Ein Deutsches Requiem, op. 45 (?

1857-1868)
Johannes B ahms (18!!-18"7)
1""" - E#$

1. % &e man Requiem 'p.45( )e*i+ sin,, ,ie ,a -ei, t a+en .. % &e man Requiem 'p.45( Denn a**es /*eisch es ist 0ie & as !. % &e man Requiem 'p.45( 1e , *eh e ,och mich 4. % &e man Requiem 'p.45( 2ie *ie3*ich sin, ,eine 2ohnun+en 5. % &e man Requiem 'p.45( $h ha3t nun 4 au i+5eit 6. % &e man Requiem 'p.45( Denn 0i ha3en hie 5eine 3*ei3en,e )ta,t 7. % &e man Requiem 'p.45( )e*i+ sin, ,ie 4oten
2hat the 6iennese musica* pu3*ic 5ne0 o7 Johannes B ahms in 1867 este, *a +e*8 on his sin+*e season as con,ucto o7 the )in+a5a,emie, an a cappe**a ensem3*e he ha, *e, th ou+h the un7ami*ia te ain o7 Ba oque cho a* music in 186!-64. %u,iences ha, not 0a me, to the 0o 5s o7 such compose s as 1ein ich )chut9 an, J.). Bach that B ahms ha, o77e e, them, in pa t 3ecause o7 the athe a*ienatin+ ,istance 3et0een the histo ica* an, mo,e n musica* st8*es, an, in pa t 3ecause :atho*ic 6ienna 0as ,iscom7ite, 38 the mi+ ation o7 chu ch music, much o7 it compose, 7o the ; otestant *itu +8, to its o0n conce t ha**s. $t cou*, ha ,*8 ha<e 3een su p isin+, then, 0hen the 7i st pe 7o mance o7 B ahms=s o0n monumenta* Ein Deutsches Requiem, itse*7 so st on+*8 in7*uence, 38 that same se<enteenth- an, ei+hteenth-centu 8 epe toi e, met 0ith a mi>e, eception. 4hat 7i st au,ience ,i, not, in 7act, hea the comp*ete Requiem, no e<en the si> mo<ements B ahms ha, compose, to that point. :on,ucto Johann 1e 3ec5 ha, pe sua,e, B ahms that 6iennese au,iences, accustome, to *i+hte o at *east mo e 7ami*ia 7a e, 0ou*, not ha<e the patience 7o so much hea,8 an, ,eman,in+ music, an, the 7i st pu3*ic pe 7o mance o7 the Requiem inc*u,e, on*8 its 7i st th ee

