Page 175 - (DK) The Classical Music Book - Big Ideas Simply Explained

ROMANTIC 1810–1920 173

since, opinion has been divided
as to whether it is a religious work
Elijah’s curse Somber
Four strong or an outpouring of rather more
woodwind and
chords introduce brass are used. The drama than sacrament.
drama and brighter strings
foreboding. A “human” requiem
are silent.
Brahms’s German Requiem was
perhaps the most singular sacred
choral work of the period. It was his
first major composition and brought
him international acclaim. He
Descending avoided the traditional requiem
tritones, A final drum roll Mass text, instead creating his
signaling danger, imparts a sense own from the Lutheran Bible. There
are capped by a of doom.
trombone blast. is a focus in the work on comforting
the living, no reference to the Day
of Judgment, and no mention of
Jesus. Brahms thought of it as a
Mendelssohn’s Elijah begins with the prophet’s curse on King “human requiem” rather than
Ahab and the Israelites. Their punishment for corrupt governance belonging to any particular
and the worship of false idols will be a terrible drought.
theological outlook, which is
perhaps why it is still so frequently
the Te Deum specifies 12 harps. As between secular operatic and performed. Written in seven large
a result, performances were—and sacred choral works. Verdi sections, the musical material
still are—rare and impractical, and composed it in the operatic style, is tightly organized around the
so this music had little opportunity with immense drama, especially opening notes sung to Selig sind
to affect the genre. Composers in the powerful “Dies Irae,” and (“Blessed are”). This creates a very
such as Rossini wrote a number wrote parts for female voices at unified whole, in which Brahms
of cantatas, but these tended to a time when the Catholic Church seems to have avoided using any
be overshadowed by their more used only men in its choirs. The previous models. A work of subtle
popular operas and are seldom Requiem’s first performance was majesty, the German Requiem
heard. It was Verdi’s Requiem at St. Mark’s in Milan, but its stands in sharp relief to most
that managed to bridge the gap second was at La Scala. Ever choral music of the 19th century. ■

Music in Victorian Britain

Between industrial innovation wealthy background, and even
and empire building, the arts— feted by the Queen, became
especially music—were rather ubiquitous. Meanwhile, the brass
marginalized in early Victorian band movement in northern
Britain. Although there was a England and music halls in the
thriving concert culture, it was cities were both thriving musical
predominated by foreign artists. outlets for the working classes.
Yet, with a rapidly expanding, Later in the century, the search
wealthy middle class, there for a cultural identity inspired
were many amateurs—young British classical musicians, which
women especially—who needed also led to the creation of British
socially acceptable music to conservatoires. Figures as diverse Prince Albert plays the organ for
play. In this climate, Songs as Sullivan and Elgar emerged Mendelssohn as Queen Victoria looks
Without Words by Mendelssohn, from this new, so-called “English on. The composer enjoyed several
a “respectable” composer from a Musical Renaissance.” visits to Buckingham Palace in 1842.

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