Inspired Despite Centuries Apart: German Requiem and De Profundis
The majority of the Catholic Church practices forms of rituals or worship that celebrates the life and death of Jesus Christ. Every mass has its own purpose, whether it is a mass that asks for blessings or a celebratory mass. Since there are different kinds of masses, there exists a Requiem, which simply is a mass celebrating and for the repose of the soul of the dead. A requiem could also be a musical composition for the ones who already passed.
Biography
A brilliant composer and outstanding pianist, Johannes Brahms, composed the German Requiem. The German Requiem premiered in initial form back in 1867 in Vienna, Austria and then revisions were then heard in 1869. It was rumored that the German Requiem was started because of the loss of a close friend and colleague of Brahms in 1856. It was also believed that he completed two movements called the Cantata of Mourning, but he was ultimately motivated to finish the piece after the passing of his mother in 1965. In 1966, Brahms had already added four movements to the Requiem. A total of seven movements were made for the final piece.
Although after hearing the title of the piece, it may not be thought of as a Requiem, but De Profundis was actually made to also celebrate the souls of those who left the material world. Born in San Fernando, La Union in 1918, Lucrecia Roces Kasilag was the composer of De Profundis back in 1977. Kasilag was a brilliant student; graduating as the batch valedictorian in elementary and as a Cum Laude at the Philippine Women’s University. She then on further studies and obtained a degree as a Music Teacher in Saint Scholastica’s College of Music in 1939. She then obtained her Master of Music Degree in New York and then was conferred honorary degrees by CEU, PWU and St. John Univerity New York in 1981. Kasilag was also motivated to create such art because of a passing of a loved one – her brother.
Both German Requiem and De Profundis have one obvious thing why they are common – they are songs to honor the dead. Although they were made by different composers and in different times, there are a few things between them that are very similar if you analyze very closely.
Lyrics
The composers did not write both of the songs’ lyrics, but they both took direct words from the bible. If you compare the movements side by side, you would see that there are similarities or even a theme of prayer. First example would be from 1 Peter 1:24 in German Requiem II, “For all flesh is a grass, and all glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away” and from Isaiah 40:6-7 in De Profundis III, “All people are like grass, and all their faithfulness is like the flowers of the field. The grass withers and the flowers fall, because of the breath of the Lord blows on them.” Coincidence or not, both of the verses are very similar. The composers are both brilliant and artistic at the same time because they used the imagery of nature to let the listeners feel peace in a time of mourning.
Another example would be Hebrews 13:14 German Requiem VI, “for here have we no continuing city, but we seek one to come” and from Isaiah 35:10 De Profundis VII, “and those the Lord had rescued will return. They will enter Zion with singing; everlasting joy will crown their heads.” They are similar in a sense that they make those who mourn and who are lost hopeful. The songs remind people who feel lost by losing someone, be found again with the help of the Lord.
The last example would be from Psalm 84:4 in German Requiem, “Blessed are they that dwell in my thy house: they will be praising thee” and the everything from De Profundis V. Matthew 5:3-12 talks about blessing those who need faith and those who have done good deeds for faith; that they shall get what they deserve in heaven given by the Lord. Both of the verses talk about receiving a reward whether good or bad after a lifetime. There would be rejoicing in heaven if you have been faithful to God’s word. Both of the composers chose this message to help remember the goodness those who passed and that they would be assured that those who passed should be at peace. Both of their pieces highlight comfort to be found in God and in heaven unlike other requiems.
Composition, Structure, Movement Brahm’s masterpiece has heavy orchestra in majority of its parts, but the German Requiem is considered to be Brahm’s most ambitious vocal music. Unlike the De Profundis, the German Requiem does not have a prelude, which means it already has vocal in the first part of the piece. The opening movement, begins slowly in a quiet and relaxed mood, turning the mourn into comfort. In the second movement, it starts with a heavy tone of key of B flat then transitions into a fast paced allegro, again, turning the sadness into comfort. The third movement wherein the baritone soloist plays sends a sense of wonder and tension to the audience, which then is followed by the fourth movement catches the intensity of the first three movements. The fourth movement provides a sense of contemplation and rest. The fifth movement features a soprano solo that provides maternal consolation. The sixth movement is considered as the most dramatic music wherein it builds up intensity and then exploding with all our energy of music. The last movement serves as the conclusion and the final piece of giving piece to those who are listening. Kasilag’s structure has things that are similar to Brahm’s although it has ten movements compared to the seven of the German Requiem. The De Profundis starts with a prelude that sets the mood of the listeners and prepares them of what is yet to come. The second movement somehow reminds those who mourn that their loved one will receive happiness and will be forgiven from sin. The third movement is similar to the second movement of the German requiem because it comforts those who are sad due to the use of nature imagery. The task of the fourth movement is to build up intensity and to remind the audience that they have they have to accept reality. In the fifth to seventh movement build up an intense emotion that there will be hope and the one who passed will be in good hands. The eighth movement is the climax or peak of the piece; it gives a sense that the battle of mourning and of grief shall be forgotten and it is time to contemplate and move on. Movement IX sets the mood of the audience to a downhill feeling, wherein they would feel that they won and God is the main reason why everything happens. The final movement serves as an outro and wrap for the whole piece.
Conclusion Both pieces are totally different, but they serve one purpose – to comfort the living and to celebrate the dead. These works of art are created to serve people in the present and those who are in the next generation. Both Brahms and Kasilag have experienced a heartbreaking loss of a loved one, but they used their God-given talents to help comfort others that feeling of loss. Although it could be concluded that based on the similarities of their works, Kasilag was inspired to work on her own version of the requiem because of Brahm
References
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