mo<ements. ?et e<en un,e this si+ni7icant*8 e,uce, 3u ,en the o chest a seems to ha<e 3een poo *8 p epa e,, so au,iences an, c itics cannot 3e he*, 7u**8 esponsi3*e 7o ha<in+ 7ai*e, to eco+ni9e a maste piece. 4he 7o**o0in+ 8ea , 0hen the 7u** si> mo<ements 0e e pe 7o me, at B emen in B ahms=s nati<e @o th &e man8 0ith the compose himse*7 con,uctin+, 3oth pe 7o me s an, au,iences 0e e consi,e a3*8 mo e 0e*comin+. %7te this mo e satis78in+ pe 7o mance B ahms comp*ete, 0hat is no0 the 7i7th mo<ement o7 the Requiem, an, at -eip9i+ in /e3 ua 8 o7 186" it 0as 7ina**8 pe 7o me, in 7u**. $n this 7o m, the Requiem 7i m*8 esta3*ishe, the thi t8-si>8ea -o*, B ahms as a compose o7 inte nationa* statu e. $t emaine, a stap*e o7 the o chest a* epe toi e 7o the emain,e o7 the centu 8, 7a**in+ out o7 7a<o 7o a time a7te B ahms=s ,eath. 4he t0entieth-centu 8 ea *8 music mo<ement, 0ith its inte est in histo ica**8-in7o me, pe 7o mance p actice, he*pe, , a0 attention to the Requiem as one o7 the most histo ica**8-in7o me, compositions o7 the nineteenth centu 8, etu nin+ it to its i+ht7u* status as one o7 the unmista5a3*e monuments o7 0este n music. 4he ci cumstances su oun,in+ the o i+ins o7 the Requiem a e not enti e*8 c*ea . $ts ea *iest music, the 7une a* ma ch o7 the secon, mo<ement, 0as o i+ina**8 concei<e, as a mi,,*e mo<ement 7o a p oAecte, s8mphon8 in the mi,-185B=s, 0hen B ahms 0as he*pin+ :*a a )chumann th ou+h the t aumatic institutiona*i9ation an, ,eath o7 he hus3an, Ro3e t, B ahms=s 7 ien, an, mento . 4he e0o 5e, 7i st mo<ement o7 the un7inishe, s8mphon8 e<entua**8 3ecame the 7i st mo<ement o7 the D mino ;iano :once to, a 0o 5 that has itse*7 a*0a8s 3een associate, 0ith )chumann=s memo 8. 4he conste**ation o7 the 7inishe, an, un7inishe, compositions an, thei connection 0ith the )chumanns st on+*8 su++est an impu*se to memo ia*i9e Ro3e t )chumann in the 0 itin+ o7 the Requiem. :*a a )chumann, 0hom B ahms 5ept app ise, o7 the 0o 5=s p o+ ess th ou+hout the pe io, o7 its composition, 3e*ie<e, that he ha, anothe ,e,icatee in min,. $n 1864, ha<in+ esi+ne, his position 0ith the 6ienna )in+a5a,emie, B ahms etu ne, home to 1am3u + in an unsuccess7u* attempt to he*p his pa ents sa<e thei 7ai*in+ ma ia+e. 1is mothe ,ie, in Janua 8 o7 1865, an, 0ithin a 7e0 months mention o7 the

Requiem as a 0o 5 in ,e<e*opment 3e+an to appea in his *ette s to :*a a. But as music histo ian #ichae* #us+ a<e points out, the e is 3a e*8 a t0o-month +ap 3et0een the ,eath o7 :h istine B ahms an, the athe ,etai*e, ,esc iption o7 the Requiem=s 7i st 7ou mo<ements B ahms sent to :*a a )chumann, su++estin+ a much 7aste pace o7 composition than 0as cha acte istic o7 him, especia**8 +i<en the 0o 5=s monumenta* p opo tions. $t seems *i5e*8 that upon the ,eath o7 his mothe B ahms etu ne, 0ith ene0e, intensit8 to a 0o 5 a* ea,8 un,e 0a8. B ahms=s se*ection o7 the te>ts 7o the se<en mo<ements o7 Ein Deutsches Requiem e7*ects his *i7e*on+ 7ami*ia it8 0ith sc iptu e an, his a3i*it8 su3t*8 to in7*ect it to meet his o0n nee,s. D a0in+ upon -uthe =s t ans*ation o7 the '*, an, @e0 4estaments an, the %poc 8pha, he assem3*e, 0hat amounts to an in,epen,ent poetic na ati<e that mo<es 7 om the + ie7 o7 the 3e ea<e, to the conso*ation o77e e, 38 the p omise o7 esu ection. %t the same time, he e77ecti<e*8 einte p ets :h istian theo*o+8, ma5in+ no e7e ence to :h ist himse*7 o to &o,=s 0 ath on the Da8 o7 Ju,+ment, an, epositionin+ the i,ea o7 esu ection as an a** 3ut inconcei<a3*e chan+e o7 3ein+ athe than as a *ite a* 3o,i*8 etu n. 4he music Aoine, to the 3i3*ica* te>ts ,emonst ates a simi*a *8 7 ee app oach to inhe ite, mate ia*s an, st8*es. 4he cho a* con,ucto )ie+7 ie, 'chs epo ts B ahms=s c*aim that a sin+*e -uthe an cho a*e me*o,8, 0hich 'chs ,ete mine, to ha<e 3een C2e nu ,en *ie3en &ott *Dsst 0a*ten,C p o<i,e, much o7 the 0o 5=s thematic mate ia*, a*thou+h the cho a*e itse*7 ne<e ma5es a *ite a* appea ance. 4he cent a* impo tance o7 a -uthe an cho a*e imme,iate*8 , a0s the 0o 5 into the t a,ition o7 J.). Bach, 0hose music B ahms 5ne0 mo e intimate*8 than ,i, an8 othe compose o7 his ,a8. 4he me*o,8 'chs i,enti7ie, in,ee, appea s in mo e than one Bach cantata, as 0e** as in compositions 38 #en,e*ssohn an, )chumann, in each case ha<in+ te>tua* associations 0ith su77e in+ an, conso*ation that ha<e esonance 7o the Requiem. But, a+ain, B ahms is no s*a<e to his 3o o0e, mate ia*sE the cho a*e me*o,8 in7o ms the Requiem chie7*8 38 <i tue o7 the +ent*8 a chin+ contou o7 its 7i st ph ase, appa ent in the openin+ me*o,ic +estu e in the st in+s in the 7i st mo<ement, an,, mo e sta 5*8, in the cho a*e*i5e me*o,8 +i<en to the cho us in the secon, mo<ement. #o e su3stanti<e e7e ences to the musica* past eme +e 7 om the

