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Performance Notes and Emendations to the Scores — Cascadian Chorale, Winter 2009, Brahms Requiem

Cascadian ChoraleBrahms RequiemJanuary – March, 2009

withMegan Weston, soprano — Glenn Guhr, baritone

Michael Fennelly and Andrés Peláez, piano

Concert Repertoire

Johannes Brahms Ein deutsches Requiem 1. Selig sind, die da Leid tragen 2. Denn alles Fleisch, es ist wie Gras 3. Herr, lehre doch mich

10’14’10’ with baritone solo

intermission34’

Johannes Brahms Ein deutsches Requiem 4. Wie lieblich sind deine Wohnungen 5. Ihr habt nun Traurigkeit 6. Denn wir haben hie keine bleibende Statt 7. Selig sind die Toten

5’7’

11’10’

with soprano solowith baritone solo

33’

Please note that an intermission will take place between the third and fourth movements.

Rehearsal Schedule

Unless otherwise indicated, all rehearsals will be held at St. Margaret’s Episcopal in Bellevue.

Monday, January 5 7:00–9:30pm Rehearsal #1Monday, January 12 7:00–9:30pm Rehearsal #2Monday, January 19 7:00–9:30pm Rehearsal #3Monday, January 26 7:00–9:30pm Rehearsal #4Monday, February 2 7:00–9:30pm Rehearsal #5Monday, February 9 7:00–9:30pm Rehearsal #6Monday, February 16 7:00–9:30pm Rehearsal #7Monday, February 23 7:00–9:30pm Rehearsal #8Monday, March 2 7:00–9:30pm Rehearsal #9Monday, March 9 7:00–9:30pm Rehearsal #10Monday, March 16 7:00–9:30pm Rehearsal #11Friday, March 20 7:00–9:30pm Dress Rehearsal, at Trinity Episcopal, SeattleSaturday, March 21 6:30pm call 7:30pm concert, at St. Margaret’s Episcopal, BellevueSunday, March 22 1:30pm call 2:30pm concert, at Trinity Episcopal, Seattle

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General Notes

The instructions below are given in a table format. The first column indicates the measure number. The second column indicates what beat of that measure. The third column indicates to which vocal part(s) the note is applicable. The fourth column is the instruction itself.

Unless otherwise noted herein, all final consonants are to be placed on the rest.

Brahms’s compositional style, especially in his choral music, is highly influenced by Renaissance and early Baroque techniques. As such, certain early-music stylistic trends are applicable in his Requiem. For example, generally as a line rises, the musical phrase can crescendo slightly; conversely, as a line falls, the phrasing is done with a very slight diminuendo. These are not hard-and-fast rules, but are often accurate.

The text and translations are included below. Please write in the English translation near the first appearance of any given text. For example, I have written the translation at the very bottom of each page in my score. By the performance stage, the German meaning should become second-nature to you. In the meantime, writing the text in your language will help to solidify the meaning in your mind.

Unlike previous sessions, no rehearsal CD will be distributed. You are encouraged to purchase any of the recordings recommended on our website.

As you go through this document, please take notes of any questions or discrepancies and inform the conductor. Changes, corrections, and clarifications will be announced in rehearsal.

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Movement 1

Brahms Translation King James Version

Selig sind, die da Leid tragen,denn sie sollen getröstet werden. — Matthew 5: 4

Blessed are they that carry sorrow,for they shall grow consoled.

Blessed are they that mourn;for they shall be comforted.

Die mit Tränen säen,werden mit Freuden ernten.Sie gehen hin und weinenund tragen edlen Samen,und kommen mit Freudenund bringen ihre Garben. — Psalm 126: 5–6

They who sow with tears,grow with harvested joys.They who go out weepingand carrying noble seeds,will come with joysbringing their sheaves.

They that sow in tearsshall reap in joy.He that goeth forth and weepeth,bearing precious seed,shall doubtless come again with rejoicing,bringing his sheaves with him.

Word-for-word pseudo-translation

Selig sind, die da Leid tragen, denn sie sollen getröstet werden.blessed are they that sorrow carry/wear for they shall consoled grow

Die mit Tränen säen, werden mit Freuden ernten.they with tears sow grow with joys harvesting

Sie gehen hin und weinen und tragen edlen Samen,they going out and weeping and carrying noble seeds

und kommen mit Freuden und bringen ihre Garben.and coming with joys and bringing their sheaves.

1 1 SATB The tempo indication translates to: Fairly slow and with expression. Quarter-note = c.58.19 2 SAT Connect through this comma.20 1 B Connect through this comma.22 1 SATB Mark the dynamic as mp.23 2 ATB Take an eighth-note breath.25 2 SATB Mark the dynamic as mp.25 3 A Take an eighth-note breath.29 1 SATB The messa di voce (crescendo/diminuendo) occurs within the first beat, and grows to mp. By

beat two, you should be back to p.31 1 SATB Same note as m.29 above.33 1 SATB Mark the dynamic as mp+.40 3 A Phrase at this comma, without taking a breath.42 1 SATB Mark the dynamic as mf.42 2 B Phrase at this comma, without taking a breath.48 4 TB Phrase at this comma, without taking a breath.50 4 ATB Take a catch-breath at this comma.52 3 T Take a catch-breath at this comma.52 4 A Take an eighth-note breath.53 3 B Take a catch-breath at this comma.

