Finishing the Choral Strand With Ripley and Brahms
Considering this week’s emphasis on music for chorus and winds, including a panel discussion, several premieres, and a performance of Stravinsky’s mass, it seems only appropriate that one of the final research sessions would approach the same topic. “Transcribing Greatness: A choral masterwork with varied performance options for winds – Begräbnisgesang, Op. 13, by Johannes Brahms,” was presented by James Ripley, from Carthage College (Kenosha, WI) on Saturday morning at 11 a.m.
Begräbnisgesang was originally scored for 12 winds, timpani, and SATB chorus. Written in 1858, it reflects an interest in Bach that partly grew from Brahms’ experience organizing Robert Schumann’s library (Schumann was hospitalized at the time and died a few years later). Indeed, for part of the presentation Dr. Ripley illuminated several ways in which the work echoes Bach’s music, notably Cantata 4, Christ lag in Todesbanden, movement 2. Some of these influences include imitation, trio sonata textures, and chant like melodies.
Dr. Ripley has transcribed Brahms’ work for concert band in an arrangement that works with or without chorus. Most of the original wind parts are intact, though he has taken a few liberties, such as rescoring some parts for the concert band’s full brass choir (the original ensemble carries no trumpets) and reinforcing lines with a few doublings. He avoided filling out chordal textures and included only a few octave doublings, mostly below the original pitch.
As a funeral song, Begräbnisgesang is somber but not plodding. Its technical demands are modest, and thus it is well within the reach of high school, community, and even some middle school ensembles. Musically, of course, it is more demanding, though Dr. Ripley demonstrated its accessibility by playing a recording by a high school ensemble. By his own admission it was an unbalanced, imperfect performance, and yet it was quite refreshing to listen to! How many directors have been misled by impeccable promotional recordings that hide the challenges younger students may have? Even under these circumstances it was clear this piece was musically satisfying and sensitively scored. (Perhaps this could be the beginning of a trend: True-to-life publisher recordings!)
In any event, Dr. Ripley’s arrangement is not currently for sale, but he asks directors to contact him directly if they are interested in the parts (jripley [at] carthage.edu).
©2007 WASBE and/or the contributing author/photographer