Summer Chorus 2017
The Summer Chorus is an annual festival chorus sponsored by the
Oratorio Society of Minnesota and the University of Minnesota School of Music. Participation is open to
all experienced choral singers with no audition!
Contribute to Summer Chorus 2017
If you would like to sing, please choose online or mail-in registration below. We’d love to have you join us!
Online Summer Chorus Registration
Mail-in Summer Chorus Registration Form
Cyberbass Practice Files for Brahms Requiem
OSM is requesting donations for our Summer Chorus Program. It is important to us to keep this event accessible in
terms of low registration fees and ticket prices, but in doing so this year we're not able to cover the significant expense of the orchestra required
for the Brahms Requiem. We are asking Summer Chorus members and other OSM supporters who are able, to please contribute to Summer Chorus
The idea of composing a requiem in the German language based on texts from the Lutheran Bible and
the Apocrypha began to take shape in Brahms' mind in 1857, a year after the death of his friend and mentor,
Robert Schumann. But it wasn't until 1865, following the death of Brahms' mother, that he took up composition
of the music in earnest. After another three years, the work stood complete, having grown from a choral
piece into a cantata, and then into a seven-movement Requiem for chorus, soloists and orchestra. In the
process, it became the central work of Brahms' career, the one that established him as a composer of major
stature and linked two of the most important spheres of his lifelong musical endeavor, the vocal and the
symphonic. A northerner, Brahms was steeped in the traditions of Protestantism, though unlike Bach, he
remained unconvinced of man's afterlife. It was not his intention to pattern his Requiem after the Latin
mass for the dead, nor to proclaim what he felt were false hopes for resurrection. Instead, Ein Deutsches
Requiem is a work of consolation for those left behind. The gentle opening movement, "Selig sind, die
da Leid tragen" (Blessed are they that mourn), immediately marks the shift of emphasis toward the living.
The remaining movements touch on the subject of death from a variety of angles. With "Selig sind die
Toten" (Blessed are the dead), the work ends on a note of untroubled acceptance and resignation,
in the pastoral key of F major, far from the sting of death.