7:48 [m. 167]--As at 2:10 [m. 43].

8:23 [m. 179]--As at 2:47 [m. 55].

8:58 [m. 190]--As at 3:22 [m. 66].
9:26 [m. 199]--Transition--1 Peter 1:25. The voices enter in a grand major-key
fashion
in block chords on the powerful verse. They are joined by high winds and
trombones.
After “Aber des Herrn Wort,” the strings enter, the violins moving up in powerful
syncopation, the cellos and basses (with bassoons) marching down. “Bleibet” is
isolated
before being repeated with “in Ewigkeit.” The last word is held over powerful
brass
and wind fanfares, along with a timpani roll, that anticipate the closing section.
The basses repeat “in Ewigkeit” under this on a steadily repeated note. The upper
voices complete the phrase on the first 4/4 bar, where the basses begin the closing
section immediately as the top voices complete the word.
Closing Section--Isaiah 35:10--B-flat major, 4/4. Allegro non troppo
9:49 [m. 206]--The basses sing the first phrase of the verse to a triumphal melody
with marching dotted rhythms. The words “und gen Zion” are sung twice. The
strings
play strong supporting chords under them and they are doubled by trombones at
first,
then by bassoons.
10:01 [m. 213]--As the basses complete their phrase, the upper three parts imitate
their melody, with the sopranos a fifth higher and the other parts in harmony. The
basses, after finishing their phrase, enter a bit later with another countermelody.
Only the sopranos repeat “und gen Zion.” Trumpets double the melody at first,
then
oboes and clarinets join the bassoons. The strong string chords continue.
10:15 [m. 219]--The voices now present the second phrase of the verse. The violins
begin a pulsating triplet rhythm. The tenors begin by singing “ewige Freude,”
which
they sing twice in joyous, leaping lines. The other voices respond with four
interjections
of “Freude.” Against this, the trumpets and horns blast out the original melody
sung by the basses at the beginning of the section. Trombones, winds, and organ
support the voices. Motion to F major. These words, “everlasting peace,” are
heavily
repeated later on.
10:24 [m. 223]--The voices come together on a grand statement of “ewige Freude.”
The latter word is supported by a huge, loud chord and a timpani roll. Then,
everything
becomes suddenly quiet as sentence is completed with “wird über ihrem Haupte sein.”
The harmonies are more chromatic for this sudden drop in volume. Flutes and
clarinets
leap in syncopated rhythm over the block chords. As the voices complete the
sentence,
the upper strings reach upward with a strong syncopated arpeggio over a large
crescendo
and downward marching lower strings.
10:46 [m. 233]--The third and last phrase of the verse is sung. The sopranos,
doubled
by oboe, sing the first part, through “ergreifen,” to another triumphantly arching
line. The tenors sing against them in longer notes, only on “Freude und Wonne,”
strongly doubled by a horn. Syncopated strings jubilantly soar above them.
Suddenly,
after the low strings are left alone to lead in, there are quiet, short “sighs”
with
chromatic harmonies for the second part (“und Schmerz…”), the strings dropping out
and the winds responding. The figures become shorter and leap upward for “wird weg
müssen” as the strings re-enter. “Wird weg” is sung twice. On the last word, a
descending soprano line leads to the next statement.
11:13 [m. 245]--A variation of the previous music for another statement of the last
phrase. The tenors now have the complete first part (through “ergreifen”) on a
variant
of the previous soprano arching line. They are still strongly doubled by the horn.
Altos and basses (doubled by another horn) sing “Freude und Wonne” in longer
notes,
the altos singing “Wonne” twice. The syncopated strings continue. Then, there is
a line of counterpoint not heard before on “werden sie ergreifen,” the basses
leading,
followed by altos, tenors, and finally sopranos. The basses repeat “werden sie
ergreifen,”
the altos “sie ergreifen,” and the tenors only “ergreifen.” Wind instruments
double
the vocal lines over continuing high syncopated strings.
11:32 [m. 254]--The low strings, now with bassoons, again drop in volume and lead
into “und Schmerz und Seufzen.” The chromatic “sighing” phrases are now
lengthened,
with some mild syncopation. Again, things pick up for “wird weg müssen.” The
altos
and tenors sing the first two words, then the outer voices join for a repetition.
This pattern is repeated. “Müssen” is now lengthened in all voices and repeated
with yet another “weg.” Against this, the opening march melody of the closing
section
suddenly enters in the wind instruments and organ, imitating each other in
counterpoint.
The strings support the voices.
12:06 [m. 269]--A syncopated horn line, with a strong wind chord, leads to a
restatement
of the first phrase of the verse and a motion back to B-flat major. The sopranos
and tenors enter in unison, the tenors slightly behind. Altos, then tenors,
imitate
them. Octave leaps are prominent in all voices. All parts repeat “die Erlöseten
des Herrn.” The full orchestra supports them, with long notes in the high winds.
Through lengthening of certain notes, the voices all come together on “werden
wieder
kommen,” jubilantly singing the continuation with full orchestral support, the
basses
on the original melodic line. The words “gen Zion” and “kommen mit Jauchzen” are
repeated.
12:31 [m. 281]--The voices break apart again. Motion to E-flat major. The lower
three sing “und gen Zion” twice in counterpoint, followed by “kommen.” The
sopranos
soar above them with “kommen mit Jauchzen,” the latter two words repeated. The
instruments
continue to double and support the voices.
12:36 [m. 284]--The basses begin a surge on the word “kommen” with strong
syncopation.
The upper three parts sing the word four times, two on a lower level and two on
a higher level. After their first statement of “kommen,” the basses sing “mit
Jauchzen”
four times under the other voices’ statements of “kommen.” The basses are doubled
by the loudest, lowest instruments, the upper three by higher winds and strings.

