It was an inspired decision by conductor Grant Llewellyn to choose Ein Deutsches Requiem op 45 by Brahms for the closing concert of the 2013 Tenby Arts Festival. This major 19th century choral classic was performed in English by an impressive 'scratch' choir of some 80 voices at St. Mary's Church, Tenby, on September 28.

Brahms worked at its composition over a period of 11 years, completing it in 1868. As performances either of the complete work or of parts of it began to take place, Brahms's reputation as a great composer suddenly grew to full stature. Many choirs will be familiar with an anthem 'How lovely are Thy dwellings' which is, of course, part of the Requiem. The work as a whole sums up the unique character of Brahms's style, as well as reflecting his admiration for the music of the Polyphonic, Baroque and Classical eras.

The composer does not follow the traditional words of the requiem mass; instead he selects a series of powerful Biblical texts dealing with grief, a search for consolation and a looking forward to resurrection. Brahms is suggesting, for those who sing and listen, that the paradox involved in mourning and death can be reconciled. It is a moving personal statement, probably due in part to the death of the composer's mother.

The first lines of each of the seven sections show the progression of ideas, all matched by the character of the music: 'Blessed are they that mourn ... Behold all flesh is as grass... Lord, let me know mine end... How lovely are Thy dwellings... Ye now have sorrow but I will see you again... For we have here no abiding city... Blessed are the dead which die in the Lord'.

The sixth and seventh movements, using words from Hebrews, Corinthians and Revelation contain music depicting faith in the triumph of resurrection and an ultimate mood of serenity. The Requiem is scored for soprano and baritone soloists and orchestra. Brahms also produced a version with accompaniment for piano duet.

It can also be performed with organ accompaniment, as was the case at the Tenby concert when this role was filled brilliantly by Robert Court, whose playing was both masterly and sensitive. The vocal soloists were outstanding. In the fifth chorus, 'Ye now have sorrow but yet I will again behold you and your heart shall rejoice', soprano Sarah Benbow's singing was uplifting and moving - a moment to savour.

In the next section there is a further musical dialogue between soloist and chorus. With the words 'Behold I show you a mystery - we shall not all sleep' Brahms starts a thrilling series of upward modulations expressing in music the journey towards resurrection. This demands a combination of artistry, lyricism and drama from the baritone soloist, admirably achieved by Aaron Pryce-Lewis.

In many ways this concert can be considered a musical milestone for Tenby Arts Festival. It was a wonderful opportunity for all concerned to work with a world-class conductor in a choral masterpiece. The festival's success involved the talents, hard work, creativity and support of many people and this performance of the Brahms Requiem by a choir in fine voice to a large and appreciative audience provided a fitting and moving finalé to a memorable week.

John Harrison