Warum ist das licht gegeben

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.

Warum ist das licht gegeben dem mühseligen (opus74, 1877)

Wherefore is light given to him that is in misery, and life unto the bitter in soul; which long for death but it cometh not; and dig for it more than for hidden treasures; which rejoice exceedingly and are glad, when they can find the grave? Why is light given to a man whose way is hid, and whom God hath hedged in? (Job 3, 20-23)

Let us lift up our heart with our hands unto God in the heavens (Lamentations 3, 41)

Behold, we count them happy which endure. Ye have heard of the patience of Job, and have seen the end of the Lord; that the Lord is very pitiful and of tender mercy. (James 5, 11)

With peace and joy I go forth in the will of God, my heart and mind are comforted, gentle and still. As God has promised me, death but becomes sleep to me. (Martin Luther - 1524)

The imposing opening Adagio (in D minor) of this motet, is punctuated four times by the urgent cry of Warum? (wherefore?). The following sections are in flowing cannon form with a 'warm F major glow' reflecting the text. It ends with a nunc dimittis in chorale form.

Programme notes compiled by Marion Ansell