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54 2 S Take a catch-breath at this comma.54 4 T Take an eighth-note breath.55 2 SA Take an eighth-note breath.56 2 S Phrase at this comma, without taking a breath.57 2 S Take an eighth-note breath.57 2 A Phrase at this comma, without taking a breath.58 2 T Phrase at this comma, without taking a breath.58 4 A Phrase at this comma, without taking a breath.58 4 B Phrase at this comma, without taking a breath.74 4 AT Phrase at this comma, without taking a breath.81 1 TB The messa di voce occurs within the first beat, growing to p.81 4 TB Take a catch-breath at this comma.84 4 S Take a catch-breath at this comma.86 4 A Take a catch-breath at this comma.86 4 B Phrase at this comma, without taking a breath.87 2 S Take a catch-breath at this comma.87 4 T Take an eighth-note breath.88 2 S Take a catch-breath at this comma.88 4 T Phrase at this comma, without taking a breath.89 2 S Take an eighth-note breath.89 4 B Phrase at this comma, without taking a breath.90 2 A Take an eighth-note breath.91 2 T Take an eighth-note breath.91 4 B Take an eighth-note breath.93 1 B Take an eighth-note breath before und.94 1 SATB The messa di voce occurs within the first beat, growing to mp.105 4 A Connect through this comma. Note the immediate dynamic increase.107 2 A Connect through this comma.108 1 A The arrival point of this messa di voce is at mp.111 1 T Take an eighth-note breath.112 2 SAT Connect through this comma.113 1 B Connect through this comma.115 2 ATB Take an eighth-note breath.117 3 A Take an eighth-note breath.120 1 SATB The messa di voce occurs within the first beat, growing to p+. The dolce indication means

“sweetly”.122 1 SATB This messa di voce occurs within the first beat, growing to mp.125 1 SATB The crescendo arrives to mf–.127 1 SATB Convert this half-note to a quarter-note followed by a quarter-rest.131 1 SATB The crescendo arrives to mf.132 2 AB Take an eighth-note breath.141 4 S Take an eighth-note breath.142 3 AT Take a catch-breath at this comma.143 3 SATB The diminuendo arrives to mp.144 4 T Mark this line at mp.146 4 S Mark this line at mp.148 2 S Take an eighth-note breath.149 2 T Take an eighth-note breath.149 3 B Take an eighth-note breath.150 4 B Connect through this comma.153 1 SATB The crescendo arrives to mp.154 1 SATB Convert this quarter-note to an eighth-note followed by an eighth-rest.

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Movement 2


Denn alles Fleisch es ist wie Grasund alle Herrlichkeit des Menschenwie des Grases Blumen.Das Gras ist verdorretund die Blume abgefallen. — 1 Peter 1: 24

For all fresh, it is as grass,and all the gloryof mankindas the grass’s flowers.The grass has dried up,and the flower fallen off.

For all flesh is as grass,and all the gloryof manas the flower of grass.The grass withereth,and the flower thereof falleth away.

So seid nun geduldig,liebe Brüder,bis auf die Zukunft des Herrn.Siehe ein Ackermann wartetauf die köstliche Frucht der Erdeund ist geduldig darüber,bis er empfahe den Morgenregenund Abendregen. — James 5: 7

So be now patient,beloved brothers,until the coming of the Lord.See how the fieldsman waitsfor the more delicious fruit of the earth, and is beyond patient,until he receives the morning rainand the evening rain.

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 receive the earlyand latter rain.

Denn alles Fleisch…

Aber des Herrn Wortbleibet in Ewigkeit. — 1 Peter 1: 25

But the Lord’s wordremains for eternity.

But the word of the Lordendureth for ever.

Die erlöseten des Herrnwerden wieder kommen,und gen Zionkommen mit Jauchzen;ewige Freudewird über ihrem Haupte sein;Freude und Wonnewerden sie er greifen,und Schmerz und Seufzenwird weg müssen. — Isaiah 35: 10

The redeemed of the Lordwill again come,and toward Zioncome with rejoicing;eternal joywill be on their heads;joy and blisswill be achieved,and pain and sighingmust go away.

And the ransomed of the Lordshall return,and come to Zionwith songsand everlasting joyupon their heads:they shall obtainjoy and gladness,and sorrow and sighingshall flee away.


Denn alles Fleisch es ist wie Grasfor all flesh it is like/as grass

und alle Herrlichkeit des Menschen wie des Grases Blumen.and all glory/grandeur of the people like/as the grass’s flowers

Das Gras ist verdorret und die Blume abgefallen.the grass is dried up and the flower fallen off/defected

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So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn.as/so you are/be now patient beloved brothers until up the future of the Lord

Siehe ein Ackermann wartet auf die köstliche Frucht der Erdesee a/an fieldsman waits up the more delicious fruit of the earth

und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.and is patient across/beyond until he to morning rain and evening rain

Aber des Herrn Wort bleibet in Ewigkeit.but of the Lord word remains/stays in eternity.

Die erlöseten des Herrn werden wieder kommen,the saved/redeemed of the Lord will again come,

und gen Zion kommen mit Jauchzen;and toward Zion come with cheering/rejoicing

ewige Freude wird über ihrem Haupte sein;eternal joy/pleasure will over self heads/pilots be

Freude und Wonne werden sie er greifen,joy/pleasure and joy/bliss/ecstasy will be he reached

und Schmerz und Seufzen wird weg müssen.and pain and sighing will away must

1 1 SATB The tempo indication translates to: Slow, moderate march tempo. Quarter-note = c.56.1 1 SATB Please turn the page during the break between movements, and count measures for your entry.22 3 SATB This page is molto legato, though with the occasional glottal stops that diction requires.26 1 ATB Change this half-note to a dotted-quarter-note followed by an eighth-rest.32 3 ATB The word “Grases” is pronounced with an [s] sound for the middle consonant, not [z] sound.33 2 ATB Change this quarter-note to an eighth-note followed by an eighth-rest.54 3 SATB As before, molto legato but with good diction.58 1 SATB Change this half-note to a dotted-quarter-note followed by an eighth-rest.61 1 SATB At this point, the diminuendo arrives to mf.62 1 SATB At this point, the diminuendo arrives to mp.65 2 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.69 2 B Mark beats 2 & 3 as poco staccato to enhance the clarity of your entrance.71 1 ATB The crescendo arrives to mp.74 3 SATB This espressivo marking will mean to phrase with the text, which in this section fits with the

meter.74 1 SATB Note that the tempo change will happen on this pick-up beat. I will hold the downbeat out of

time, and give a prep-beat (as the second beat of the measure) in the new tempo.75 1 SATB The tempo indication translates to: Somewhat moving. The previous eighth-note equals the

new quarter-note. Quarter note = c.108.75 1 SATB At all commas in mm.75–82, phrase without taking breaths.88 2 AT Phrase at this comma, without taking a breath.90 3 ATB Take an eighth-note breath.91 1 SATB The dolce indication means sweetly. You all have this indication in your entries.91 1 SATB Phrase always within p until the crescendo at m.97.

