Author: Jeffrey Brillhart

Twenty-four years ago, I was in the midst of post-recording production with the recording engineer who recorded the Sanctuary Choir’s Christmas CD, “Welcome Yule.” Producing a CD is an immense amount of work. Each piece is recorded 3-5 times. One CD can easily take four long evenings to record. The production process takes even longer. About halfway through the editing, our producer, George Blood, asked me, “Jeff, what do you think the five greatest choral works are?” I quickly responded with, “J.S. Bach’s “Mass in B-minor,” Mozart’s “Requiem,” Mendelssohn’s “Elijah,” Beethoven’s “Missa Solemnis,” and Brahms’ “Requiem.” Over my long career, I have had the privilege of conducting all these works, in some cases, several times. Of all these works, Brahms’ “Requiem” holds the most special place in my heart. I am thrilled to be able to conduct this masterpiece on Sunday, April 28, at 4:00 p.m. with our sublime Sanctuary Choir.

For those of you who are familiar with the piece, you may know that it was originally conceived for a full orchestra and large chorus. However, what you might not know is that Brahms himself arranged the original orchestral accompaniment for a piano duet: four hands on one piano. This more intimate version, arranged in 1869, with the wonderful writing for two pianists supporting the voices, is deeply moving. Brahms was no stranger to writing for two pianists; his Liebeslieder Waltzes, composed for two pianists and choir, are among the finest works ever composed. For our performance on April 28, we will use two pianos, all the better to support our wonderful choir.

It appears to be generally agreed among scholars that by early 1865, Brahms had already formed a clear concept and structure of the Requiem, including the choice of texts and early drafts of the music. He wrote the finished form of the greater part of the work, five movements, during 1865 and the first half of 1866. After revisions and more work over the next 18 months, he conducted the first public performance in Bremen Cathedral on Good Friday of 1868 in a version with six movements. During the following year, he wrote a seventh movement, no. 5, and the first public performances of the Requiem in its final form with seven movements were given in Cologne on 16 February 1869 and in Leipzig two days later. It was well received and gained early popularity, though more so in Protestant northern Germany, England, and the United States than in Catholic countries such as France and Italy.

Brahms was brought up in the Protestant tradition of the German theologian and church reformer Martin Luther, and in his title for the work, Ein deutsches Requiem, he is saying two things: this work is not a setting of the liturgical Requiem Mass of the Roman Catholic Church, and its text is not in the Latin of the Roman liturgy, but in the German of his native tongue. Brahms wrote to his publisher that his Requiem “cannot be sung in place of a Requiem Mass in church,” and it was thus primarily for the concert platform. Scholars believe that Brahms may have been agnostic in his religious beliefs.

Nevertheless, Brahms’ choice of texts, from the Old and New Testaments and the Apocrypha in Luther’s translation, are a meditation on the rest, peace, and comfort that can be found in the Christian scriptures when contemplating the inevitable circumstance of death. They make no mention, as in the Catholic Mass, of the day of wrath and of final judgment, and they have no prayer to Christ for the rescue of the faithful from the pains of hell. They speak rather of comfort for those who mourn and of the transitory nature of this life, expressing a firm belief in life after death and the blessed state of those who ‘die in the Lord,’ a belief that after the trials and troubles of this mortal life, there comes a life of peace and joy where ‘sorrow and sighing shall flee away.’

Except for the short fourth and seventh movements, Brahms chose verses for the text of each movement from different books of the Bible and, despite this variety of sources, combined them to complement each other in their message and to set out his own vision and understanding of his Requiem. However, the varied musical color and structure of both the work as a whole and as reflected in each movement deepen and enhance the meaning of the text. As Brahms understood so clearly, music adds its own deeper dimension and fullness to the meaning of words.

We are thrilled that baritone Nicholas Provenzale and soprano Kara Goodrich will be the soloists for this performance. Those of you who attended our Good Friday Bonhoeffer production know how magnificent a singer Nicholas is. Kara, who grew up in BMPC (her mother was a staff singer in the Sanctuary Choir), is now beginning a career as a professional singer. Her role as Mimi in “La Boheme” with Opera Philadelphia last spring brought rave reviews. Accompanying them will be pianists Susan Rogel Ricci and Laura Ward, who will be at the two concert grand pianos.

A free-will offering will be received to benefit the Homeless Advocacy Project, a non-profit organization that provides legal assistance to Philadelphia’s large homeless population. https://www.haplegal.org/

We look forward to bringing this spectacular work into your life on April 28 at 4:00 p.m.

In January 2023, my neighbor, Rachelle Fleming, texted me, inviting me to her home to meet Hugh McElyea, a composer friend. Knowing Rachelle, I knew that we would have a lovely time, but I wasn’t expecting to encounter a composer who was absolutely fascinated by Dietrich Bonhoeffer. What ensued was a wonderful evening of three musicians engaging in all manner of conversation about all sorts of topics, including that of an oratorio that draws parallels between the crucifixion of Christ and Dietrich Bonhoeffer’s death at the hands of the Nazis. By evening’s end, I knew that BMPC would have to perform Hugh’s “Tenebrae: The Passion of Dietrich Bonhoeffer.”

Who is Dietrich Bonhoeffer?

Dietrich Bonhoeffer was a German pastor and theologian who spoke out against the Nazi regime on the day Adolf Hitler came to power. His ties to the July 20, 1944, conspiracy to overthrow the Nazi regime led to his execution in 1945. His theological writings are regarded as classics throughout the Christian world.

What is Tenebrae?

