Johannes Brahms’ intentions were primarily to soothe those left behind among the living when he composed his “German Requiem,” a piece where “Death is swallowed up in victory.” Perhaps knowing that, people were lined up waiting to get in to hear it on Sunday afternoon.

The ChoralArt Singers and guests gave a storm-delayed matinee performance of the Brahms-penned, piano-four-hands version of the Requiem at the Woodfords Congregational Church in Portland. Though the composer-chosen words from the Lutheran bible were in German (a printed translation of the text was provided), the message of comfort and reassurance came through in the voices and faces of the singers and in the blissful countenance of their leader, Music Director Robert Russell. Struggles can be shared and grief endured was the message.

Those familiar with the full orchestral arrangement of the piece were provided with the opportunity to hear what amounted to an intimate chamber version of the work. The instrumental colors may have been muted or, in some cases of necessity, omitted, and the work revealed its roots in earlier musical forms just a bit more in this less adorned rendition. But its subtler Romantic-era harmonic elements came to the fore, free at last, one could argue, of broad orchestral grandeur.

Thirty-four, black-clad singers in the multi-generational chorus, plus two guest vocalists, filled the historic church hall with a variety of sounds ranging from soft and subtle to strikingly assertive, always serving the overall sense of a hard-won uplift within the piece. Soloist Douglas Williams, a bass-baritone, added resonant drama, while soprano Molly Harmon offered gentler moments. Both joined in exploring the inspirational reaches of the final movement.

The pianists, Josie DiPhilippo and Kellie Moody, along with Mark Fredericks manning the tympani just behind them, sketched the accompaniment. The threesome added a good deal of rhythmic drive, particularly behind the outstanding passages of counterpoint, which Russell emphasized in his pre-concert remarks.

Russell also noted the non-liturgical nature of the Brahms Requiem, projecting a more worldly message than period works rooted in Catholicism by other 19th century composers. Perhaps this explains the inclusion of a concert-opening performance of Anton Bruckner’s “Os Justi” as an effort to start the program, by way of contrast, on a more ethereal level.

The slightly awkward segueing of the two works into each other may have had more to do with the packed house not knowing exactly when the less familiar Bruckner work was over and the main piece in the 80-minute concert would begin. In any event, it was a stirring afternoon performance of music about both personal and universal passages we all must eventually move through.

Steve Feeney is a freelance writer who lives in Portland.

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