While visiting some friends at Wilhelmshaven in 1868, Johannes Brahms was introduced to a poem, "Hyperions Schicksalslied," from Hölderlin's novel, Hyperion. Declaring himself to be "stirred to his depths" by it, Brahms set to work on it that same day (when out for a walk along the beach with the same friends, the composer disappeared, to be found some distance back, sitting on the beach writing). Conceived soon after the premiere of his German Requiem, Schicksalslied (Song of Destiny) shares many musical characteristics with its grander counterpart, and has become an equally beloved part of the choral repertory. It was premiered in Karlsruhe on October 18, 1871, with Brahms himself conducting.

Hölderlin's three-verse poem divides roughly into two parts, the first of which (two verses) evokes the gentle, peaceful stasis of immortality (as personified by gods), and the second of which contrasts that piece with the tumult of mortal life. Brahms mitigates this contrast by constructing his setting in a ternary form, returning to the peaceful mood of the opening after the second section. This liberty is sometimes cited in criticism of the work, suggesting that Brahms weakened the intentions of the poem by allowing for a sense of reprieve from the harsh sentiments of Hölderlin's verse; however, it is more likely that Brahms' use of recapitulatory material is reflective more of musical values than poetic, since Brahms always showed a preference for Classical form and closure in his music.

A serene and glowing orchestral introduction prefaces the first part of the work. The altos begin the poem and the other voices enter in warm harmonies, evoking the calm joy of an ideal spiritual existence. This section seems to close on a peaceful cadence until a soft, yet dissonant, chord serves as a pivot to the turbulent second section in C minor. The full chorus enters, intoning a bitter complaint of humankind's suffering, unrest and death. In swirling 3/4 time, Brahms make effective use of his trademark cross-rhythms. The chorus fades out, intoning the words "jahr lang ins Ungewisse hinab" ("to the unknown below"), and the orchestra begins a dirge which seemingly will end the work. But, as mentioned, Brahms instead returns to the opening material, allowing for an ending that is peaceful and, even for Brahms, unusually beautiful.

© Wayne Reisig, All Music Guide