Who can read this german handwriting

[German_military]

Hello,
I got today several passes from a father, son and mother.
They tell a very sad story. The son disappeared in Stalingrad, and the father died in 1944. I found this note in the Wehrpass, that is a bill for the funeral of the father. The word in the middle is "begrabnis"(funeral ). I only can't read the other 2 words. Who can help me with those?


Thanks!

Greetings,
Frank!


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[German_military]

close-up

[Hank C.]

The first word appears to end in ....quien, no idea what the first 3 or 4 letters are, and the 3rd word seems to be sechswochen..... (6 weeks.....?)

Hank

[12thsshj]

i`ll run it by my dad, he grew up during the 2nd world war in germany and he sould know what it means. 12thss hj

[Richard]

the second word is Begr******228;bnis (funeral/funeral service). The last part of the third word could be denkmal (possibly referring to a headstone?).
Richard V

[Aitor Iriarte]

Maybe absurd but, could the first word be 'Exequien' or something similar?

Aitor

[GHP]

Maybe absurd but, could the first word be 'Exequien' or something similar?

Aitor

Latin!! Funeral service! Quite possibly the German Requiem by Hienrich Schuetz. See below

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<TABLE cellSpacing=0 cellPadding=15 width=859 border=0><TBODY><TR><TD vAlign=top width=264>Heinrich SCHÜTZ (1585-1672)
Musicalisches Exequien (German Requiem), SWV 279-281
Die sieben Worte Jesu Christi am Kreuz
(The Seven Words of Jesus Christ on the Cross), SWV 478
Die mit Tranen saen (They that sow in tears), SWV 378
So fahr ich hin zu Jesu Christ (So onward I go to Jesus Christ), SWV 379
Veronika Wihter (soprano) Bettian Pahn (soprano) Henning Voss (counter-tenor)
Jan Kobow (tenor) Henning Kaiser (tenor)
Ralf Grobe (bass) Ulrich Maier (bass)
Beate Rollecke (organ) Die Himlische Cantorey Alsfelder Vokalensemble Bremen
Barockorchester I Febiarmonici/Wolfgang Helbich (conductor). Recorded at the St. Petri Dom, Bremen from 10-12 October, 2001. DDD NAXOS 8.555705 [52:51


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</TD></TR></TBODY></TABLE><TABLE cellSpacing=5 cellPadding=0 width=859 bgColor=#008242><TBODY><TR><TD><TABLE cellSpacing=0 cellPadding=15 border=0><TBODY><TR><TD vAlign=top width=625 background=../../2001/Aug01/parchment.gif>

Heinrich Schütz often known as "The Father of German Music" was the leading German choral composer of the early to middle baroque. Schütz managed to achieve a remarkable tenure of fifty-seven out of his eighty-seven year life as Kapellmeister at the Electorial Court in Dresden.

The Prince Heinrich Posthumus of Reuss requested Schütz to compose a work for his funeral; which was following the custom of arranging his funeral arrangements in advance of his death. The result was the magnificent three movement Musicalisches Exequien (German Requiem) composed in 1636 which contained a tribute in verse to the Prince. The first movement is entitled Concerto in the form of a German funeral mass which is intended for six singers and organ. The middle movement is a motet: Lord, if I have only thee for eight unaccompanied singers and two choirs. The work concludes with a setting of the Nunc dimittis for two choirs. Characteristically the work is extremely strong and concentrated and the performers offer an interpretation of admirable conviction and precision with the significant demands of this rich and varied score.
The Seven Words of Jesus Christ on the Cross dates from 1645-46 and uses traditional texts drawn from the four evangelists, utilising various vocal combinations and instrumentation. The soloists, choir and orchestra are in outstanding form throughout the distinctive and expansive score. The depth of feeling offered by the principals is exceptional, with significant dramatic expression combined with conviction and appropriate reverence.
The short five voice setting with basso continuo Die mit Tranen saen (They that sow in tears) is taken from Psalm XXVI and is the tenth in a set of motets included in Schütz’s collection Musicalia ad Chorum Sacrum or Geistliche Chor-Musik which was published in 1648. The release concludes with the even briefer eleventh motet in the collection So fahr ich hin zu Jesu Christ (So onward I go to Jesus Christ) which is also for five voices and basso continuo and is a setting taken from a well-known funeral chorale. In these pieces one cannot fail to be impressed with the finely blended performances of the soloists which provide significant satisfaction.

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[Aitor Iriarte]

Aha! I was doubful about the use of that word in Geman but now it is clear!


Aitor