st8*es in<o5e, in the Requiem=s in,i<i,ua* mo<ements an, 7 om its *a +e-sca*e st uctu e. 4he 7i st mo<ement, 0ith its imitati<e inte p*a8 o7 ent ances 3ase, on the cho a*e moti<e, su++ests the st8*e o7 a cho a*e p e*u,e, a su++estion continue, th ou+h the secon, mo<ement 38 the appea ance o7 the cho a*e me*o,8 p ope on the te>t CDenn a**es /*eisch es ist 0ie & as.C 4he secon, mo<ement=s 7une a* ma ch, o i+ina**8 ,e i<e, 7 om the a3o ti<e ea *8 s8mphon8, eca**s the s*o0 mo<ements o7 Beetho<en=s 4hi , an, )e<enth )8mphonies, 3ut he e in7use, 0ith a 1i+h Romantic e>p essi<e intensit8, un,e sco e, 38 the ha*tin+, + ie7-st ic5en t ip*e mete . B ahms , e0 the te>t o7 the secon, mo<ement 7 om 7ou sepa ate 3i3*ica* sou ces, +i<in+ it the most sha p*8 ,e7ine, sectiona* ,i<isions in the 0o 5E the shi7t 7 om the cho a*e=s ste n emin,e o7 the t ansience o7 7*esh to the 7u+a* ce*e3 ation o7 the pe manence o7 &o,=s 0o , (C%3e ,es 1e n 2o t 3*ei3et in E0i+5eitC) must 3e amon+ the most , amatica**8 a ticu*ate, cont a,ictions in 0este n music. 4he thi , mo<ement int o,uces the 7i st <oca* so*oist, the 3a itone, as the te>tua* pe specti<e app op iate*8 shi7ts 7 om the cosmic to the in,i<i,ua*. %s in the secon, mo<ement, the t aAecto 8 o7 the thi , is 7 om 3*ea5 to Au3i*ant, 7 om mo ose e7*ection on the ine<ita3i*it8 o7 one=s o0n ,eath, e>p esse, in a ca** an, esponse st8*e that , a0s on ope atic ecitiati<e, to hope an, 7aith in &o,=s com7o t, a shi7t a+ain si+na*e, 38 an e>u3e ant, e>ten,e, 7u+a* passa+e. 'n the hee*s o7 this i+o ous e>e cise in ei+hteenth-centu 8 counte point, the 7o*5-*i5e simp*icit8 o7 the 7ou th mo<ement comes as a Ao*tE 0ith its ethe ea* <ision o7 ete nit8 as the cou t o7 &o,, this is as c*ose as B ahms comes to an e>p ession o7 the t anscen,enta*. 4he 7i7th mo<ement, 7o so*o sop ano, 0as the *ast a,,ition to the Requiem. & ie7 is he e o<e come an, the pe specti<e is, a+ain, ,eep*8 pe sona*. 4he cho us=s hushe, emphasis on the *ine o7 te>t ,esc i3in+ a mothe =s com7o t (C$ch 0i** euch t osten, 0ie einen seine #utte t ostetC) , a0s the connection to B ahms=s o0n pe sona* *oss that :*a a )chumann 7oun, so compe**in+. Fn*i5e the 3a itone o7 the thi , mo<ement, 0ho spea5s as the <oice o7 the su77e e in nee, o7 conso*ation, the sop ano spea5s as the <oice o7 autho it8, the +i<e o7 conso*ation. 4he 3a itone 0ho eappea s in the si>th