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95 1 AT Connect smoothly to the next beat.97 1 AT Change this half-note to a quarter-note followed by a quarter-rest.97 2 SATB To this crescendo could be added poco a poco meno dolce (i.e. bit by bit less sweetly). As we

crescendo, the articulation can be increasingly marked.99 1 SATB At this point, the crescendo arrives to mp.99 1 ATB Phrase at this comma, without taking a breath.101 1 SATB The crescendo arrives to mf.103 1 SATB Change this half-note to a quarter-note followed by a quarter-rest.103 3 SATB Note the return to dolce.103 3 ST Watch carefully, as mm.103–105 may be slightly out of tempo.108 3 SAT Phrase at this comma, without taking a breath.110 3 SAT Phrase as if there were a comma here, though without taking a breath.117 1 SATB The crescendo arrives to p.123 2 SATB Add a poco a poco rit. through m.127.127 1 SATB The Tempo I indication returns to the tempo at m.1.146 1 SATB As before, molto legato but with good diction.150 1 ATB Change this half-note to a dotted-quarter-note followed by an eighth-rest.154 1 ATB The crescendo arrives to mp.157 2 ATB Change this quarter-note to an eighth-note followed by an eighth-rest.163 1 SATB The crescendo arrives to mp+.178 3 SATB As before, molto legato but with good diction.182 1 SATB Change this half-note to a dotted-quarter-note followed by an eighth-rest.185 1 SATB At this point, the diminuendo arrives to mf.186 1 SATB At this point, the diminuendo arrives to mp.189 2 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.195 1 SATB The crescendo arrives to mp+.198 1 SATB At the Un poco sostenuto, quarter-note = c.60.204 1 B Change this half-note to a dotted-quarter-note followed by an eighth-rest.206 1 SATB At the Allegro non troppo, the previous eighth-note equals the new quarter-note. Quarter-note

= c.120.206 3 SAT Change this quarter-note to an eighth-note followed by an eighth-rest.216 4 AT Change this quarter-note to an eighth-note followed by an eighth-rest.218 3 T Change this quarter-note to an eighth-note followed by an eighth-rest.218 4 SAB Change this quarter-note to an eighth-note followed by an eighth-rest.219 1 SAB For mm.219–222, mark the syllable Freu- as tenuto, and the syllable -de as staccato.219 1 T Mark your line as f+. Sing molto legato mm.219–220, and again mm.221–222. I recommend

marking the legato measure-pairs with big two-measure slurs.225 1 SATB Mark this note as un-accented.226 1 SATB The crescendo arrives to mp.229 1 SATB The crescendo arrives to mp.231 1 SATB Change this half-note to a quarter-note followed by a quarter-rest.238 3 SATB Note that there is no crescendo in this measure.241 1 SATB The crescendo arrives to p+.242 2 SATB For mm.242–244, all staccato markings effectively change quarter-notes to eighth-notes

followed by eighth-rests.244 1 ATB Cross out the s at the end of this beat, placing the [s] sound before the second syllable only.256 1 SATB The crescendo arrives to mp. The following diminuendo should return to p in two beats.260 1 SATB The crescendo arrives to mp. The following diminuendo should return to p in two beats.261 4 SATB For mm.261–268, all staccato markings (including those added in the next instructions)

effectively change quarter-notes to eighth-notes followed by eighth-rests.266 3 SATB Add a staccato indication.268 3 SATB Add a staccato indication.271 2 T Phrase at this comma, without taking a breath.

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271 4 T Add a tenuto and marcato indication.272 1 S Change this half-note to a quarter-note followed by a quarter-rest.272 1 A Change this dotted-half-note to a half-note followed by a quarter-rest.273 1 B Change this dotted-half-note to a half-note followed by a quarter-rest.276 4 SATB Phrase at this comma, without taking a breath.277 4 SATB Phrase at this comma, without taking a breath.279 4 ST Connect through this comma.279 4 AB Change this quarter-note to an eighth-note followed by an eighth-rest.280 4 ST Connect through this comma.280 4 AB Change this quarter-note to an eighth-note followed by an eighth-rest.281 4 T Change this quarter-note to an eighth-note followed by an eighth-rest.281 4 B Phrase at this comma, without taking a breath.282 3 S Change this quarter-note to an eighth-note followed by an eighth-rest.283 3 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.284 3 SAT For mm.284–287, add a staccato indication for every syllable -men.285 1 B For mm.285–286, connect through all commas.288 1 B Add a staccato indication.288 3 A Change this half-note to a dotted-quarter-note followed by an eighth-rest.290 1 SATB The staccato indications in this measure effectively change quarter-notes to eighth-notes

followed by eighth-rests.290 2 SATB Mark this note as un-accented.291 1 A Mark your line as f+. Sing molto legato mm.291–292, and again mm.293–294. I recommend

marking the legato measure-pairs with big two-measure slurs.291 1 STB For mm.291–294, mark the syllable Freu- as tenuto, and the syllable -de as staccato.295 4 S Connect through this comma.297 1 SATB Mark this note as un-accented.298 1 SATB The crescendo arrives to mp.300 1 SATB The crescendo arrives to mp. Stay mp through the duration of this measure.302 1 SATB The diminuendo arrives to pp.303 1 SATB Change this half-note to a quarter-note followed by a quarter-rest.303 1 SATB The indication tranquillo means tranquil. (Duh!) Sing legato to the end of the movement. The

tempo may slow ever so slightly.305 3 T Add poco cresc. to the downbeat of m.307, which arrives to p+.309 3 B Add poco cresc. to the downbeat of m.311, which arrives to p+.313 3 A Add poco cresc. to the downbeat of m.315, which arrives to p+.317 3 S Note that your statement of this phrase is different than the ATB statements earlier on the

page. Your crescendo arrives to p+, but then you diminuendo earlier.318 2 B The crescendo arrives to p+.319 1 SATB For mm.319–322, phrase at all commas, without taking breaths.325 1 SATB At this point, the crescendo arrives to mp.327 1 SATB At this point, the crescendo arrives to mf.329 1 SATB Maintain the f for four measures, but without a crescendo.334 1 SATB The rhythm in this measure must be clear. There is no rallentando.