12:43 [m. 287]--As the basses complete their last statement of “mit Jauchzen,” the
other three voices enter above them from bottom to top in very strong statements.
All four voices sing “kommen.” The basses and tenors follow that with “und gen
Zion kommen mit Jauchzen” (the basses omitting “und”), the altos with “kommen mit
Jauchzen,” and the sopranos merely with “mit Jauchzen.” The final arrival at
“Jauchzen”
is an extremely strong arrival point, and the home key of B-flat also returns
strongly.
Under this passage, the violins begin a strong triplet rhythm on repeated notes.

12:51 [m. 291]--A return to the second phrase. The altos sing “ewige Freude”
twice,
supported by trombones. The tenors and basses respond with “Freude,” supported by
low strings. They are joined by the sopranos for three more interjections of the
word. The violins and violas leap joyously in the fast triplet rhythm, the winds
joining them on the leaps. The horns blast out the original dotted-rhythm melody.

13:00 [m. 295]--A climax similar to that at 10:24 [m. 223]. Grand statement of
“ewige
Freude,” the sopranos singing “Freude” twice and omitting “ewige.” The climax is
marked by a huge chord, more dissonant than the one at 10:24 [m. 223], and a drum
roll. The continuation of the sentence (“wird über ihrem Haupte sein”) diminishes
rapidly, is somewhat chromatic, and is sung in much longer notes. The flutes and
clarinets play gentle syncopation over this quiet passage.
13:21 [m. 303]--Brahms marks the following coda “tranquillo.” As the voices
complete
the phrase, the timpani begins to beat a thumping two-note pattern, doubled by
cellos.
A trumpet and horn quietly intone the main melody of the closing section, imitated
by a clarinet with oboe. The tenors enter with a subdued statement of “ewige
Freude.”
This pattern is repeated a third higher with a bassoon and oboe playing the main
melody and the basses singing “ewige Freude.” Finally, at the original level,
flutes
and oboes, imitated by horn, play the melody and the sopranos sing “ewige Freude.”

