between the choir and instruments. 13:15There is a huge chord here which marks the climax. The choir suddenly drops down. We can then hear the flutes and clarinets playing in soft syncopation.

.The importance of this part is the great rejoicing at 12:45 and then the climax chord at 13:15. 11:32There is a slight pause and song returns back to playing minor and the ominous, slower melody. Strings start the return, followed by the bassoons. There is a drop in volume so we can hear the voices showing repetition. The opening march is repeated as the melody enters. The instruments begin imitating each other with counterpoint.11:44 This returns to forte and the fast and happy melody is back12:04Another break and returns to bassoons only again.12:08The choir returns but is singing the slowly and ominously. We can hear horns in syncopation.12:15Another break, or slight pause and then the music begins building with a crescendo.12:29 Forte again with the choir singing intermittently in a great back and forth with the instruments. The voices have broken into parts between the sopranos and all others. The timpani is playing in a two note pattern.12:45There is rejoicing. Here there is a great balance between the choir and instruments. 13:15There is a huge chord here which marks the climax. The choir suddenly drops down. We can then hear the flutes and clarinets playing in soft syncopation.

1913:30 A slight pause and then immediately begins playing the minor melody13:44The choir stops singing and we hear just the bassoons playing slowly again. This returns to sounding like the beginning again with the main melody playing.13:48Other instruments join in playing piano while the bassoon plays forte.13:55The choir returns and we have a slow but powerful crescendo. 14:25The choir returns to praising and the crescendo is still building. The choir is singing they shall obtain joy and gladness14:35Were at the height of the fortissimo. All instruments are playing as well as choir is singing, and sorrow and sighing shall flee away14:42We have a quick dimuendo.14:51We have the last slight pause and are left with only the instruments as the choir drops off here. Brass and timpani have also dropped out. The other instruments build slightly in a small crescendo with all instruments joining in for one last final chord and a timpani roll and then ends. The movement ends.

The thing to watch for is after the return to sounding like the beginning he choir returns and there is an amazing crescendo thats singing about gladness and when singing sorrow and sighing, theres a dimuendo marking word painting followed by a pause while many instruments drop out and others have a small crescendo until all instruments join in for one last chord and then ends in a timpani roll. 13:30 A slight pause and then immediately begins playing the minor melody13:44The choir stops singing and we hear just the bassoons playing slowly again. This returns to sounding like the beginning again with the main melody playing.13:48Other instruments join in playing piano while the bassoon plays forte.13:55The choir returns and we have a slow but powerful crescendo. 14:25The choir returns to praising and the crescendo is still building. The choir is singing they shall obtain joy and gladness14:35Were at the height of the fortissimo. All instruments are playing as well as choir is singing, and sorrow and sighing shall flee away14:42We have a quick dimuendo.14:51We have the last slight pause and are left with only the instruments as the choir drops off here. Brass and timpani have also dropped out. The other instruments build slightly in a small crescendo with all instruments joining in for one last final chord and a timpani roll and then ends. The movement ends.

20A German Requiem Translationfor Movement 2English Text:--For all flesh is as grass,and all the glory of manas the flower of grass.The grass withereth,and the flower falleth away.--1 Peter 1:24--Be patient, therefore, brethren,unto the coming of the Lord.Behold, the husbandman waitethfor the precious fruit of the earth,and hath long patience for it, until he receivethe early and latter rain.--James 5:7--But the word of the Lord endureth for ever.--1 Peter 1:25--And the ransomed of the Lord shall return,and come to Zion with songsand everlasting joy upon their heads:they shall obtain joy and gladness,and sorrow and sighing shall flee away.--Isaiah 35:10Here is the complete text of the 2nd movement as this was sung in German and I couldnt understand the text. I did read along during one of my listenings to this movement so I could get the full effect. English Text:--For all flesh is as grass,and all the glory of manas the flower of grass.The grass withereth,and the flower falleth away.--1 Peter 1:24--Be patient, therefore, brethren,unto the coming of the Lord.Behold, the husbandman waitethfor the precious fruit of the earth,and hath long patience for it, until he receivethe early and latter rain.--James 5:7--But the word of the Lord endureth for ever.--1 Peter 1:25--And the ransomed of the Lord shall return,and come to Zion with songsand everlasting joy upon their heads:they shall obtain joy and gladness,and sorrow and sighing shall flee away.--Isaiah 35:10

21Works Cited http://www.mcs.csueastbay.edu/~malek/Musician/Brahms.html http://www.notablebiographies.com/Be-Br/Brahms-Johannes.html#b http://www.biography.com/people/johannes-brahms-9223886 http://en.wikipedia.org/wiki/A_German_Requiem_%28Brahms%29 http://www.brightcecilia.com/features/brahms-german-requiem.html http://www.osmun.com/reference/brahms/Chapter%202.htmlWorks Citedhttp://www.mcs.csueastbay.edu/~malek/Musician/Brahms.htmlhttp://www.notablebiographies.com/Be-Br/Brahms-Johannes.html#bhttp://www.biography.com/people/johannes-brahms-9223886http://en.wikipedia.org/wiki/A_German_Requiem_%28Brahms%29http://www.brightcecilia.com/features/brahms-german-requiem.htmlhttp://www.osmun.com/reference/brahms/Chapter%202.html

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