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Movement 3


Herr, lehre doch mich,daß ein Ende mit mir haben muß,und mein Leben ein Ziel hat,und ich davon muß.

Siehe, meine Tagesind einer Handbreit vor dir,und mein Lebenist wie nichts vor dir.

Ach, wie gar nichtssind alle Menschen,die doch so sicher leben.Sie gehen daherwie ein Schemen,und machen ihnenviel vergebliche Unruhe;sie sammeln und wissennicht wer es kriegen wird.

Nun Herr,wess soll ich mich trösten?Ich hoffe auf dich. — Psalm 39: 5–8

Lord, teach me yetthat an end I must have,and my life has a finish,and I must have thereof.

Behold, my daysare a hand’s width to you,and my lifeis as nothing to you.

Alas, even as nothingare all mankind,those yet so certain to live.You go thereforeas a silhouette,and make themmuch wasted unrest;they gather it, and knownot who will get it.

Now Lord,who shall comfort me?I hope in you.

Lord, make me to know mine end,and the measure of my days, what it is:that I may knowhow frail I am.

Behold, thou hast made my daysas an handbreadth;and mine ageis as nothing before thee.

Surelyevery man

walkethin a vain shew:surely they aredisquieted in vain:he heapeth up riches, and knowethnot who shall gather them.

And now, Lord,what wait I for?My hope is in thee.

Der Gerechten Seelensind in Gottes Handund keine Qualrühret sie an. — Wisdom of Solomon 3:1

The souls of the righteousare in God’s handand no tormentwill touch them.

But the souls of the righteousare in the hand of God,and there shall no tormenttouch them.


Herr, lehre doch mich, daß ein Ende mit mir haben muß,Lord teach but/yet me that an end with me have must

und mein Leben ein Ziel hat, und ich davon muß.and my life a goal/finish has and I thereof must

Siehe, meine Tage sind einer Handbreit vor dir,behold my days are a hand width for you

und mein Leben ist wie nichts vor dir.and my life is like nothing for you.

Ach, wie gar nichts sind alle Menschen, die doch so sicher leben.alas like even nothing are all mankind those but/yet so sure/certain to live

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Sie gehen daher wie ein Schemen,you go therefore like a silhouette

und machen ihnen viel vergebliche Unruhe;and make them much wasted/vain unrest/anxiety

sie sammeln und wissen nicht wer es kriegen wird.they to gather and to know not who it to get will.

Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich.now Lord who shall I me comfort I hope on/in you

Der Gerechten Seelen sind in Gottes Handthe righteous souls are in God’s hand

und keine Qual rühret sie an.and no torment/agony touch them at/by/on

1 1 SATB The tempo is: Half-note = c.56. Note: Even though this movement is conducted in half-notes, the instructions below are given with quarter-note beats.

25 3 SATB The crescendo arrives to mp.29 3 SATB Continue the crescendo through the end of the measure, arriving to mf.48 4 ATB Phrase at this comma, without taking a breath.52 2 SATB At this point, the crescendo arrives to mp.53 3 SATB The crescendo begins at mf.55 1 SATB Cross out the tied quarter-note, so as to cut off the word dir on the downbeat.58 1 SATB At this point, the crescendo arrives to mp.60 1 SATB At this point, the crescendo arrives to mf.85 2 SATB The crescendo begins at p.86 3 SATB Continue the diminuendo through the end of the measure, arriving to p.127 1 SATB You may want to write in that the meter is now 3/2.129 4 SATB Connect through this comma.133 3 SATB The syllable -schen is un-accented.134 1 SATB Begin this measure at mf.134 4 B Phrase at this comma, without taking a breath.134 5 AT Change the half-note to a quarter-note followed by a quarter-rest.135 1 SATB The crescendo arrives to f+.136 3 AT Phrase at this comma, without taking a breath.138 1 SATB The diminuendo arrives to mp.144 2 B Note your dynamic is stronger than the others’.144thru158

SATB When you have quarter-notes on the text “Nun Herr, wes soll”, mark them as poco marcato. An example is basses, m.144 beats 2, 3, 4, and 5. Connect through the commas in those phrases.

When you have half-notes on the text “Nun Herr”, mark them marcato and tenuto. An example is sopranos, m.144 beats 3 and 5.

When you have a quarter-note followed by a half-note on the text “Nun Herr”, mark only the half note tenuto and marcato. An example is sopranos, m.154 beat 3.

The syllable -sten is un-accented.151 1 T Note that these are quarter-notes, not eighth-notes as before.153 1 S Note that these are quarter-notes, not eighth-notes as before.154 2 A Phrase at this comma, without taking a breath.156 1 SATB Mark your dynamic as ff.156 1 B Change the half-note to a quarter-note followed by a quarter-rest. This is still marcato.

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156 6 B Connect through this comma.166 3 AB Change the half-note to a quarter-note followed by a quarter-rest.167 SATB For measures 167–172, phrase at all commas, without taking a breath. (Exceptions are below.)167 1 SATB At this point, the crescendo is at mp.167 5 S Cross out this tied quarter-note and replace it with a quarter-rest.168 1 SATB At this point, the crescendo is at mf.168 5 S Cross out this tied quarter-note and replace it with a quarter-rest.169 1 A Change the half-note to a quarter-note followed by a quarter-rest.173 1 SAB Change the half-note to a quarter-note followed by a quarter-rest.173thru208

SATB Add a comma after every word Hand. Add a catch-breath at every comma, including those just added.