“Tenebrae” means “Darkness.” In the early church, monks gathered on the eve of Good Friday to remember Jesus’s last days. This became a traditional 4th-century monastic service called “Tenebrae,” meaning “darkness.” During the service, thirteen candles are extinguished one by one as the gospel account of Jesus’s Passion is accompanied by Gregorian Chants. The church is left in total darkness as the service ends.

Who was Maria von Wedemeyer?

A few days before his arrest, Dietrich was engaged to Maria von Wedemeyer, a young woman he had taught as a student. He befriended several prison guards who smuggled letters to his family and fiancée, even arranging brief face-to-face meetings. Through his poems and letters, we gain a deeply personal glimpse into the life of the man. In this presentation, the mezzo-soprano also portrays Mary Magdalene.

While setting the ancient service of Tenebrae in wartime Berlin, the music reflects the tragedy of war and the sacrifice of one man who stood up and spoke truth to power. Having made the ultimate sacrifice, Dietrich Bonhoeffer’s martyrdom remains a source of inspiration and a warning in our own time.

As the Allied bombing of Berlin neared, Bonhoeffer realized that he might not survive and opened his Bible to read the Passion of Jesus for the last time. He was taken from Tegel Prison to the Buchenwald concentration camp and later transferred to the Flossenburg prison, where he was tried for treason and hanged on April 9, 1945, just days before the end of World War II. In the end, his final words to a fellow prisoner were, “For me, this is the end, but also the beginning. It is certain that our joy is hidden in our suffering and our life in death.”

“Tenebrae: The Passion of Dietrich Bonhoeffer” will take place on Friday, March 29, at 7:30 p.m. in the sanctuary. The production features Nicholas Provenzale as Bonhoeffer, Rachelle Fleming playing the dual roles of Maria von Wedemeyer and Mary Magdalene, and WRTI host Michael Bolton as the narrator. The Bryn Mawr Chamber Singers and a chamber orchestra round out the cast. You are invited to a pre-performance talk at 6:30 p.m. in the Fullerton room with the composer, Hugh McElyea, and Rev. Rob Schenck, the founder and president of “The Dietrich Bonhoeffer Institute.” The performance will be live-streamed.

My first winter at BMPC was in 1983. What a winter that was. That February, Philadelphia was struck by a blizzard named “Megapolitan Blizzard” (21 inches of snow). Record cold temperatures prevailed. I still remember going to Chinatown with BMPC members for dinner and thinking, “I’ve never been this cold before!” (this is from a guy who grew up in Iowa and then went to graduate school in Rochester, NY!) That spring, the Music and Fine Arts Council decided to offer a “Midwinter Festival” the following February, on the Saturday before Lent – as a kind of “Bryn Mawr Mardi Gras.” Plenty of skeptics said, “Jeff, BMPC will never go for this.” Happily, they were wrong, and a tradition began that continued for nearly 25 years.

Last spring, our council decided to revive the Midwinter Festival, offering “100 Years of Cabaret” on Saturday, February 10. Produced and directed by Lawana Scales and starring Sherri Shields and Louisa Mygatt as your “guides,” this will be an evening to remember. What will you experience at this year’s festival? Amazing homemade desserts and a program that will walk the audience through 100 years of American history through comedy routines, music, skits, and surprises. Fats Waller, George Gershwin, Leonard Bernstein, and PDQ Bach are among the composers you will hear. You’ll hear highlights from “Les Misérables,” “Wicked,” “Porgy and Bess,” and “Miss Saigon.” How many of you know that we have a pastor who is an expert in “lip-syncing?” Did you know that at least two of our pastors are musically gifted and passionate about Carole King? Have you ever heard George Peters do a comedy routine? Did you know that one of the choir’s basses is a fan of Julia Child? Did you know that we have at least two “rappers” in the choir? And, for those of you who remember our early Midwinter Festivals, yes, there will be a “Surprise of the evening.”

Tickets are flying. You may purchase yours Sunday after the 10 a.m. service or from the Music and Fine Arts office during office hours. Chase away the winter blues at BMPC! Celebrate 100 years of Cabaret.

The word “Advent” means “coming,” or “drawing near.” During this season, Christians throughout the world prepare for the anniversary of Christ’s first coming through reflection on our yearning for wholeness and salvation. Such reflection can serve to heighten our sense of anticipation for the Christ Child’s birth, which we will celebrate on Christmas. The Advent season also reminds us that Christ will come again at the end of time to reign over heaven and earth in majesty.

To help you “draw near”, the Sanctuary Choir, Singing for Life, Youth Chorale and Bryn Mawr Festival Brass will present an Advent Service of Lessons and Carols, this Sunday, December 10, at 4 p.m. This service originated in 1880 with E. W. Benson, Bishop of Truro Cathedral in England. His service included readings and carols for Christmas, and was offered as a prelude to the Christmas Eve Midnight Mass. It was adapted in 1918 by Dean Eric Milner-White for use at King’s College Chapel, Cambridge, England. The BBC began broadcasting this service nationally in 1928. Today, it has been broadcast internationally for more than seventy- five years and is among the most popular and widely heard church services in the world.

In 1934, Dean Milner-White created A Procession with Carols on Advent Sunday for use at King’s, basing it on his earlier Lessons and Carols for Christmas. In his preface to this new service, Milner-White wrote: “In the old English liturgies, the Advent Offices made a preparation for the coming of our Lord to this earth far more vivid and eager than those of our present Prayer Book. The purpose of the service is “not to celebrate Christmas, but to expect it.”

Sunday’s service is filled with gorgeous choral works, readings chosen to prepare you for the coming of Christ, and many carols for you to contribute your vocal gift to the glory of God. An offering will be received to benefit Prevention Point Philadelphia, an organization committed to helping drug addicted people in Philadelphia and the surrounding area.