Sven Helbig’s REQUIEM A: A Profound Musical Meditation on Memory, Loss, and Renewal
There are composers who write music, and then there are those who sculpt sound into something transcendent—Sven Helbig belongs to the latter. A visionary composer and multi-instrumentalist, Helbig has spent his career bridging the worlds of classical tradition and modern innovation, crafting sonic landscapes that resonate deeply with contemporary audiences. With his upcoming album, REQUIEM A, set for release in May 2025 under Deutsche Grammophon, Helbig embarks on his most personal and evocative project yet—one that wrestles with history, grief, and the ever-present search for renewal.
At its core, REQUIEM A is a dialogue between the past and the present. Drawing inspiration from ancient liturgical texts and intertwining them with his own poetry, Helbig masterfully weaves together soaring choral passages, rich orchestral textures, and ethereal electronic elements. The result is an immersive experience—both meditative and dramatic—that invites listeners to reflect on the cyclical nature of loss and rebirth.
The genesis of REQUIEM A lies in deeply personal conversations: reflections with his 97-year-old grandfather about the echoes of World War II and discussions with his 14-year-old daughter, Ida, about the weight of history and the possibility of new beginnings. “War is something we simply cannot seem to escape as a human race,” Helbig explains. “It’s a shadow that follows us across generations, shaping our fears and our hopes. This Requiem is my way of making sense of it all—of searching for a path forward.”
REQUIEM A premiered in February 2025 at the iconic Dresdner Kreuzkirche, performed by the Staatskapelle Dresden and the Dresdner Kreuzchor under the direction of Martin Lehmann. Renowned bass René Pape, celebrated for his work with the Berlin State Opera and the Metropolitan Opera, lent his commanding voice to the piece. REQUIEM A will take the spotlight at Vienna’s annual memorial event on May 8, 2025, at Heldenplatz accompanied by stunning live visuals from Icelandic artist Máni M. Sigfusson.
For Helbig, music is more than just composition; it is a vessel for memory, a bridge between generations, and a means of transformation. Born and raised in Eisenhüttenstadt, East Germany, he discovered music in the most unlikely of places—through brass bands, homemade radios, and his parents' cherished vinyl records. This early fascination with both classical instruments and electronic experimentation has defined his career, allowing him to craft a distinctive style that defies convention. From his groundbreaking Pocket Symphonies to his collaborations with leading orchestras and choirs worldwide, Helbig has continuously pushed the boundaries of what classical music can be.
Q: REQUIEM A merges ancient liturgical texts with your own poetry. How did you navigate blending these two elements to create a cohesive narrative.
The liturgical texts are universal expressions, descriptions, and petitions. I wanted to contrast this universality with something concrete – a specific experience that cries out for redemption. Requiem A is framed by two arias, in which we encounter a person with personal pain. This makes the liturgy more tangible and individual.
Q: You’ve mentioned that the album is about new beginnings in the face of historical trauma. In today’s world, with ongoing conflicts, how do you see the role of music in shaping collective memory and healing?
Music can create a space for emotions that we do not express or that we suppress in everyday life. It also offers a wonderful opportunity to encounter ourselves. In this self-encounter lies the possibility of healing. All forms of culture preserve collective experiences. Culture is the collective memory, and music is its voice.
Q: Your conversations with your daughter, Ida, played a key role in shaping the album’s concept. How did her perspective influence your creative process?
Children can adapt to new situations very quickly. They interpret circumstances according to their creative will rather than submitting to them. I have seen images of children happily playing in ruins and burnt-out tanks. This shows their innate optimism. When it comes to overcoming historical trauma, a young generation must have a say in shaping the future. My daughter contributed many beautiful ideas to Requiem A. The title also comes from her.
Q: Given the album’s themes of war, memory, and renewal, how do you see the responsibility of artists in times of crisis? Should music be a form of protest, comfort, or both?
All music belongs together. Protest and harmony both have their place – there must never be only one or the other. Between them, there are also hybrid forms. Music that reconciles opposing sides is, in its own way, an unsettling yet harmonious form of protest. Protest can also mean refusing to engage in destruction and harsh tones.
Q: The motifs of breath, ashes, and rebirth are central to REQUIEM A. How do these symbols reflect your view on how societies rebuild after trauma?
I believe that true renewal only happens fundamentally with the progression of generations. Overcoming trauma requires immense psychological strength. In the Christian faith, these forces can be mobilized – but to do so, human instincts must be transcended. This requires health on all levels. The “A” in the title stands for the German word Atem (breath). Breath holds the primal force of life. It is the key – but one must also know how to use it.
Q: Given your album’s exploration of forgiveness and transformation, do you believe true reconciliation is possible in today’s divided world?
We must not ask too much of music. Music is an extension of our language and communication. Humans have always expressed themselves in this abstract form – it is an organic part of who we are, nothing more and nothing less. We create music, and it should not be tied to questions of purpose or utility. Music can reflect and amplify emotions, but it cannot achieve more than what our intellect and societal conditions allow. There has been too much misfortune despite the existence of unimaginably great musical works.
Q: Many great Requiems – by Brahms, Fauré, and Verdi – are known for their comforting qualities. How does REQUIEM A fit into or challenge this tradition?
Requiem A dwells on the edge of mourning. It searches for a path back to life. In doing so, it aims to offer comfort but also to bring light. I hope it has succeeded.
Q: You’ve worked in both classical and modern experimental music. How has your approach to composition evolved over the years?
At first, when I started composing, I tried to choose between the two musical realms. But over time, I began using a palette that includes all sounds. It is solely about expression and meaning – this determines my choice of compositional tools. This approach has been a great relief and liberation. In Requiem A, there are purely acoustic sections, purely electronic music, and moments where both worlds merge.
Cover photo: Claudia Weingart
Photos from the premier below Oliver Killig