185 1 AT Change the quarter-note to an eighth-note followed by an eighth-rest.186 1 A Cross out this tied quarter-note and replace it with a quarter-rest.186 1 T Change the whole-note to a dotted-half-note followed by a quarter-rest.186 1 B Change the dotted-half-note to a half-note followed by a quarter-rest.188 1 B Change the half-note to a quarter-note followed by a quarter-rest.190 1 T Change the half-note to a quarter-note followed by a quarter-rest.193 5 SA Change the quarter-note to an eighth-note followed by an eighth-rest.198 1 B Change the half-note to a quarter-note followed by a quarter-rest.203 1 S Change the dotted-half-note to a half-note followed by a quarter-rest.203 1 B Cross out this tied quarter-note and replace it with a quarter-rest.204 4 S Change the half-note to a quarter-note followed by a quarter-rest.205 5 AB Change the half-note to a quarter-note followed by a quarter-rest.206 6 T Connect through this comma.207 1 B Connect through this comma.207 1 SATB Mark this measure poch. rit. That means pochissimo ritardando, or slowing very slightly.

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Movement 4


Wie lieblich sind deine Wohnungen,Herr Zebaoth!

Meine Seele verlangetund sehnet sich nachden Vorhöfen des Herrn;mein Leib und Seele freuen sichin dem lebendigen Gott.

Wohl denen, die in deinem Hause wohnen,die loben dich immerdar! — Psalm 84: 2–3, 5

How lovely are your dwellings,Lord of hosts!

My soul longsand yearns forthe fore-courts of the Lord;my body and soul look forthe living God.

Fortunate are thosewho in your house dwell,who praise you forever.

How amiable are thy tabernacles,O Lord of hosts!

My soul longeth,yea, even fainteth forthe courts of the lord:my heart and my flesh crieth outfor the living God.

Blessed arethey that dwell in thy house:they will be still praising thee.


Wie lieblich sind deine Wohnungen, Herr Zebaoth!how lovely are your dwellings/apartments Lord Sabaoth (i.e. of hosts/armies)

Meine Seele verlanget und sehnet sich nach den Vohöfen des Herrn;my soul longs for and yearns for for to fore-courts of the Lord

mein Leib und Seele freuen sich in dem lebendigen Gott.my body and soul look forward to in the lively God

Wohl denen, die in deinem Hause wohnen, die loben dich immerdar!well those that in your house live that praise you forever

1 1 SATB The tempo indication translates to: Moderately moving. Quarter note = c.96.8 2 SAT Phrase at this comma, without taking a breath.9 1 SATB The crescendo arrives to mp+.9 2 B Phrase at this comma, without taking a breath.11 2 SATB Take a catch-breath at this comma.12 1 SATB The crescendo arrives to mp.18 2 SATB Phrase at this comma, without taking a breath.19 1 SATB The crescendo arrives to mp+.20 2 B Phrase at this comma, without taking a breath.24 3 T The espressivo marking here implies a very slow, steady crescendo.29 1 T The crescendo arrives to mp.30 1 T Change this half-note to a quarter-note followed by a quarter-rest.32 1 T The crescendo arrives to p+.33 1 B The espressivo marking here implies a very slow, steady crescendo.35 3 SA The espressivo marking here implies a very slow, steady crescendo.39 1 SATB The crescendo arrives to mp.40 2 SAB Phrase at this comma, without taking a breath.41 2 T Phrase at this comma, without taking a breath.

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42 1 SATB The crescendo arrives to p+.47 1 SATB The crescendo arrives to mp.48 2 B Phrase after Seele, without taking a breath.50 2 B Take an eighth-note breath.52 2 TB Take an eighth-note breath.54 2 A Take an eighth-note breath.55 2 S Take an eighth-note breath.55 3 B Phrase at this comma, without taking a breath.58 1 SATB Measures 58–62 are without crescendo.66 1 SATB Measures 66–67 are without crescendo, until mark at the end of 67.69 1 SATB The crescendo arrives to mf.69 3 SATB Take an eighth-note breath.77 3 SATB The crescendo arrives to mf. Altos and tenors continue at mf, and continue to crescendo.77 3 SATB Take an eighth-note breath.79 3 A Take a catch-breath at this comma.80 3 T Take a catch-breath at this comma.81 3 B Take a catch-breath at this comma.84 1 SATB The diminuendo arrives to mp.90 1 SATB Measures 90–98 are without crescendo. (Brahms wrote in his manuscript “Ohne cresc.”, i.e.

“Without crescendo.”)93 2 SAT Connect through at this comma.94 2 B Connect through at this comma.96 2 SATB Phrase at this comma, without taking a breath.103 2 SATB Phrase at this comma, without taking a breath.104 1 SATB The crescendo arrives to mf.105 2 B Take an eighth-note breath.112 1 SATB The crescendo arrives to mp.118 3 A Mark your C as mp.120 1 SATB At this point, the crescendo arrives to mp.122 1 SATB At this point, the crescendo arrives to mf.124 1 SATB Measures 124–153 are a “double fugato”, i.e. a section in which two different themes are

treated like a mini-fugue. The first theme is found in the sopranos, m.123–126. Whenever your part has that phrase, mark it legato, with a slight accent on the first syllable of loben. The second theme is found in the basses, m.124–126. Whenever your part has that phrase, mark it poco marcato, with accents on the first pitches of loben and of immerdar, and a secondary accent on the first pitch of dich.

124 1 SATB For every comma that is not followed by a rest in measures 124–140, phrase without taking a breath.

136 3 SATB Everyone, please change the tenor pitch from B-flat to D.141 1 A Take an eighth-note breath.143 1 T Phrase at this comma, without taking a breath.143 1 SA Connect through every comma in measures 143–147.143 1 TB The word-stress of the phrase die loben is always on the syllable lo-, regardless of the meter or

pitch contour.154 3 ST The indication dolce means sweetly.156 2 ST Phrase at this comma, without taking a breath.157 1 ST The crescendo arrives to mp, at the mid-point of the measure.158 3 ST The indication dolce means sweetly.160 2 AB Phrase at this comma, without taking a breath.162 1 AB The crescendo arrives to mp, at the mid-point of the measure.163 1 AB Change this half-note to a quarter-note followed by a quarter-rest.164 1 AB The crescendo arrives to mp, at the mid-point of the measure.164 1 AB Change this half-note to a quarter-note followed by a quarter-rest.165 1 SATB Measures 165–166 are without crescendo

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Movement 5


Ihr habt nun Traurigkeit;aber ich will euch wieder sehenund euer Herzsoll sich freuenund eure Freudesoll niemandvon euch nehmen. — John 16:22

You now have sadness;but I willsee you again,and your heartshall rejoice,and your joyshall no onetake from you.

