--Blessed are they that mourn:

for they shall be comforted.

--Matthew 5:4
--They that sow in tears
shall reap in joy.
--He that goeth forth and weepeth,
bearing precious seed,
shall doubtless come again with rejoicing,
bringing his sheaves with him.
--Psalm 126:5, 6

A Section--Matthew 5:4
0:00 [m. 1]--This movement is famously scored with no violins. The string basses,
some cellos, and organ pedals establish a low, pulsing pedal point on the note F.
Horns, the only winds heard, hold the note. Divided cellos and violas gradually
enter on a gently arching line beginning with a dotted (long-short) rhythm. There
are some dissonant notes and minor key suggestions under this melodic line. After
all voices enter, a full string harmony has emerged. The pulsing bass line finally
moves down, and the violas and cellos also move steadily down, with gentle
syncopation,
toward a half-close as the voices enter.
0:57 [m. 15]--The voices enter with the important first two words, “selig sind,”
on long full-measure chords as the instruments drop out. The rising three-chord
figure will become one of the most important motives of the entire piece. With the
word “sind,” the instruments enter again with a statement of the main arching line
from the introduction with the pedal point on F.
1:11 [m. 19]--The voices enter again and complete the beatitude couplet. The
instruments
drop out for most of the statement. The four parts do not move exactly together
on the first line. The first note in the basses, for example, is longer than the
other parts, and the more active alto and tenor also diverge somewhat. This
creates
a very close counterpoint. The voices come together in the second line, as the
sopranos
reach a high note and the music suddenly brightens before settling into a cadence.
All voices except the sopranos repeat the word “getröstet.” After the cadence,
the instruments enter on the leaping figure used for the second statement of that
word. The strings are now joined by flute as well as horn.
1:52 [m. 29]--Statement of the first line of the couplet. Voices and instruments
alternate on two sequential falling utterances of “selig sind,” the second of
which
begins higher. The continuation introduces some slight dissonance and hints of the
minor key, especially on the repeated word “Leid” (“pain”). The trombones make
their
first entrance. The oboe, also making its first entrance, bridges to the next line
with an anticipation of the rising melody.
2:29 [m. 39]--The second line of the couplet is sung again. The sopranos, entering
later than the other parts, echo the previous oboe anticipation. The first
statement
of “getröstet” is stretched out over pulsing strings. The word is repeated in all
parts but the altos, who repeat “sie sollen” before a bridging repeated note on
“getröstet.”
After a full vocal cadence, the wind instruments (instead of strings) echo the
leaping
sopranos.
B Section--Psalm 126:5, 6--D-flat major
3:00 [m. 47]--The key very suddenly shifts down to D-flat major for the middle
section.
The tenors and basses, doubled by cellos, have a descending line with mild
dissonances
on “Die mit Tränen.” The altos then enter as the harp makes its first appearance,
which is surprisingly exposed. While the tenors and basses repeat “die mit Tränen”
twice more, the altos are the first to sing “säen.” More repetition is heard under
the soprano entrance, which soars on a slowly syncopated, sustained utterance of
“Tränen” (“tears”). There is a strong crescendo with another harp entry as all
voice
parts complete the line.
3:29 [m. 55]--At the high point, as the other three parts are completing the word
“säen,” the tenors enter with the second line of the verse. It is a triumphant,
leaping melody with full orchestration. The other voices, in the order soprano,
bass, alto, echo the tenors. The line is repeated and fragmented, the sopranos
again
soaring with mild syncopation. The verse reaches an extended cadence, the tenors
and basses lagging behind the women on a gently descending line on “ernten.”
Cellos
and basses continue the descent and quietly move back to the home key of F.
4:07 [m. 65]--The low pedal F is established, as at the beginning. The previous
string descent had suggested F minor, but the voices and strings immediately
establish
F major. The music is essentially the same as the introduction, but now the vocal
parts sing with the strings on the first line of the next verse (Psalm 126:6). The
voices enter from bottom to top, repeating text as necessary under succeeding
entries.
The soaring soprano entrance, under an expressive wind line, makes an unexpected
ascending detour, but the music settles to the syncopated closing of the
introduction