13:54 [m. 316]--A flute and oboe begin the pattern again, a third higher, imitated
now by violins. This time, basses and sopranos enter together in harmony, followed
by altos and tenors in harmony. All voices sing “ewige Freude” twice, the sopranos
and basses adding an extra “ewige.” The winds completely drop out above the
thumping
timpani and strings.
14:13 [m. 323]--The voices settle onto a final, very extended statement of the
second
phrase of the verse over a slow but powerful crescendo. The sopranos omit the word
“ewige,“ and sing ahead of the other voices before greatly extending “Haupte” to
come together with them. The thumping timpani continues. The winds state the main
melody in the following order: clarinets and bassoons, oboes and horns, flutes and
trumpets with the other two horns, and finally trombones. Under all this, the
strings
begin an long ascending scale, passed between violas and cellos and then taken by
the violins. The low strings again enter on the scale, the violins joining.
14:41 [m. 333]--The voices reach the word “sein” as the strings achieve the highest
point of their extended scale and the crescendo also reaches its high point. At
this point, the scale turns around and quickly descends. The volume rapidly
diminishes.
The voices sing a very subdued final statement of “ewige Freude,” the brass and
timpani drop out, the upper winds play long chords, and the bassoons join the low
strings as the descending scale is passed to them. The full orchestra plays a
final
chord with a timpani roll.
15:20--END OF MOVEMENT [337 mm.]
3rd Movement: “Herr, lehre doch mich” (“Lord, make me to know”). Andante moderato.
Three large sections, the first displaying its own ternary form. D MINOR/MAJOR,
Cut time [2/2]--3/2--Cut time [4/2].

German Text:
--Herr, lehre doch mich,
daß ein Ende mit mir haben muß,
und mein Leben ein Ziel hat,
und ich davon muß.
--Siehe, meine Tage
sind einer Hand breit vor dir,
und mein Leben
ist wie nichts vor dir.
Ach wie gar nichts sind alle Menschen,
die doch so sicher leben.
--Sie gehen daher wie ein Schemen,
und machen ihnen viel vergebliche Unruhe;
sie sammeln und wissen nicht
wer es kriegen wird.
--Nun Herr, wess soll ich mich trösten?
Ich hoffe auf dich.
--Psalm 39:5-8
--Der Gerechten Seelen sind in Gottes Hand
und keine Qual rühret sie an.
--Weisheit Salomos 3:1
English Text:
--Lord, make me to know mine end,
and the measure of my days,
what it is:
that I may know how frail I am.
--Behold, thou hast made my days
as a handbreadth;
and my age
is as nothing before thee:
verily every man at his best state
is altogether vanity.
--Surely every man walketh in a vain shew:
surely they are disquieted in vain:
he heapeth up riches,
and knoweth not who shall gather them.
--And now, Lord, what wait I for?
My hope is in thee.
--Psalm 39:4-7
But the souls of the righteous are in the hand of God,
and there shall no torment touch them.
--Wisdom of Solomon 3:1
First Section--Psalm 39:4[5], 5[6] (first sentence)--D minor, Cut time [2/2]
0:00 [m. 1]--First part (A). A bare horn octave is answered by timpani and plucked
string basses in a descending line. The baritone soloist enters with verse 4[5].
The stark melody, in the so-called “natural minor” or aeolian mode (no leading
tone)
arches up to a high note on “Ende,” which is held across the bar line. The words
“und ich davon muß” reach even higher before the descent to the cadence, which
repeats
those words. Under the soloist, the horns continue playing long notes, the timpani
and plucked string basses detached notes and rolls, while violas and cellos enter
with slow-moving harmonies.
0:38 [m. 17]--The violins enter on a pulsating line with many repeated notes and
syncopations. The choral tenors and basses sing “Herr” in anticipation, then the
full choir repeats the phrase of the soloist. The sopranos take the melody, the
other voices harmonizing. The descent to the cadence is lengthened. The cellos
join the string basses in plucked notes, which move faster under the pulsing
violins
and violas. The timpani continue as well, along with the horns, who are now joined
by the trumpets on fanfare-like figures.
1:15 [m. 33]--Second part (B). Overlapping with the choral cadence, the soloist
enters with the first sentence of verse 5[6]. He sings the first phrase under wind
chords in B-flat major. On “Tage,” he sings an important long-short-short rising
figure. On “dir,” a surprising, powerful chromatic harmony is heard in the
orchestra,
the first violins and flutes playing the rising long-short-short figure, the other
strings playing triplet rhythms. The strings and brass quickly drop out.
1:33 [m. 41]--The second phrase of the sentence (from verse 5[6]) begins as had the
previous phrase, under wind chords, but the chromatic harmony has shifted the key
up to B minor. After a high point on “ist,” held over the bar line, the descending
harmony moves back toward D minor, but the cadence on “vor dir” is diverted back
to B-flat in a so-called “deceptive” motion as the choir enters.
1:48 [m. 48]--The choir begins a harmonized version of the first phrase from 1:15
[m. 33]. The strings pulsate breathlessly on the triplet rhythm, with a rest on
the first part of each upbeat. The voices and instruments swell after “Tage,” and
the harmony is changed from the solo statement. The winds and brass enter on a
different
powerful chromatic harmony on “dir,” the woodwinds taking the long-short-short
figure.