And ye now therefore have sorrow;but I willsee you again,and your heartshall rejoice,and your joyno mantaketh from you.

Sehet mich an:Ich habe eine kleine ZeitMühe und Arbeit gehabtund habe großen Trost gefunden. — Ecclesiasticus 51:27

See me:I have a little timeof toil and work,and have found great comfort.

Behold with your eyes,how that I have but littlelabour,and have gotten unto me much rest.

Ich will euch trösten,wie einen seine Mutter tröstet. — Isaiah 66:13

I will comfort you,as one’s mother comforts.

As one whom his mother comforteth,so will I comfort you.


Ihr habt nun Traurigkeit; aber ich will euch wieder sehenyou have now sadness but I will you again see

und euer Herz soll sich freuen und eure Freude soll niemand von euch nehman.and your heart shall itself rejoice and your joy shall nobody from you take

Sehet mich an: Ich habe eine kleine Zeit Mühesee me at I have a little time toil

und Arbeit gehabt und habe großen Trost gefunden.and work have and have great comfort found

Ich will euch trösten, wie einen seine Mutter tröstet.I will you comfort as one his mother comfort

1 1 SATB The tempo indication translates to: Slow. Quarter-note = c.63.18 4 SATB The indication m.v. means mezza voce, or half-voice. The tone should have a soft, hushed

quality.20 3 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.22 2 SATB The crescendo arrives to mp.23 1 T Change this quarter-note to a half-note, held out as the altos and basses.25 3 A The crescendo arrives to mp.35 4 TB We will interpret this espressivo marking to phrase with the eighth-notes. The second eighth-

note in each slurred pair should be softer than the first. Also phrase with the text toward trö-.

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36 4 SA See m.35 TB instruction above.43 4 T All tenors please sing the high A.44 4 SA As m.36 above.64 3 T Change this quarter-note to an eighth-note followed by an eighth-rest.66 3 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.67 3 SATB The crescendo arrives to mp.68 3 SA The crescendo arrives to p+.70 3 SATB The crescendo arrives to p.71 3 SA The crescendo arrives to p–.72 4 TB Mark through m.73 espressivo, as m.35 above.73 4 SA Mark through m.74 espressivo, as m.36 above.74 3 TB Change this quarter-note to an eighth-note followed by an eighth-rest.75 3 SA Change this quarter-note to an eighth-note followed by an eighth-rest.

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Movement 6


Denn wir haben hiekeine bleibende Statt,sondern diezukünftige suchen wir — Hebrews 13:14

For we have hereno permanent city,but thefuture city we seek.

For here have weno continuing city,but we seekone to come.

Siehe, ich sage euchein Geheimnis:Wir werden nichtalle entschlafen,wir werden aberalle verwandelt werden;und dasselbige plötzlich,in einem Augenblick,zu der Zeitder letzten Posaune.

Denn es wirddie Posaune schallen,und die Totenwerden auferstehenunverweslich,und wir werdenverwandelt werden. — 1 Corinthians 15:51–52

Dann wird erfülletwerden das Wort,das geschrieben steht:Der Tod ist verschlungenin den Sieg.Tod, wo ist dein Stachel?Hölle, wo ist dein Sieg? — 1 Corinthians 15:54–55

Behold, I tell youa mystery:we shall notall pass away,but we shallall be changed;in a sudden moment,in the glimpse of an eye,at the hourof the last horn.

Forthe horn will resound,and the deadshall ariseun-decomposable,and we shallbe changed.

Then shall be fulfilledthe wordthat is written:Death is devouredin victory.Death, where is your sting?Hell, where is your victory?

Behold, I shew youa mystery;We shall notall sleep,but we shallall be changed.In a moment,in the twinkling of an eye,atthe last trump:

forthe trumpet shall sound,and the deadshall be raisedincorruptible,and we shallbe changed.

Then shall be brought to passthe sayingthat is written,Death is swallowed upin victory.O death, where is thy sting?O grave, where is thy victory?

Herr, du bist würdigzu nehmen Preisund Ehre und Kraft,denn du hastalle Dinge geschaffen,und durch deinenWillen haben,sie das Wesenund sind geschaffen. — Revelation 4:11

Lord, you are worthyto take praiseand honor and power,for you haveall things created,and by yourwill have,they the entityare created.

Thou art worthy, O Lord,to receive gloryand honour and power:for thou hastcreated all things,and for thypleasurethey areand were created.

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Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.because/for we have here no permanent city but the future seek/find we

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen,behold/see I tell/say you a secret/mystery we shall not all pass away/die

wir werden aber alle verwandelt werden;we shall but all changed/converted shall

und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune.and the same suddenly in a blink/glimpse

of the eyesto the time/hour that last trombone

Denn es wird die Posaune schallen,because/for it will the trombone sound/resound

und die Toten werden auferstehen unverweslich, und wir werden verwandelt werden.and the dead shall arise un-decomposable and we shall changed shall

Dann wird erfüllet werden das Wort, das geschrieben steht:then will fulfilled shall the word the written stood

Der Tod ist verschlungen in den Sieg.the death is devoured/swallowed in the victory

Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?death where is your sting hell where is your victory

Herr, du bist würdig zu nehmen Preis und Ehre und Kraft,Lord you are worthy to take praise/glory/cost and honor and power/strength

denn du hast alle Dinge geschaffen, und durch deinen Willen haben,because/for you have all things/doings created and through/by your will have

sie das Wesen und sind geschaffen.they the entity/substance and are created

1 1 SATB Quarter-note = c.104.1 1 SATB Coming after the last, this movement will feel mighty fast. But keep it legato.5 2 SATB The crescendo arrives to mp.8 3 SATB The crescendo arrives to mp.10 4 SATB The crescendo arrives to mp+.11 4 SATB Connect through this half-note into the next measure.14 2 B Phrase at this comma, without taking a breath.20 1 A Phrase at this comma, without taking a breath.22 1 A Change this quarter-note to an eighth-note followed by an eighth-rest.22 1 T Phrase at this comma, without taking a breath.23 4 T Phrase at this comma, without taking a breath.24 4 B Phrase at this comma, without taking a breath.25 2 A Change this quarter-note to an eighth-note followed by an eighth-rest.