mo<ement is no0 the su77e e st en+thene, 38 com7o t, no *on+e 3u ,ene, 0ith + ie7 o 7ea . 4he 7ami*ia passa+e 7 om ;au*=s *ette to the :o inthians ce*e3 atin+ the ,e7eat o7 ,eath *aunches a thi , 7u+a* ce*e3 ation, this one o7 &o, as the p aise0o th8 c eato o7 a** thin+s. 4he 7ina* mo<ement , a0s an imme,iate te>tua* pa a**e* to the 7i stE in the 7i st mo<ement, the openin+ 7 om #atthe0, CB*esse, a e the8 that mou n( 7o the8 sha** 3e com7o te,,C sets the conte>t 7o the p o+ ession to the 7ou th mo<ement, the p o+ ession a0a8 7 om + ie7. $n the se<enth mo<ement, the te>t is 7 om Re<e*ations( CB*esse, a e the ,ea, 0hich ,ie in the -o , 7 om hence7o thEC the c8c*e 7 om *i<in+ to ,ea,, 7 om su77e in+ to conso*ation is comp*ete,, a ce taint8 con7i me, 38 the eme +ence, in the 7ina* measu es, o7 the music 7 om the 7i st mo<ement to the te>t 3oth mo<ements sha e( C)e*i+ sin,,C o CB*esse, a e the8.C 4he st uctu e o7 the 0ho*e, then, esem3*es a + eat a ch, 0ith the 7ou th-mo<ement <ision o7 ete nit8 as the 5e8stone, 0hi*e the tona*it8 7 om mo<ement to mo<ement (an, 0ithin the in,i<i,ua* mo<ements) 7o**o0s a continua**8 3 i+htenin+ cou se, shi7tin+ 7 om the mino mo,e to the maAo , o 7 om 7*atte , ,a 5e 5e8s to sha pe , 3 i+hte ones. $n this espect, too, B ahms ,isp*a8s his + asp o7 his a tistic inhe itance, an, a+ain the 3equest comes 7 om Bach. $n the + eat c8c*es o7 his -eip9i+ cantatas, Bach 7 equent*8 put tona* e*ationships to theo*o+ica* en,s, const uctin+ 0hat scho*a E ic :ha7e has ,esc i3e, as Ctona* a**e+o iesC that 3 ou+ht his compositions 7o the 0ee5*8 -uthe an se <ice into con7o mit8 0ith the conce ns a,, esse, 38 the :hu ch ca*en,a . B ahms a,opts Bach=s st ate+8 to his o0n en,s, const uctin+ a musica* 7 ame0o 5 that e<a,es ,enominationa* pa ticu*a it8 in 7a<o o7 a mo e pe sona* <ision that, 38 <i tue o7 the humanit8 an, +ene osit8 o7 the <isiona 8, aspi es to the uni<e sa*. % 0on,e 7u* em3a assment o7 iches 7aces those *oo5in+ to p ocu e a eco ,in+ o7 B ahms= Ein deutsches Requeim 7o thei co**ection. 4his monument o7 B ahms= oeuvre has a*0a8s 3een 0e** ep esente, on ,isc, an, 7 om the continuous output o7 outstan,in+ <e sions, it *oo5s as thou+h the t en, 0i** happi*8 continue.