2:06 [m. 56]--The choir continues with the second phrase. It is much more intense
than the previous solo statement at 1:33 [m. 41]. The melodic line in the soprano
slides up by half-steps. The words “mein Leben” are repeated. The pulsating
strings
continue, and there is a huge crescendo. A loud, syncopated outburst with wind and
brass entry on “ist” marks the same high point, still held over the bar line. The
key is wrenched back home to D minor. The volume suddenly recedes for the last
words,
which are breathed out in quiet, isolated two-chord groups on “wie nichts” and “vor
dir.” The pulsating strings now have rests on the downbeats as well, and they are
joined by brass and timpani.
2:32 [m. 66]--Third part (A’). A timpani roll enters with the stark choral unison
on “dir” from the last phrase. Plucked strings and long horn notes mark the return
of the opening material. The soloist sings it again, but the entire string section
now plays plucked chords on the off beats. The timpani plays a continuous roll,
moving up from A to D before “und mein Leben ein Ziel hat,” then back down and up
again under the climactic rise on “und ich davon muß.” Trumpets enter at that
point.
The same words are repeated as the music descends and recedes to the cadence,
which
this time is interrupted.
3:07 [m. 82]--The choir unexpectedly enters in harmony, overlapping the soloist
while
interrupting and prolonging the cadence. They sing “und ich davon muß.” The
soloist
sings those words a third time, overlapping the choir over another crescendo, the
violas taking their bows for a tremolo. The choir reiterates the words, echoing
the soloist’s line in harmony. The music suddenly recedes, and the soloist sings
the words a last time, reiterating “davon muß” over choral harmony on a very strong
cadence.
3:34 [m. 93]--The full orchestra enters on the cadence with the long-short-short
figure from the second part (B). The entrance is sudden and loud, but it quickly
recedes as it is reiterated an octave lower. The pulsating triplets, now
continuous,
are heard in the lower strings and horns, along with the timpani. The latter
alternate
with rolls. The long-short-short figure is heard down yet another octave as the
volume reaches a quiet level again. Clarinets and bassoons play in counterpoint.
The short notes are reiterated three times. They are lengthened on the last two
statements, matching the pulsing triplets on the final one. A grand pause, then
a final bleak note (D) on plucked strings, timpani, and horn ends the first
section.

