A German Requiem (Brahms) humanism persists through the work. Brahms purposely omitted Christian dogma. In his correspondence with Carl Reinthaler, when Reinthaler expressed concern over this, Brahms refused to add references to "the redeeming death of the Lord", as Reinthaler described it, such as . In the Bremen performance of the piece, Reinthaler took the liberty of inserting the aria "I know that my Redeemer liveth" from Handel's "Messiah" to satisfy the clergy. In addition to soprano and baritone soloists and mixed chorus, "A German Requiem" is scored for: Since Brahms inserted the fifth movement, the work shows symmetry around the fourth movement, which
Music for the Requiem Mass the actual Roman Catholic liturgy, are often composed as one movement. Musico-thematic relationships among movements within a Requiem can be found as well. Beginning in the 18th century and continuing through the 19th, many composers wrote what are effectively concert works, which by virtue of employing forces too large, or lasting such a considerable duration, prevent them being readily used in an ordinary funeral service; the requiems of Gossec, Berlioz, Verdi, and Dvořák are essentially dramatic concert oratorios. A counter-reaction to this tendency came from the Cecilian movement, which recommended restrained accompaniment for liturgical music, and frowned upon the use