)tunnin+ it its c*a it8, tautness, , ama, po*ishe, p*a8in+ an, sin+in+, an, o<e 0he*min+ musica*it8 is John E*iot &a ,ne =s 1""B eco ,in+ 0ith the #onte<e ,i :hoi an, the ' chest e RG<o*utionnai e et Romantique (;hi*ips 4!. 14B-.). 'ne o7 t0o cu ent*8 a<ai*a3*e <e sions usin+ pe io, inst uments, te>tu es a e c*ean*8 etche, an, hi+h*i+hte,. 4he *i+hte tone o7 +utst un+ <io*ins, sho t 6iennese o3oes, an, sma**, 3 i+ht timpani p*a8e, 0ith ha , stic5s athe than so7t, 7u998 ma**ets, cont i3ute to the c*a it8. )ti**, the e is no *ac5 o7 0ei+ht an, st en+th he e. 4he :hoi , au+mente, 7o this eco ,in+ to a tota* o7 48 mem3e s, sin+s impecca3*8. ;e 7ect ,iction, intonation, ph asin+, an, a 0on,e 7u**8 <a ie, tona* pa*ette a e a*0a8s ha**ma 5s o7 the ensem3*e--an, a e in e<i,ence he e as much as e<e . &a ,ine =s un0a<e in+ attention to B ahms= sc upu*ous ,8namic an, ph asin+ ma 5in+s is a,mi a3*e, an, the esu*ts point up the compose =s a chitectu a* +enius. &*o0in+ sin+in+ 38 so*oists Ro, &i*7 8 an, :ha *otte #a +iono oun, out this 7i st- ate ecommen,ation. B8 compa ison, the othe Cpe io, inst umentC <e sion, con,ucte, 38 Ro+e @o in+ton (E#$ :D: 7 54658 .), is a ,isappointment. 4hou+h c*ean an, ti+ht, 0ith some 3eauti7u* sin+in+ an, p*a8in+, it is noticea3*8 *ac5in+ in , ama an, impact--the esu*ts a e mo e CB ahms--ite-ishC--*i5e a Bach cantata on ste io,s. '7 the C3i+-3an,C <e sions a<ai*a3*e, :*au,io %33a,o=s ne0est 0ith the Be *in ;hi*ha monic an, the )0e,ish Ra,io :ho us an, E ic E icson :ham3e :hoi (Deutsche & ammophon 4!7 517-.) is a 0inne . 4a5en 7 om *i<e conce ts, the e a e the e>pecte, mino +*itches( au,ience cou+hs, occasiona* en,-o7-0o , consonants that a e not pe 7ect*8 *ine, up, etc. But the o<e a** impact an, 3eaut8 o7 the p*a8in+ an, sin+in+ is top-, a0e . :he 8* )tu,e is a a,iant sop ano so*oist, an, %n, eas )chmi,t=s 3a itone cont i3ution is a,mi a3*e 7o its 0a mth an, ,epth--thou+h the ea* sta o7 the eco ,in+ is sti** the choi . 4h ou+h the 8ea s, the D& en+inee s seem inc easin+*8 3ette a3*e to cope 0ith the o,, 7*atness o7 Be *in=s ;hi*ha monie as a eco ,in+ <enue, an, the eco ,e, soun, 7o this e*ease is 7u** an, ich 0ith no *ac5 o7 ,etai*. 'tto H*empe e =s 1"6. ea,in+ 0ith the ;hi*ha monia :ho us an, ' chest a has *on+ 3een a 7a<o ite (E#$ :D: 7 47.!8 .). 4he cho us ,oes not ha<e the po*ish an, unanimit8 o7 tone p o,uction o7 se<e a* mo e ecent <e sions, 3ut the sin+in+ is sti** musica* an, con<incin+. 4he so*o sin+in+ is unmatche,, as

