REQUIEM OF SOLACE: BRAHMS' HUMAN REQUIEM

The interpretation of Brahm’s Requiem, entitled Requiem of Solace, painted an experience of life and death, mourning and celebration, prayer and worship, congregated among a sea of breathtaking performers.
— Tyler Trudeau

After the events of 9.11.01, Brahms’ Ein Deutsches Requiem was often the musical masterwork substituted in the place of previously scheduled entertainments in locations all over the United States. Americans felt drawn to join together and mourn those who died in the terror attacks in New York, Washington D.C., and Pennsylvania. Then and now, among large works of classical music, Ein Deutsches Requiem singularly possesses both a collective message and ecumenical approach that brings consolation during times of great loss. In the current polarization of ideological extremes and the unleashing of global uncertainty, opportunities must be created to gather together in unity of purpose to ponder the unique universality of the wonders of life and the inevitability of death.

 Requiem of Solace: Brahms' Human Requiem captures a particular essence of intimacy and healing through the use of two pianists in duet versus the grandeur of orchestra. Alissa Deeter has written a new translation for the requiem, an elegant and poetic English interpretation in a contemporary and living voice. The masterwork will be preceded by a new companion piece, a commissioned work by Jocelyn Hagen, whose message is of hope, strength and inclusion. The companion piece entitled “Facets” is a revised version ofamass, specially redesigned for one piano and chorus and retitled for the Brahms Requiem: Requiem of Solace. It includes soprano and baritone soloists as in the Brahms as well as two additional choral movements.

On March 17, 2017, the UNC Charlotte University Chorale and the community ensemble Sine Nomine collaborated to perform Requiem of Solace, featuring the Brahms Requiem and Jocelyn Hagen’s “Facets” from amass. The performance took place in the Anne R. Belk Theater in Robinson Hall for the Performing Arts and was funded in part by the Sorel Organization.