A German Requiem
Arrangement for chamber orchestra (arr. J. Linckelmann) op. 45, 1867/2010
Brahms conceived the original orchestral version of his Requiem for a choir with over 200 singers. Most performances of the work will be sung with far fewer singers, resulting in a clear imbalance between the larger orchestra and smaller choir.
The present arrangement for chamber orchestra minimizes this problem and so smaller choirs, as well as choirs with more limited resources of space or finance, can now perform this unsurpassed masterpiece too. Surely practiced instrumentalists or ensembles will be happy to participate in a performance of this chamber version of the Requiem.
- Major requiem can also be performed by smaller choir
- Wind and brass parts of the original version reduced to just five single instruments
- Vocal scores and choral scores from the original version can be used.
- carus plus: the work (original version) is available in the carus music app, the Choir Coach, as well as in the Carus Choir Coach series (audio only).
| Original Version | Arrangement for Chamber Orchestra |
| Soli SB, Coro SATB, Picc, 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Tb, 3 Timp, Arpa, 2 Vl, Va, Vc, Cb, [Org] | Soli SB, Coro SATB, Fl/Pic, Ob, Clt, Fg, Cor, Timp, 2 Vl, Va, Vc, Cb |
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- I. Selig sind, die da Leid tragen (Coro)
- II. Denn alles Fleisch, es ist wie Gras (Coro)
- III. Herr, lehre doch mich (Solo & Coro)
- IV. Wie lieblich sind deine Wohnungen (Coro)
- V. Ihr habt nun Traurigkeit (Solo & Coro)
- VI. Denn wir haben keine bleibende Statt (Solo & Coro)
- VII. Selig sind die Toten (Coro)
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Contents
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Composer
Johannes Brahms
| 1833-1897Johannes Brahms' study of musical tradition was of crucial importance to his output: he combined church modes, canonic technique, Baroque style and diction, Bach's counterpoint and Beethoven's thematic-motivic work with the harmonic and expressive achievements of Romanticism to form his own distinctive style. In this respect his choral songs and vocal quartets (e.g. the “Liebeslieder Waltzes” and “New Liebeslieder Waltzes”), often to folk song texts, in which a musical microcosm unfolds, are examplary. His “Deutsches Requiem”, available from Carus in several different versions, constitutes one of the most fascinating confessions of faith in the history of music. Personal details
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Arranger
Joachim Linckelmann
| 1964Joachim Linckelmann, born in Munich in 1964, studied flute at the Richard Strauss Conservatory in Munich and at the Würzburg University of Music. He has played the flute in various renowned orchestras in Germany and abroad and has also worked as a music designer and arranger since 1995. He has been arranging oratorios for smaller ensembles for Carus since 2009. Personal details
Reviews
Linckelmann retains some elements of the original orchestration, he has altered or eliminated other elements, creating a new, fresh interpretation of this masterwork, while increasing its accessibility for smal ensembles. ... Linckelmann's arrangement of the Requiem represents a significant contribution to the choral-orchestral repertoire. ... Moreover, although some purists will admittedly lament the omission of brass, harp, and organ from any performance of the Requiem, one could convincingly argue that the priority, at times, in performing such significant pieces of music, is to allow as many musicians as possible an opportunity to experience this great masterwork.
Nathan Windt, Choral Journal, November 2011
Die Realisierung dieses grandiosen Meisterwerkes scheitert oftmals an den Kosten für das originale, großbesetzte Orchester. Die Fassung für Klavier zu vier Händen, von Brahms selbst erstellt, lässt (weil eben Klavier) eine orchestrale Dynamik und transparente Linearität bei romantischem Phrasenduktus kaum wirklich befriedigend darstellen. Insofern macht diese vorgelegte Bearbeitung großen Sinn. Laut Herausgeber sind Klavierauszug und Chorpartitur der Originalausgabe mit dieser Bearbeitung kompatibel.
Johannes Ebenbauer, Singende Kirche, Heft 2/2011
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Frequent questions about this work
Can I also use the “normal” vocal score /03 and the choral score /05 from the full-scale version to sing the version presented here?
Yes, the vocal parts are absolutely identical, and therefore the vocal scores and choral scores are compatible with both versions.
Can the string parts of the original version (Carus 27.055/00) also be used for the arrangement?
No, the string parts of the original version cannot be used for the arrangement. These parts have been newly arranged.
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