Sven Helbig releases his new album Requiem A, to mark the 80th anniversary today of the end of World War II

Sven Helbig, the acclaimed composer and multi-instrumentalist, is set to bring his latest work, REQUIEM A, to international stages. The world premiere took place on 9th February 2025 at the Dresdner Kreuzkirche, featuring Sven Helbig’s live electronics, the Staatskapelle Dresden and the Dresdner Kreuzchor under the baton of Martin Lehmann. Renowned bass René Pape, celebrated for his performances with the Berlin State Opera and New York’s Metropolitan Opera, will appear as the soloist. Following the premiere, REQUIEM A will take centre stage at Vienna’s prominent annual memorial event on 8th May 2025, at the heart of the city, Heldenplatz. For this occasion, the work will be performed by the Wiener Symphoniker and the Dresdner Kreuzchor. The performances will include live visuals by Icelandic film artist Máni M. Sigfusson, adding an immersive and dynamic visual dimension to the experience.

REQUIEM A is a deeply introspective work that blends traditional liturgical texts with new ones written by Sven Helbig. The title’s “A” symbolises “Beginning” (Anfang in German), highlighting themes of renewal and reconciliation. The composition weaves poetic imagery to explore the transition from mourning to life, with key motifs such as “setting off” (Aufbruch), “ashes” (Asche), and “breathing” (Atmen) guiding its narrative.

Inspired by Helbig’s reflections on history, memory, and the contemporary relevance of conflict, REQUIEM A remains grounded in hope and the potential for new beginnings. A visit with his grandfather, who occasionally shared memories of World War II, sparked a contemplation of how the echoes of war continue to resonate in present-day discourse. This connection to history is especially poignant, as REQUIEM A will debut during the 80th anniversary of the destruction of Dresden and the end of World War II.

Sven Helbig’s work bridges the ordinary and the extraordinary, offering deeply personal yet universally accessible reflections on loss, renewal, and hope. With REQUIEM A, he creates a meditation on human resilience and the possibility of new beginnings – an idea inspired in part by conversations with his daughter, Ida, who encouraged the symbolism behind the title. The following conversation between Sven Helbig and his daughter offers deeper insight into the personal and artistic journey that shaped REQUIEM A.

Excerpt from a conversation between Sven Helbig and his 14-year-old daughter, Ida:

Ida: What exactly is a Requiem?

Sven: First of all, it is one of the most important and significant musical forms in Western culture. The first known Requiem dates back to 1470 by Johannes Ockeghem. A Requiem was originally a Christian funeral mass for the deceased. Every Requiem is about the connection between life and death, transience and eternity. Requiems are still performed very often today and many people enjoy listening to them. They help when grief seems almost hopeless. The music of the great, famous requiems by Brahms, Fauré or Verdi is often sad and somewhat sombre, but it is immensely comforting.

Ida: And what inspired you to write a Requiem?

Sven: I was travelling back from a visit to Grandad (he’s 97 years old) when it occurred to me that he was the only person in my life who sometimes, very rarely, talked about the war. Today the topic is part of everyday life again. In my circle of friends, in the family and in the news, there is not a day without a thought of possible war. It has kept me very busy. We simply can’t get rid of it as a human race. That’s when I started working on the music and lyrics for a requiem. When I told you that I was very upset by the developments around us and that we had to find a new beginning somehow, you said it would be best to call it REQUIEM A. I liked that and that’s what it’s called now.

Ida: That is great. But what can a piece of music do in that situation?

Sven: As an artist, you can react to the times and depict a very personal reflection. I am convinced that without art, everything would be much worse. I’m sure you’ve already noticed how much energy music can give and how much it can comfort.

Ida: Yes, music can do that, but so can the lyrics of songs. What are the lyrics about?

Sven: I mix old liturgical texts with new texts of my own. The new texts caused me a lot of headaches. I first had to realise what I wanted to tell at all. The Requiem is being performed on the 80th anniversary of the destruction of Dresden and the end of the Second World War. When I told you about it, you spontaneously said I should call it REQUIEM A – A for beginning. I thought that was wonderful, because that’s exactly where the answer lies. After a conflict, or after a painful loss, you have to find your way back to life. I decided not to thematise the war. Every war develops from some kind of smouldering hurt. Forgiveness is a big word, but it is the only key to dealing with it and finding a new beginning. Breath is also an important word in REQUIEM A because it stands for life and beginning.

Ida: What else is it about?

Sven: In the Sanctus, I once included guilt in the text, but not the actual word. It says: “…blood on the hands and ashes on the face”. Blood, because unfortunately we don’t all get through life innocent and the question of our own guilt is always very important for self-knowledge and a new beginning. Ashes symbolise resurrection, rebirth and transformation. Forgiveness, mourning and consolation are of course also important ingredients for a requiem.

Ida: Why do you mix liturgical parts with new pieces and not write all the texts yourself? Sven: My

Requiem is built like a destroyed and partially rebuilt city. The Kreuzkirche in Dresden withstood the bombing, but the Altmarkt around it was destroyed and not historically rebuilt. The ground plan was preserved, but completely new buildings were erected on top of it. This is exactly how REQUIEM A was created on a ground plan. Kyrie and Agnus Dei are, so to speak, the old monuments on it.

Ida: So it’s no coincidence that your Requiem consists of 9 parts?

Sven: No, it’s not. In the spiritual world, the number 9 stands for new beginnings, for fulfilment, humanity and universality. The 9 also embodies the energies of a Lion. This is about learning to deal with your own power.

Ida: And what’s the girl on the cover picture all about? From a distance, it looks like a star. Sven: Yes, exactly, a glimmer of hope maybe. I’ve always heard that the destroyed cities after the war were great adventure playgrounds for children. Children can adapt very quickly to new situations and make something positive out of them. I photographed a girl jumping and put her on the black background, but much bigger. I showed it to my friend Neil Tennant and it was his idea to make the girl very small. He said: “…all black, but still life in the middle....”. I liked that immediately. His line is even part of the text in the final chorus.