0ou*, 3e e>pecte, 0ith E*isa3eth )ch0a 95op7 an, Diet ich /ische -Dies5au. 4hou+h Penguin cha acte i9es the tempi as Cconsistent*8 s*o0,C the8 a e actua**8 athe in the mi,,*e + oun, o7 0hat is a<ai*a3*e, 0ith @o in+ton at the 7ast en, an, Ri**in+ at the opposite. 4he ,i+ita* t ans7e is a success, an, thou+h the sonics ,o not soun, 3 an,-ne0, the8 compa e 7a<o a3*8 0ith mo e ecent <e sions. Ro3e t )ha0 eco ,e, the Requiem in 1"84 7o 4e*a c (4e*a c :D-8BB".) as pa t o7 his t a<e sa* o7 the + eat cho a*Io chest a* maste 0o 5s 7o that *a3e*. Both sin+in+ an, p*a8in+ a e e>ce**ent, an, tempi a e +ene a**8 e<en mo e e>pansi<e than H*empe e =s--thou+h the e is sti** the tautness an, p ecision necessa 8 to 3 in+ o77 the 0o 5=s mo e comp*e> cont apunta* sections. % *een %u+G is pu e an, poise, as sop ano so*oist. 4he on*8 mino qui33*e 0ith this o77e ein+ is that the cho us is p*ace, quite 7a 3ac5 in the eco ,e, pe specti<e, ,et actin+ 7 om the *istene =s pe ception o7 the ensem3*e=s *8 ic ,iction. 4he e a e man8 othe hi+h*8 ecommen,e, eco ,in+s, an, the *istene ea**8 can=t +o 0 on+ 0ith an8 o7 se<e a* <e sions. )inopo*i=s e,-3*oo,e, ea,in+ 0ith the ; a+ue ;hi*ha monic :ho us an, the :9ech ;hi*ha monic is , amatic an, 0e** eco ,e, (Deutsche & ammophon 4." 486-.). Eithe o7 Ha aAan=s *ate t0o <e sions (E#$ :D# 7 6".."-. 7 om 1"77 o Deutsche & ammophon 4!1 651-. 7 om the ea *8 1"B8=s) is +oo,. %n, a*thou+h 3oth 7eatu e the 6ienna )in+<e ein, the choi seems in 3ette <oice on the ea *ie E#$ <e sion. 1aitin5 con,ucts a <e 8 pe suasi<e pe 7o mance (;hi*ips 4!. B!8-.) 0ith the 6ienna )tate 'pe a :ho us an, the 6ienna ;hi*ha monic. 4empi a e <e 8 s*o0 an, Penguin p aises the C apt qua*it8 in this +*o0in+ pe 7o mance.C 4e>t $n the 7o**o0in+ the &e man is the te>t se*ecte, 38 B ahms 7 om the -uthe an 3i3*e. 4he En+*ish is the Hin+ James <e sion o7 the same <e ses. $ )e*i+ sin,, ,ie ,a -ei, t a+en, ,enn sie so**en +et Jstet 0e ,en. (#ath. 5, 4.)

Die mit 4 Dnen sDen, 0e ,en mit / eu,en e nten. )ie +ehen hin un, 0einen un, t a+en e,*en )amen, un, 5ommen mit / eu,en un, 3 in+en ih e &a 3en. (;s. 1.6, 5.6.) $ B*esse, a e the8 that mou nE 7o (#atthe0 5(4) the8 sha** 3e com7o te,.

4he8 that so0 in tea s sha** eap in Ao8. 1e that +oeth 7o th an, 0eepeth, 3ea in+ p ecious see,, sha** ,ou3t*ess come a+ain 0ith eAoicin+, 3 in+in+ his shea<es 0ith him. (;sa*m 1.6(5,6) $$ Denn a**es /*eisch ist 0ie & as un, a**e 1e *ich5eit ,es #enschen 0ie ,es & ases B*umen. Das & as ist <e ,o et un, ,ie B*ume a3+e7a**en. (;et i 1, .4.) )o sei, nun +e,u*,i+, *ie3en B K,e , 3is au7 ,ie Lu5un7t ,es 1e n. )iehe, ein %c5e mann 0a tet au7 ,ie 5Jst*iche / ucht ,e E ,e un, is +e,u*,i+ ,a K3e , 3is e emp7ahe ,en #o +en e+en un, %3en, e+en. (Jaco3i 5, 7.) %3e ,es (;et i 1, .5.) 1e n 2o t 3*ei3et in E0i+5eit.

