Comments on the individual movements
N = Norrington CD
G = Gardner CD
7.24 = minutes.seconds
1. Selig sind (N 2, G 1): Note the instrumental introduction, which is repeated throughout as ritornello, consisting of a point of imitation over a pedal point. The vocal part, at times homophonic, breaks into points of imitation at the word "Freude" (joy). At N 7.24 (G 8.31) there is a stretto with suspensions, with the bass part inverted.
2. Denn alles (N 3, G 2): Originally intended as a movement for a piano concerto in the 1850s, hence probably the first portion of the Requiem to be composed. The form: aab aab c aab aab d
The melody of "a" (instrumental the first time, vocal the second) is based on the melody of a Lutheran chorale, but chromatically altered (flatted second degree). Note augmentation at N 9.11 (G 9:43).
3. Herr, lehre (N 4, G 3) The second part is a fugue over a very low pedal point (the basses have to tune their lowest string down a pitch to play it!)
4. Wie lieblich (N 5, G 4) Note that the instrumental ritornello melody is an inversion of the opening soprano melody.
5. Ihr habt (N 6, G 5) The last movement to be composed, it was added in May 1868, after the first performance had already taken place.
6. Denn wir (N 7, G 6) Note the loud music with brass beginning at N 2.43 (G 2.36), referring to the last trumpet (trombone), also a feature of Mozart's and many other Requiems. The second part is the largest fugue in the piece. Note the suspensions at N 7.48 (G 8.40) and N 9.39 (G 10.44), a stretto at N 8.30 (G 9.28) and another stretto at N 9.18 (G 10:22), where the parts enter one pitch apart!
7. Selig sind (N 8, G 7). Note that the movement closes with the words "Blessed are the dead" sung to the same music as "Blessed are they that mourn" in the first movement. Voice exchange at N 0.45 (G 0.52), suspensions at N 1.24 (G 1.33).
agnosticism: T. H. Huxley 1869 impossible to know whether there is a God or a future life or anything beyond material phenomena
humanism: F. J. Niethammer 1808, also W. v. Humboldt, Winckelmann, Herder, Schiller, Goethe, F. Schlegel