Geistliches lied (1856)
Johannes Brahms - (1833 - 1897)
Brahms studied piano from the age of seven and composition from thirteen. He had a lifelong interest in early music and amongst his generation he was without equal in sophisticated contrapuntal technique. He did not enjoy a meeting of minds with composers of the New German School, but his artistic kinship with Robert Schumann and his passion and veneration for Clara Schumann are well known influences on his life. Whether or not Brahms was a believer, he whole-heartedly accepted the Christain ethic and admired and embraced the literature and poetry of the Bible. His background was North German Lutheran Protestant. This inheritance gave to his choral music 'a noble human consolation' and air of hope.
His musical style was of the romantic school; his nature was introspective, reserved, logical and studious. Musicologists point to the essence of all these influences being demonstrated in the a capella motets spread over thirty years, and in his other sacred music, but most especially in the German Requiem.
Geistliches lied (1856)
Let nothing make thee sad or fretful, or too regretful. Be still; What God hath ordered must be right, Then find it in thine own delight, my will.
Why shouldst thou fill today with sorrow about tomorrow, my heart? One watches all with care most true, Doubt not that He will give thee too thy part.
Only be steadfast, never waver, nor seek earth's favour, But rest: thou knowest what God wills must be the best.
A double canon is demonstrated in this short piece, with overlapping entries arriving at both the 2nd above and the 9th below. This has been described as 'an astonishing example of Brahms's concealed mastery'. The austerity of style links this piece to the motets. In contrast, the Amen offers 'glorious aching suspensions' and 'poignant emotional release'.
Programme notes compiled by Marion Ansell