German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German) Cover Image

German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German): Mass, Orchestra Accompaniment, Chor Sc

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German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German) Cover Image
German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German): Mass, Orchestra Accompaniment, Chor Sc

German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German): Mass, Orchestra Accompaniment, Chor Sc

By Johannes Brahms/ Libretto by the composer, after Martin Luther's translation of Biblical texts (Ps. LXXXIV: 2-3, 5). English translation.

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German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German): Mass, Orchestra Accompaniment, Chor Sc

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Written between 1865-1868, EIN DEUTSCHES REQUIEM (A GERMAN REQUIEM), Op. 45, was Johannes Brahms' (1833-1897) longest work. The seven movement mass sets Martin Luther's translation of Biblical text to music, with the libretto having been completed by the composer. The work premiered on February 18, 1869, at the Gewandhaus in Leipzig, Carl Reinecke conducting the Gewandhaus chorus and orchestra, with the solos sung by Emilie Bellingrath-Wagner (soprano) and Dr. Kückl (baritone). The work remains a regular part of the repertoire. The central fourth movement, WIE LIEBLICH SIND DEINE WOHUNGEN (HOW LOVELY THY DWELLING), serves as the spiritual keystone in its seven-part structure and often appears independently in choral concerts. Instrumentation: 2+Picc.2.2.2+CBsn(opt): 4.2.3.1: Timp: Hp(opt).Org(opt): Str (4-4-3-3-3 in set): Soli S.Bar: Mix Chor. English translation.

German Requiem, A, Op. 45 (Ein Deutsches Requiem), No. 4: Wie lieblich sind deine Wohungen (How Lovely Thy Dwelling) (Ps. LXXXIV: 2-3, 5) (German): Mass, Orchestra Accompaniment, Chor Sc isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

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Additional Details
Series: Kalmus Choral Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563330-X
ISBN13: 979-889-563-3304
UPC: 659859372846
SKU: 36-A278092E
Instrumentation: 2.2.2.2: 2.0.0.0: Org (opt): Str (4.4.3.3.3 in set): Mx Chor

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About the Composer: Johannes Brahms

Johannes Brahms (1833-1897) was a German composer whose works bridged the Romantic era and the classical tradition. He came of age during a period of intense musical nationalism and religious awakening in German-speaking lands, which directly shaped his approach to sacred music. Though primarily known for symphonies and chamber works, Brahms invested nearly a decade in composing the German Requiem, treating the work as a spiritual and artistic summation of his mature voice.

Brahms selected and arranged Biblical texts in Martin Luther's translation rather than the Latin Mass for the Dead, creating a work that speaks directly to German Protestant experience while maintaining universal emotional resonance. His harmonic language, structural mastery, and orchestration in this work have made it a teaching text for composers and a cornerstone of choral repertoire worldwide.

Why we love this

The fourth movement stands alone as a complete artistic statement: intimate in scale yet architecturally sophisticated, it showcases Brahms at his most lyrical without sacrificing structural rigor. Programming this movement lets you explore his masterful blend of orchestration, choral writing, and text expression without committing to the full seven-movement cycle, making it accessible for concert programs that need substantial yet focused repertoire.

What to expect

The movement radiates serene contentment and spiritual anchoring. Brahms uses warm orchestration, gentle harmonic motion, and a text that celebrates dwelling in God's house to create music that feels both tender and deeply grounded, inviting singers and listeners into a state of peaceful reflection.

Who it's for

This movement suits intermediate to advanced choral programs with orchestral resources. Your singers need solid pitch control and the ability to sustain long phrases while navigating gentle harmonic shifts; soloists should be prepared for exposed singing within a large ensemble context.

How to get the most out of it

  • Balance the soloists and choir carefully; the soprano and baritone should sit forward in the texture without overwhelming the ensemble, which carries the primary melodic and harmonic weight.
  • Let the orchestration breathe, particularly the harp and optional organ, which provide textural color rather than harmonic foundation; ensure these instrumental voices don't muddy the clarity of the choral lines.
  • Shape phrases across the full stanzas rather than breaking at text punctuation; the architecture demands long-line conducting to reveal Brahms' harmonic journey.
  • Pay attention to the relative pacing between sections; Brahms marks clear distinctions in character, and these shifts should feel organic rather than abrupt.

How to use it

This movement works beautifully as an independent concert offering, especially in services or programs centered on liturgical themes or German Protestant traditions. It pairs naturally with other substantial choral works and provides sufficient musical substance to anchor a concert program without demanding the full Requiem commitment.

Skills your students will build

  • Sustained legato singing across extended phrases
  • Blending with orchestral accompaniment while maintaining ensemble cohesion
  • Interpreting text-painting and harmonic expression in 19th-century sacred music
  • Balancing solo and choral timbres within a single movement
  • Reading orchestral cues and following an intricate harmonic progression

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