Second Section--Psalm 39:5[6] (second sentence), 6[7], 7[8]--D major/minor, 3/2

4:00 [m. 105]--The meter shifts to a broader 3/2 time. The soloist presents the
remainder of verse 5[6] to a descending line beginning with a long high note. The
direction turns at “die doch so sicher leben,” the last word again reaching the
high
D where the melody began. The word “leben” is then stretched out over another long
descending line that reaches a cadence. Despite some distinctive chromatic notes,
the soloist’s melody is actually in D major. The accompaniment, however, which is
almost entirely in the winds, is a major/minor mixture. It incorporates the long-
short-short
figure from the first section, then becomes more flowing, with harmonious thirds,
under “leben.”
4:31 [m. 114]--While the low strings did enter surreptitiously under “leben,” it
is with the last syllable of that word that the violins come in, echoing the long
descending vocal line on that word under the flowing harmonies of the winds, which
continue. The line is extended slightly, avoiding the cadence.
4:44 [m. 118]--The trombones enter and turn unambiguously to minor. The soloist
sings verse 6[7] to a meandering line incorporating a rising triplet on “Schemen”
and a small syncopation on “ihnen.” Against this, the flutes and oboes, then
clarinets
and bassoons, then low strings (with horn harmonies) play a version of the long-
short-short
figure followed by a quicker descent. This pattern is repeated as the verse
continues.
At “sie sammeln, und wissen nicht, wer es kriegen wird,” the intensity rises, and
the higher strings enter.
5:19 [m. 129]--The choir enters at the high point of the previous swelling, and
sings
a harmonized version of the soloist’s melody for the last part of verse 5[6]. It
is still in major, but now in F major instead of D. The violins and violas play
a rocking accompaniment against rising lines incorporating the long-short-short
figure
in low strings and bassoons. The clarinets support the voices, the oboes and
flutes
following them in sequential imitation.
5:33 [m. 133]--The direction turns at “die doch so sicher leben.” The sopranos
sing
the original line, but alter the word “sicher” by turning down and leaping back up.
Under “leben,” the winds drop out while the tenors and altos take the flowing
thirds
previously played by the wind instruments. They repeat the words “die doch so
sicher,”
with an extra repetition of “so sicher.” The basses also repeat “so sicher,” their
moving line doubled by the low strings and bassoons.
5:50 [m. 138]--Similar to 4:31 [m. 114]--the descending line is echoed at the
cadence,
but now a flute, oboe and horn play it. The other winds play the flowing thirds,
while the violins and violas continue their rocking figures. The extension is
slightly
different to facilitate the motion back to D minor.
6:03 [m. 142]--Suddenly, the music takes a severe turn. The soloist sings the
question
from verse 7[8] on a chant-like line with sparse accompaniment marked by a drum
roll
and trumpet entrance. After finishing the question, his part is finished for the
rest of the movement.
6:09 [m. 144]--Before the soloist can finish the question, the choir enters in a
passage of counterpoint on the question. The basses begin on a flowing, arching
line. The sopranos, altos, and tenors follow in that order, and then the basses
sing the line again. Each part repeats “mich trösten” with wide leaps (except the
last bass entry). Under all these entries, other voice parts not singing the
flowing
line sing “chanting” notes on “Nun, Herr,” alternating with “chanting” trumpets.
The strings play rocking triplets and the winds double voice parts of similar
range.
The timpani play ominous rolls and the intensity gradually increases.
6:28 [m. 150]--The volume has reached a loud level as the voices briefly break the
counterpoint. Flutes and clarinets, followed by oboes and bassoons, suddenly blast
out the long-short-short figure with its following descent. They do this through
the climax, with four full statements. The sopranos and tenors sing the flowing
line in very close imitation without the repetition of “mich trösten.” The basses
sing a chanting line on the whole question under this. The pattern is repeated
with
tenors leading sopranos and the altos singing the chanting line.
6:40 [m. 154]--Under the wailing long-short-short figure in the winds, the voices
cry out “Nun, Herr,” moving from top to bottom in close imitation, the sopranos and
tenors on leaps and the altos and basses on static chanting notes. This is done
again at a higher level. Suddenly, over a thunderous timpani roll, the climax is
reached and the voices cry out the question, the men following the women, who do
not sing “Nun, Herr” again. The instruments break out into pulsating repeated
chords.
Then the passion very quickly recedes, the strings drop out, and the voices
quietly
and timidly repeat the question (without “Nun, Herr”) under the pulsating winds.
These slow down, reaching a very dramatic pause on a dissonance.
7:17 [m. 164]--The trombones lead into the answer to the question The basses
begin,
and the other voices enter in close imitation from bottom to top. The key is now
an unambiguous D major. The vocal lines are flowing, and include triplet motion.
The low instruments remain on a steady, unchanging bass pedal on the “dominant”
note, creating great anticipation. Each voice part has different repetitions of
all or part of “Ich hoffe auf dich.” There is a very steady crescendo. Horns,
trombones
and low strings are joined by trumpets, then winds and a timpani roll as the voices
gradually come together on an emphatic “auf dich.”
Third Section--Wisdom of Solomon 3:1--D major, Cut time [4/2]
7:52 [m. 173]--This is the famous “pedal point” fugue. It begins with the previous
arrival. The meter is a sort of “double cut time,” an archaic grouping into large
4/2 bars. The low bass note “D” is held throughout the fugue. Brahms makes sure
it is heard by scoring it in organ pedals, basses and cellos, thumping, continuous
timpani beats, tuba, and trombones. The fugue exposition is very regular. The
tenors
state the entire verse on the melody, or subject, which slowly works up, then
cascades
down on “sind in Gottes Hand.” The remainder rises and falls again, with a hint
of minor-key dissonance on “rühret.” The instruments not playing the continuous
D, such as violins and woodwinds, either double the subject or play a steady,
flowing
accompaniment in short notes. The volume is strong and loud throughout.
8:03 [m. 176]--The fugue exposition continues. The altos enter next on the
“dominant”
key of A. They are followed by the sopranos on the home key, then the basses on
the “dominant.” As a new voice enters, the previous one continues with a
“countersubject”
using only the words “keine Qual rühret sie an.” The altos and tenors continue
with
more free counterpoint after their “countersubjects.” The verse is repeated by
these
continuing parts, as well as individual words or phrases. The non-pedal point
instruments
continue to play either the flowing accompaniment, doubled voice parts, or,
beginning
in the first violins, wide leaps. Horns and trumpets play sporadic interjections.

