Its fifth movement, added two years after its original premiere, sees the soprano soloist enter near the end with a transfigured descending line on the words (*) "I will see you again!"
The second movement of this work features timpani playing a steady line of triplet rhythms, and generally resembles a funeral march in triple time. During its sixth movement, a timpani roll and a long horn note precede the entrance of the baritone soloist, after which the key shifts briefly from C minor to F major. This work's third movement ends in a fugue grouped into large bars in 4/2 time, during which a constant bass note "D" is played as a pedal point. Its fifth movement, added two years after its original premiere, sees the soprano soloist enter near the end with a transfigured descending line on the words (*) "I will see you again!" Its first movement, which omits violins entirely, opens with the words "Blessed are they that mourn, for they shall be comforted". At this work's premiere, Carl Reinthaler inserted an aria from Handel's Messiah in order to satisfy the clergy, who disapproved of its lack of references to Jesus. For 10 points, identify this non-liturgical sacred work composed by Johannes Brahms.
The second movement of this work features timpani playing a steady line of triplet rhythms, and generally resembles a funeral march in triple time.
A {German Requiem}, To Words of the Holy Scriptures [accept Ein {Deutsches Requiem}, nach Worten der heiligen Schrift; accept Johannes {Brahms's Requiem} before “Brahms” is read; accept Johannes Brahms's Opus 45, with “Brahms” not needed after it is read]