music in the strings, as at the beginning.
5:00 [m. 79]--The same line, “sie gehen hin und weinen,” is stated on a static line
by the tenors and basses at a very quiet level. They sing in unison, with a
prominent
dissonance on “weinen,” and artfully slip back to D-flat. Flutes and strings
respond
to the line with descending figures. As the altos enter, it is clear that the
music
is none other than the opening of the B section from 3:00 [m. 47] with a slight
extension
at the beginning to re-establish the key and the subdued tension. The soaring
soprano
line, with short responses from the other parts, now uses the second line of the
verse (“und tragen edlen Samen”), rather than again repeating the first. The same
strong crescendo and harp entry are heard as the voices complete the line.
5:33 [m. 88]--High point, with triumphant tenor entrance (followed by soprano,
bass,
and alto), as at 3:29 [m. 55]. Since there are two more lines of the verse to
sing,
the third line is sung on the first entries, and the fourth is sung where the
previous
repetition and fragmentation of the second line from verse 5 was heard, sopranos
beginning the line first. Extended cadence, as before, on the word “Garben.”
6:01 [m. 96]--Re-transition. There is no low string lead-in. Instead, the
introduction
music, with the low pedal, enters in the key of the B section, D-flat, at the vocal
cadence on “Garben.” One statement of the initial arching melody is heard from the
high violas. The voices then enter with “selig sind” in D-flat, again with
instruments
dropping out under the familiar slow rising chords, but the word “sind” makes a
very
artful and sudden shift to F.
A’ Section
6:23 [m. 102]--Statement from the high violas of the initial arching melody from
the introduction in F major as the voices sing “sind.” This is followed by the
voices
once again entering with long, slow chords on “selig sind” to emphatically confirm
the key. As they finish, the altos are isolated on a new descending line on the
first phrase of the beatitude. The tenors dovetail with them in a further descent
on “die da Leid tragen.” Over these isolated entries, the winds play the music
from
1:11 [m. 19] in a beautiful combination.
6:57 [m. 111]--Full statement of beatitude couplet, as at 1:11 [m. 19], but this
time the instruments join with the voices on the second line. There is no
instrumental
echo of the leaping figure.
7:28 [m. 119]--Right on the vocal cadence of the word “werden,” the winds enter.
The music is from 1:52 [m. 29], but the alternations between instruments (here
winds
only) and voices is reversed, the winds playing the previous vocal lines on “selig
sind,” and the voices singing those words to the previous string responses. With
this reversal, in order to catch up, the dramatic repetition of "Leid" is omitted.
The word "tragen" is as before. The oboe enters with its unaltered anticipatory
phrase.
8:08 [m. 129]--Music and text as at 2:29 [m. 39], but with a jarring harmonic
surprise
at the very end as the cadence is averted and the key is very briefly shifted to
the previously unheard A major. The wind echo of the leaping figure is in that
bright key. The strings immediately repeat the leaping figure in A minor and
extend
it. The winds enter again, and the instruments move back to the home key of F.
Coda
8:52 [m. 140]--In the climax of the movement, all voices enter on “getröstet
werden”
in very close imitation, top to bottom. The basses enter on “sie sollen,” the
sopranos
sing those words, and the rest of the voices come together in another repetition
of “getröstet werden.” This is all sung over sustained strings. The winds make
a hint at the main melody, the oboe playing the three-note ascent.
9:09 [m. 145]--The tenors state “getröstet werden” on an isolated descending line
following the three-note ascent from the oboe. The sopranos follow after a three-
note
ascent from a flute, but the tenors enter again before they finish. The basses
also
enter on the descending line, and finally the altos come in, creating a rich
counterpoint
before a joyous ascent on the word “sollen,” soaring to the heights in the
sopranos,
then the tenors, with angelic harp arpeggios. The descent recedes as quickly as
the ascent had swelled, and the voices complete the beatitude phrase in a gorgeous
cadence with chords from the harp and plucked strings.
9:51 [m. 154]--A final repetition of “getröstet werden,” the all important “be
comforted,”
on repeated thirds falling to a cadence. The men enter two beats after the women
and complete the phrase after them. The winds make a third entrance two beats
after
the men. Slower harp arpeggios and quiet plucked strings mark the transfigured
ending.