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25 3 A Add a slight crescendo toward blei-.45 3 SATB Add a diminuendo to the downbeat.61 3 SATB Add a diminuendo to the downbeat.69 1 SATB Note that at m.68 there began a poco a poco accelerando.73 1 SA Change this half-note to a quarter-note followed by a quarter-rest.73 3 T Phrase at this comma, without taking a breath.82 1 SATB Quarter-note = c.152.82thru191

SATB For all notes marked staccato, including those added in the instructions below, consider them as an eight-rest shorter than the written value. For example, if the staccato is on a quarter-note, then change the quarter-note to an eighth-note followed by an eighth-rest. If the staccato is on a half-note, then change the half-note to a dotted-quarter-note followed by an eighth-rest.

You can, of course, write in every eighth-note change, but that is somewhat cumbersome to the eyes. I recommend notating it the first couple of times, but after that just knowing that this is how staccato is interpreted. See how that works for a rehearsal. If you’re still struggling with it, go ahead and add in the eighth-notes.

This won’t be enough time to breathe at this tempo; it’s just for articulation and for clarity of text.

Yes, some voices have staccatos when other voices don’t. And that’s OK. Any commas which are (a) not followed by a rest, or (b) not marked staccato, should be

phrased, without taking a breath.87 1 SATB Add a staccato.93 1 SATB Add a staccato.96 1 SATB Add a staccato.99 1 SATB Add a staccato.101 2 ATB Add a staccato.139 1 SATB Add a staccato.142 1 SATB Add a staccato.145 1 SATB Add a staccato.147 2 AB Add a staccato.150 1 SATB Hold Sieg for its full quarter-note duration.159 3 SATB Add a staccato.164 1 T Change this dotted-half-note to a half-note followed by a quarter-rest.169 3 SATB Add a staccato.173 1 TB Change this dotted-half-note to a half-note followed by a quarter-rest.174 1 SA Change this dotted-half-note to a half-note followed by a quarter-rest.188 1 S Add a staccato.201 1 SATB Add a fermata.202 1 SATB Add a fermata.203 1 SATB Add a fermata.204 1 SATB The tempo will resume.108 1 SATB Half-note = c.116.108 SATB For measures 108 through the end:

For the fugal subject with the text Herr, du bist…, connect through the comma.For all staccato markings, change the half-note to a quarter-note followed by a quarter-rest.

217 1 A Change this half-note to a quarter-note followed by a quarter-rest.220 1 SA Change this half-note to a quarter-note followed by a quarter-rest.221 4 A Phrase at this comma, without taking a breath.224 1 SB Change this half-note to a quarter-note followed by a quarter-rest.235 1 TB The crescendo arrives at mp.237 3 TB The crescendo arrives at mf.241 3 A Change this half-note to a quarter-note followed by a quarter-rest.243 1 S Add a staccato.248 1 AT Change this half-note to a quarter-note followed by a quarter-rest.

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255 1 S Take a quarter-note rest out of the end of this dotted-whole-note. Or, if you prefer to notate it literally, change the dotted-whole-note to a whole-note tied to a quarter-note, followed by a quarter-rest.

255 3 A Change this half-note to a quarter-note followed by a quarter-rest.256 1 STB See the soprano instruction for m.255 beat 1.256 3 A Change this half-note to a quarter-note followed by a quarter-rest.266 1 S See the soprano instruction for m.255 beat 1.266 4 A Connect through this comma. And good luck fitting in the staccato.280 3 SAT Change this half-note to a quarter-note followed by a quarter-rest.286 3 A Change this half-note to a quarter-note followed by a quarter-rest.288 1 SATB Add a slight rit. through this measure.290 3 T Sing this phrase molto legato.294 3 T Change this whole-note to a half-note followed by a half-rest.298 3 S Change this whole-note to a half-note followed by a half-rest.301 3 T Change this half-note to a quarter-note followed by a quarter-rest.308 3 A Change this half-note to a quarter-note followed by a quarter-rest.311 3 SA Change this half-note to a quarter-note followed by a quarter-rest.313 1 T Change this whole-note to a dotted-quarter-note followed by a quarter-rest.314 1 SATB Add a slight rit. through this measure.316 3 A Sing this phrase molto legato.318 3 T As before, sing this phrase molto legato.319 4 A Change this half-note to a quarter-note followed by a quarter-rest.320 4 T Phrase at this comma, without taking a breath.330 3 SAT Add a staccato.339 1 SATB The tempo will be rubato through the end of the movement.341 1 SATB The downbeat of this measure will be delayed slightly.344 3 SATB Change this half-note to a quarter-note followed by a quarter-rest.344 4 SATB This beat will be delayed slightly.347 1 SATB The tempo will be molto rit. through the end of the movement.

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Movement 7


Selig sind die Toten,die in dem Herren sterben,von nun an.Ja, der Geist spricht,daß sie ruhen von ihrer Arbeit,denn ihre Werkefolgen ihnen nach. — Revelation 14: 13

Blessed are the dead,those who die in the Lord,from now on.Yes, the Spirit saysthat they rest from their work,and their deedsfollow them after.

Blessed are the deadwhich die in the Lordfrom henceforth:Yea, saith the Spirit,that they may rest from their labours;and their worksdo follow them.