Die E *Jseten ,es 1e n 0e ,en 0ie,e 5ommen, un, +en Lion 5ommen mit Jauch9enE e0i+e / eu,e 0i , K3e ih em 1aupte seinE / eu,e un, 2onne 0e ,en sie e + ei7en un, )chme 9 un, )eu79en 0i , 0e+ mKssen. (Jessias !5, 1B.) $$ /o a** 7*esh is as + ass, an, a** the +*o 8 o7 man as the 7*o0e o7 + ass. 4he + ass 0ithe eth, an, the 7*o0e the eo7 7a**eth a0a8. (1 ;ete 1(.4)

Be patient the e7o e, 3 eth en, unto the comin+ o7 the -o ,. Beho*,, the hus3an,men 0aiteh 7o the p ecious 7 uit o7 the ea th, an, hath *on+ patience 7o it, unti* he ecei<e the ea *8 an, *atte ain. (James 5(7) But the 0o , (1 ;ete 1(.5) o7 the -o , en,u eth 7o e<e .

%n, the ansome, o7 the -o , sha** etu n, an, come to Lion 0ith son+s an, e<e *astin+ Ao8 upon thei hea,s( the8 sha** o3tain Ao8 an, +*a,ness, an, so o0 an, si+hin+ sha** 7*ee a0a8. ($saiah !5(1B) $$$ 1e , *eh e ,och mich, ,aM ein En,e mit mi ha3en muM, un, mein -e3en ein Lie* hat, un, ich ,a<on muM. )iehe, meine 4a+e sin, eine 1an, 3 eit <o ,i , un, mein -e3en ist 0ie nichts <o ,i . %ch, 0ie +a nichts sin, a**e #enschen, ,ie ,och so siche *e3en. )ie +ehen ,ahe 0ie ein )chemen, un, machen ihnen <ie* <e +e3*iche Fn uheE sie samme*n un, 0issen nicht 0e es 5 ie+en <i ,. @un 1e , 0ess so** ich mich t Jsten? $ch ho77e au7 ,ich. (;s.!", 5.6.7.8.) De &e echten )ee*en sin, in &ottes 1an, un, 5eine Nua* Kh et sie an. (2eish.)a*.!, 1.) $$$ -o ,, ma5e me to 5no0 mine en,, an, the measu e o7 m8 ,a8s, 0hat it is( that $ ma8 5no0 ho0 7 ai* $ am. Beho*,, thou hast ma,e m8 ,a8s as an han,3 ea,thE an, mine a+e is as nothin+ 3e7o e thee.... )u e*8 e<e 8 man 0a*5eth in a <ain she0( su e*8 the8 a e ,isquiete, in <ain( he heapeth up iches, an, 5no0eth not 0ho sha** +athe them. %n, no0, -o ,, 0hat 0ait $ 7o ? m8 hope is in thee. (;sa*m !"(4-7)

But the sou*s o7 the i+hteous a e in the han, o7 &o,, an, the e sha** no to ment touch them. (2is,om o7 )o*omon !(1) $6 2ie *ie3*ich sin, ,eine 2ohnun+en, 1e Le3aothO #eine see*e <e *an+et un, sehnet sich nach ,en 6o hJ7en ,es 1e nE mein -ei3 un, )ee*e 7 euen sich in ,em *e3en,i+en &ott. 2oh* ,enen, ,ie in ,einem 1ause 0ohnen, ,ie *o3en ,ich imme ,a . (;s.84, ..!.5.) $6 1o0 amia3*e a e the8 ta3e nac*es, ' -o , o7 hostsO #8 sou* *on+eth, 8ea, e<en 7ainteth 7o the cou ts o7 the -o ,( m8 hea t an, m8 7*esh c ieth out 7o the *i<in+ &o,. B*esse, a e the8 that ,0e** in th8 house( the8 0i** 3e sti** p aisin+ thee. (;sa*m 84(1,.,4) 6 $h ha3t nun 4 au i+5eitE a3e ich 0i** euch 0ie,e sehen un, eue 1e 9 so** sich 7 euen un, eu e / eu,e so** neiman, <on euch nehmen. (E<. Joh. 16, ...) )ehet mich an( $ch ha3e eine 5*eine Leit #Khe un, % 3eit +eha3t un, ha3e + oMen 4 ost 7un,en. ()i ach 51, !5.) $ch 0i** euch (Jes. 66, 1!.) 6 %n, 8e no0 the e7o e ha<e so o0E 3ut $ 0i** see 8ou a+ain, an, 8ou hea t sha** eAoice, an, 8ou Ao8 no man ta5eth 7 om 8ou. (John 16(..) t Jsten, 0ie Einen seine #utte t Jstet.

