Concert review

N.C. Symphony, Master Chorale honor composer Ward with Brahms’ ‘A German Requiem’

CorrespondentApril 13, 2013 

North Carolina Symphony Music Director Grant Llewellyn conducting the orchestra on New Year's Eve 2011.


  • If you go

    What: Brahms’ “A German Requiem” with the N.C. Symphony and N.C. Master Chorale

    Where: Memorial Hall, UNC-Chapel Hill

    When: April 14, 8 p.m.

    Tickets: $18-$50

    Contact: 919-733-2750;

  • More information

    What: Brahms’ “A German Requiem” - N.C. Symphony and N.C. Master Chorale

    Where: April 13 - Meymandi Concert Hall, Raleigh; April 14 - Memorial Hall, UNC-Chapel Hill

    When: 8 p.m. both nights

    Tickets: $18-$50

    Contact: 919-733-2750;

Friday night’s moving performance of Johannes Brahms’ “A German Requiem” by the N.C. Symphony and N.C. Master Chorale not only revealed the work’s warmth and beauty but also served as an unplanned but fitting tribute to composer Robert Ward, who died April 3 at age 95.

Ward’s pieces have been regularly scheduled with the orchestra, most recently in January with music director Grant Llewellyn at the podium, a concert with Ward in attendance. Llewellyn announced Friday that the weekend’s Requiem performances were being dedicated to Ward’s memory.

Brahms’ 1869 composition is a welcoming, comforting and ultimately joy-filled piece that mirrors Ward’s own personality and music. Brahms began the Requiem after his mother’s death, choosing passages from the Lutheran Bible that focus on the consolation of the bereaved. The work wraps the listener in soothing compassion and promise of better days.

Friday’s performance was a highlight of the season, showing off orchestra and chorus to maximum advantage. Llewellyn set the standard early with a first movement (“Blessed are they that bear grief”) that surged and fell with wonderful flow. The chorus’ precise phrasing and admirable clarity indicated the expert preparation by Master Chorale music director Alfred E. Sturgis.

The orchestra brought appropriate weight to the second movement’s funeral march cadences, offering thrilling support to the joyous choral outbursts in the latter part, the text promising “pain and sighing shall flee away.” Llewellyn brought out all the gorgeous richness of the fourth movement (“How lovely are thy dwellings”) and the reverent calm of the last movement’s blessing of the dead.

Baritone Mark Schnaible impressed with his clear, firm solos in the third and fifth movements, each expressing acceptance of death and a coming transfiguration. Ilana Davidson applied her light, silvery soprano to the fifth movement’s foretelling of great joy and comfort.

At 65 minutes, the Requiem is often programmed with other works and not divided by an intermission, as here. But it’s a long stand for the chorus, and the evening nevertheless felt complete with such an all-encompassing masterpiece.


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