10:31--END OF MOVEMENT [158 mm.]

2nd Movement: “Denn alles Fleisch es ist wie Gras” (“For all flesh is as grass”).
Langsam, marschmäßig (Slow, moderate march)--Allegro non troppo. Ternary form
with
extended closing section. B-FLAT MINOR/MAJOR, 3/4-4/4 time.

German Text:
--Denn alles Fleisch es ist wie Gras
und alle Herrlichkeit des Menschen
wie des Grases Blumen.
Das Gras ist verdorret
und die Blume abgefallen.
--1. Petrus 1:24
--So seid nun geduldig, lieben Brüder,
bis auf die Zukunft des Herrn.
Siehe, ein Ackermann wartet
auf die köstliche Frucht der Erde
und ist geduldig darüber, bis er empfahe
den Morgenregen und Abendregen.
--Jakobus 5:7
--Aber des Herrn Wort bleibet in Ewigkeit.
--1. Petrus 1:25
--Die Erlöseten des Herrn werden wieder kommen
und gen Zion kommen mit Jauchzen;
ewige Freude wird über ihrem Haupte sein;
Freude und Wonne werden sie ergreifen
und Schmerz und Seufzen wird weg müssen.
--Jesaja 35:10
English Text:
--For all flesh is as grass,
and all the glory of man
as the flower of grass.
The grass withereth,
and the flower falleth away.
--1 Peter 1:24
--Be patient, therefore, brethren,
unto the coming of the Lord.
Behold, the husbandman waiteth
for the precious fruit of the earth,
and hath long patience for it, until he receive
the early and latter rain.
--James 5:7
--But the word of the Lord endureth for ever.
--1 Peter 1:25
--And the ransomed of the Lord shall return,
and come to Zion with songs
and everlasting joy upon their heads:
they shall obtain joy and gladness,
and sorrow and sighing shall flee away.
--Isaiah 35:10
A Section--1 Peter 1:24--B-flat minor, 3/4
0:00 [m. 1]--The low strings and bassoons play two bare rising fifths on an upbeat.

0:07 [m. 3]--Muted violins and violas with higher winds begin the richly harmonized
theme, serving here as an introduction. It has the character of a solemn funeral
march, despite being in triple time. It generally descends, with dotted (long-
short)
rhythms in the middle of most bars and some mild syncopation. The low strings and
bassoons play slow rising and falling leaps on upbeats. The horns, trumpets, and
harp play punctuating chords. Most striking is the timpani part, which plays a
steady
line with triplet rhythms.
0:39 [m. 13]--With a strong motion to the “dominant” key of F major, the theme that
will be heard under the second sentence of 1 Peter 1:24 begins, Rising arpeggios
on extended upbeats are heard from the higher strings and, prominently, the oboe,
later joined by piccolo. The low strings and bassoons continue their rising and
falling leaps, but the brass and harp briefly drop out. The music reaches an
anticipatory
point, and two low bass F’s prepare for the vocal entry.
1:09 [m. 23]--The lower three voices (sopranos are absent) begin their ominous
unison
line in B-flat minor. They sing the first sentence of the verse against the
orchestral
main theme from the introduction. The violins drop out under the voices, leaving
the main orchestral material to violas and high winds. The trombones double the
vocal line.
1:43 [m. 34]--The motion to F major is as in the introduction. The rising upbeat
arpeggios are again heard, but the violins are still absent. The first part of the
sentence is sung by the women in thirds, the sopranos making their first entry.
The men enter for the fallen flower, the four voice parts singing in full harmony
leading to the same close heard before the vocal entry, with the two low bass F’s
at the end adding timpani.
2:10 [m. 43]--A dramatic orchestral interlude begins quietly, but very ominously.
The violins join again. The main orchestral theme begins, initially transformed
into the F major from the end of the end of both the orchestral introduction and
the first vocal statement of the verse. It builds very steadily and inexorably,
the timpani becoming more and more active. The bass instruments now play a low
pedal
note. The interlude moves back to B-flat minor as a horn begins a slow, but
powerful
rising line. The timpani thunder as the climax approaches, and the orchestra
reaches
full power before the voices enter again.
2:47 [m. 55]--At the peak of the climax, the voices enter again with the unison
line
and the first sentence of the verse. This time, however, they sing at full volume.
Sopranos are now present in a higher octave, and the violins are present as well.
The harp plays rich chords, and the thunderous timpani continue. At the second
part of the sentence, referring to the glory of man, not only do the instruments
and voices suddenly recede, but the line itself is altered so that it will remain
in B-flat instead of moving to F.
3:22 [m. 66]--The second sentence of the verse is set in a similar manner to 1:43
[m. 43], but now it is in B-flat major instead of F major. Also, the first part
is sung by altos and tenors in thirds instead of sopranos and altos. The sopranos
do not enter for the second part either, and the basses enter a bar later. In
compensation
for the lack of sopranos perhaps, the violins are present. The section reaches a
quiet close in B-flat, where the two low bass notes are also now on that note
instead
of F.
B Section--James 5:7--G-flat major, 3/4. Etwas bewegter (With somewhat more
motion)