?e see ho0 7o a *itt*e 0hi*e $ *a3o an, toi*, 8et ha<e $ 7oun, much est. (Ecc*esiasticus 51(.7) %s one 0hom his mothe com7o teth, so 0i** $ com7o t 8ou.... ($saiah 66(1!) 6$ Denn 0i ha3en 9u5Kn7ti+e (E3 . 1!, 14.) hie 5eine 3*ei3en,e suchen )tatt, son,e n 0i . ,ie

)iehe, ich sa+e euch ein &eheimnis( 2i 0e ,en nicht a**e entsch*a7en, 0i 0e ,en a3e a**e <e 0an,e*t 0e ,enE un, ,asse*3i+e p*Jt9*ich, in einem %u+en3*ic5, 9u ,e Leit ,e *et9ten ;osaune. Denn es 0i , ,ie ;osaune scha**en, un, ,ie 4oten 0e <an,e*t 0e ,en. Dann 0i , e 7K**et 0e ,en ,as 2o t, ,as +esch ie3en steht( De 4o, is <e sch*un+en in ,en )ie+. 4o,, 0o ist ,ein )tache*? 1J**e, 0o ist ,ein )ie+? (1. Ho inthe 15, 51-55.) 1e , ,u 3ist 2K ,i+ 9u nehmen ; eis un, Eh e un, H a7t, ,enn ,u hast a**e Din+e +escha77en, un, ,u ch ,einen 2i**en ha3en, sie ,as 2esen un, sin, +escha77en. ('77. Joh. 4, 11.) 6$ /o he e ha<e 0e no continuin+ cit8, 3ut 0e see5 one to come. (1e3 e0s 1!(14) Beho*,, $ she0 8ou a m8ste 8E 2e sha** not a** s*eep, 3ut 0e sha** a** 3e chan+e,. $n a moment, in the t0in5*in+ o7 an e8e, at the *ast t ump( 7o the t umpet sha** soun,, an, the ,ea, sha** 3e aise, inco upti3*e, an, 0e sha** 3e chan+e,. ...then sha** 3e 3 ou+ht to pass the sa8in+ that is 0 itten, Death is s0a**o0e, up in <icto 8. ' ,eath, 0he e is the8 stin+? ' + a<e, 0he e is the8 <icto 8? (1 :o inthians 15(51,5.,54,55) 4hou a t 0o th8, ' -o ,, to ecei<e +*o 8 an, honou an, po0e ( 7o thou hast c eate, a** thin+s, an, 7o th8 p*easu e

the8 a e (Re<e*ation 4(11) 6$$

an,

0e e

c eate,.

)e*i+ sin, ,ie 4oten, ,ie in ,em 1e n ste 3en, <on nun an. Ja, ,e &eist sp icht, ,aM sie uhen <on ih e % 3eitE ,enn ih e 2e 5e 7o*+en ihnen nach. ('77. Joh. 14, 1!.) 6$$ ...B*esse, a e the ,ea, 0hich ,ie in the -o , 7 om hence7o th( ?ea, saith the )pi it, that the8 ma8 est 7 om thei *a3ou sE an, thei 0o 5s ,o 7o**o0 them. (Re<e*ation 14(1!)