8:31 [m. 183]--The altos and sopranos, but not tenors, break briefly as the basses
end their statement. As the tenors and basses continue, the sopranos enter again
with the subject, followed by the altos in counterpoint. The sopranos break into
a long, highly syncopated flourish on “Qual” (“torment”), which is doubled by the
first violins. The other voices slow their motion under the sopranos.
8:49 [m. 188]--The altos begin an entry on another related key, G, closely followed
by the tenors. The ending of the subject is now more free after “keine Qual.” The
sopranos, who have been singing free counterpoint, make a highly dissonant leap on
“Qual,” which helps the music move briefly to minor. The tenors echo this, having
finished their statement of the subject. The instruments, particularly the strings,
become very active.
9:02 [m. 191]--The altos rest for the following soprano entry, which suggests the
minor key and is closer to the original form of the subject. The tenors and basses
continue. The altos enter again as the sopranos are finishing the statement.
The tenors enter with the subject on its original level, but with the same minor-
key
tinge. Over this, the sopranos move up to another high note on “Gottes Hand.” The
basses briefly drop out. The violins imitate the sopranos high leap, moving to an
even higher level and echoed by flutes.
9:22 [m. 196]--The basses begin a strong entry on the “dominant,” followed closely
by the tenors. The women drop out above them as they finish their previous
phrases.
The endings of the bass and tenor entries are varied, as the counterpoint is
changed.
When the tenors are near the end, the women continue the complete set of entries,
echoing the basses and tenors with their close entries on the same levels. All of
these are in the “dominant” key of A, which greatly ratchets up the tension over
the pedal point. Finally, the tenors make a clear entry on the subject, reaching
to another very high note on their descent. In this passage, the strings double
the voices exactly, passing the free flowing lines to the high winds. The cellos
leave the pedal point to double the basses. At the end of the passage, the music
moves back to D major.
9:44 [m. 201]--The tenors break into the long, syncopated flourish on “Qual.” The
string doubling of the voices is not longer exact, and the cellos move back to the
pedal point. All non-pedal instruments begin a shimmering oscillation. The other
three voices slow their motion under the tenor flourish.
9:55 [m. 205]--The voices suddenly come together, repeatedly singing “keine Qual”
on oscillating chords under the shimmering instrumental texture. The pedal point
remains in force. After four repetitions of “keine Qual,” the sopranos and basses
begin to complete the sentence, the basses stating “rühret sie an” three times, the
sopranos, moving slower and beginning later, only stating it once. The altos and
tenors repeat “keine Qual” again, the tenors twice more, before both sing “rühret
sie an.” All voices come together on their statement of the final “an,” the tenor
“sie” being a bit delayed. The ending, although very powerful, is also rather
abrupt.
The last chord is usually held a very long time to offset this abruptness.
10:28--END OF MOVEMENT [208 mm.]