Selig sind die Toten, die in dem Herren sterben, von nun an.blessed are the dead the in the Lords die of/from now on

Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit,yes the spirit/ghost speaks that they rest of/from their work/job/labor

denn ihre Werke folgen ihnen nach.for their works/deeds follow self to/after

1 1 SATB The tempo indication translates to: Solemnly. Quarter-note = c.66.2 1 S This phrase is molto legato to m.10.5 1 S Take a catch-breath at this comma.9 1 S Take a catch-breath at this comma.10 1 B This phrase is molto legato to m.18.13 1 B Take a catch-breath at this comma.17 1 B Take a catch-breath at this comma.18 1 B Take a catch-breath at this comma.18 2 A Connect through at this comma.18 4 TB Connect through at this comma.19 4 TB Take a catch-breath at this comma.20 1 A Take a catch-breath at this comma.20 4 SA Connect through at this comma.21 3 B Phrase at this comma, without taking a breath.21 4 T Take a catch-breath at this comma.22 4 SAT The crescendo arrives to f+.23 3 SAT Take a catch-breath at this comma.23 4 B Connect through at this comma.24 3 SAT Take a catch-breath at this comma.25 1 SAT The crescendo arrives to f+.26 4 B Take a catch-breath at this comma.27 4 SAT Take a catch-breath at this comma.29 1 SATB At this point, the diminuendo arrives to mf.29 3 SATB At this point, the diminuendo arrives to mp.31 3 SATB The diminuendo arrives to pp.

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33 1 SATB The crescendo arrives to p, but recedes immediately after the downbeat.40 3 ATB Phrase at this comma, without taking a breath.41 1 ATB This messa di voce arrives to p+ in beat 2, then begins to diminuendo through the measure.44 4 TB The crescendo arrives to p+ just before the downbeat of m.45.47 1 TB The crescendo arrives to mp. Low basses should mark mf.50 1 T The crescendo arrives to mp.51 1 SAB The crescendo arrives to mf.53 1 SATB The crescendo arrives to mp.55 3 SATB The crescendo arrives to mp.56 1 SATB Change this quarter note to an eighth-note followed by an eighth-rest.61 1 SATB The espressivo marking indicates much phrasing with the text.63 3 ATB Take a catch-breath at this comma.66 1 SATB The dolce indication means sweetly.67 4 ATB Phrase at this comma, without taking a breath. Phrase together, listening carefully for the

tenors’ final eighth-note.69 1 SATB Add a diminuendo to this measure.72 1 SATB This phrase is sung p.73 1 SATB Add a diminuendo to this measure.76 1 AB Note the absence of crescendo/diminuendo in this phrase, through m.78.76 3 AB Phrase at this comma, without taking a breath.80 1 SAT The crescendo arrives to p+.81 1 SAT The diminuendo arrives to pp.81 3 B Phrase at this comma, without taking a breath.87 4 TB The espressivo marking indicates to begin the crescendo immediately.88 1 SA The crescendo arrives to mp.89 1 TB The crescendo arrives to mp.91 1 SATB The crescendo arrives to p+.93 3 SATB The crescendo arrives to p+.94 1 SATB Change this quarter note to an eighth-note followed by an eighth-rest.97 4 SATB Change this half note to a dotted-quarter-note followed by an eighth-rest.99 1 SATB Add a diminuendo to this measure.103 1 T This phrase is molto legato to m.111.106 1 T Take a catch-breath at this comma.110 1 T Take a catch-breath at this comma.111 1 T Take a catch-breath at this comma.111 2 SA Connect through this comma.111 4 B Phrase at this comma, without taking a breath.112 4 B Phrase at this comma, without taking a breath.113 1 S Take a catch-breath at this comma.113 3 AT Take a catch-breath at this comma.116 1 SA The crescendo arrives to f+.116 3 SAT Take a catch-breath at this comma.117 3 SAT Take a catch-breath at this comma.118 4 B Take a catch-breath at this comma.120 4 SATB Take a catch-breath at this comma.122 1 SATB At this point, the diminuendo arrives to mf.122 3 SATB At this point, the diminuendo arrives to mp.130 1 STB Begin thinking triplets early in this measure.130 4 S Your dynamic is mp. Begin to crescendo immediately.131 1 AB Your dynamic is mp. Begin to crescendo immediately.131 2 T Your dynamic is mf. Begin to crescendo immediately.131 2 SAB Ensure these eighth-notes are together, in opposition to the triplets elsewhere.132 1 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.

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132 1 SATB The crescendo arrives to f, and stay strong until the given eighth-rest.132 3 A The crescendo arrives to p+.134 1 A The crescendo arrives to mp.135 1 A The diminuendo arrives to p.137 1 T Change this half-note to a quarter-note followed by a quarter-rest.138 4 S Take a catch-breath at this comma.138 4 T Add a comma after your “selig”. Take a catch-breath at this comma.139 1 STB Note the slur marking over this entire measure. Sing molto legato.139 2 B Connect through this comma.139 4 A Take a catch-breath at this comma.140 2 T Connect through this comma.140 2 B Phrase at this comma, without taking a breath.140 3 S Change this quarter-note to an eighth-note followed by an eighth-rest.141 2 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.141 2 SATB Stay strong and f until the given eighth-rest.149 1 A The crescendo arrives to p+.152 4 T Your dynamic is p.155 1 A The crescendo arrives to p+.155 4 T Your dynamic is p.156 4 B Your dynamic is mp.157 1 S Take a catch-breath at this comma. Continue to crescendo through this measure.157 1 A Your dynamic is mf.158 1 T Take a catch-breath at this comma.158 4 B Change this half-note to a dotted-quarter-note followed by an eighth-rest.159 3 SAT Take a catch-breath at this comma.161 1 SATB The crescendo arrives to mp.162 1 SATB The diminuendo arrives to p.162 1 SATB Change this quarter-note to an eighth-note followed by an eighth-rest.162 4 SA Phrase at this comma, without taking a breath.163 2 TB Phrase at this comma, without taking a breath.

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cascadian chorale · web view208 satb add a comma after every word hand. add a catch-breath at...

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