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
Russian classical music traditions of opera and classical music in general, to inspire future generations of Russian composers. A number of composers received training in Italy or from these recent Italian emigres and composed vocal and instrumental works in the Italian Classical tradition popular in the day. These include ethnic Ukrainian composers Dmitri Bortniansky, Maksim Berezovsky and Artem Vedel who not only composed masterpieces of choral music but also included operas, chambers works and symphonic works. The first great Russian composer to exploit native Russian music traditions into the realm of Secular music was Mikhail Glinka (1804–1857), who composed the early Russian language