3:51 [m. 75]--A simple pivot creates a striking and sudden motion to G-flat major,
which sounds very bright in this context (it has the same relationship to B-flat
that D-flat has to F in the first movement). The voices enter in flowing
harmonies,
doubled by the strings, on the first sentence of the verse. Though in the same
meter,
the contrast with the preceding funeral march is palpable. The basses enter later
than the other voices on both “so seid nun geduldig” and “bis auf die Zukunft des
Herrn” and omit “lieben Brüder.”
4:09 [m. 83]--The lower three voices stretched the word “Zukunft,” and so they
finish
later than the sopranos. As they complete the phrase, the wind instruments enter
and begin a repetition of the phrase. The voices join them in its completion,
singing
only “bis auf die Zukunft des Herrn.” This time, the lower three voices do not
stretch
the ending. The strings are absent, the winds replacing them.
4:27 [m. 91]--The second sentence of the verse is set with counterpoint. The
sopranos
begin, then the altos and basses enter together in harmony a bar later, followed
by the tenors a bar later still. The strings double the voices. The words “auf
die köstliche Frucht” are used for both repetition and motion. The strings drop
out as the altos and tenors begin to sing the words, then re-enter with the
sopranos
and basses, the cellos now plucked. A horn also enters with low notes. The music
makes a bold turn back to the home key of B-flat. The sopranos are the only voices
that do not repeat the words, instead stretching them out with longer and multiple
notes. The altos and tenors repeat them twice, the basses once. A cadence on B-
flat
is reached with the word “Erde.”
4:54 [m. 104]--The sopranos and tenors are isolated on the words “und ist geduldig”
on the note B-flat, which pivots again to G-flat major. After the altos, then the
basses enter on notes creating a chord, the voices continue to sing the rest of the
verse to music similar to that used for the first sentence at 3:51 [m. 75]. The
flute and harp now add a very delicate and gracefully leaping line that seems to
transfigure the melody and the words. The strings are plucked, matching the harp,
and other wind accompaniment is light. The basses again omit some text (“den
Morgenregen”)
as they “catch up” to the other voices. The words “Morgenregen” and “Abendregen”
are stretched out with long notes, the inner voices moving on the latter as a
cadence
is approached. The voices reiterate “so seid geduldig” on a quiet third, echoed
by the horns on an octave, who leap down to pivot back to B-flat minor for the
reprise
of the A section.
A Section Reprise
5:46 [m. 127]--The two rising bass fifths are omitted. As at 0:07 [m. 3].
6:19 [m. 137]--As at 0:39 [m. 13].
6:48 [m. 147]--As at 1:09 [m. 23].
7:21 [m. 158]--As at 1:43 [m. 34].