It is safe to say that most classical music lovers prefer their German Requiem (Ein deutsches Requiem, Op. 45) straight up — that is, uninterrupted by applause between movements. So exquisite was the experience of Johannes Brahms’ work March 14 at Copley Symphony Hall that the noise distracted from the reverent work’s forward momentum section to section, disrupting the ethereal plane to which San Diego Master Chorale, San Diego Symphony and Maestro Jahja Ling had taken listeners. Granted, no personal devices — hearing aids, cell phones or other electronics — buzzed or tweeted. The artistry is the thing, of course. As usual, the 125-singer Master Chorale manages a celestial blend and amazing pianissimo singing, though one could carp that their German was oddly bereft of consonants. A few more tenors and baritones would be wonderful, as well, and some additional young people to give one faith that the choral tradition will not die. Having been heard in San Diego Symphony’s performances of Mendelssohn’s “Elijah,” soprano Janice Chandler-Eteme returned to open the vocal portion of the evening with Schubert Lieder (“Erkönig,” “Die Forelle,” “Ihr Bild” and “Standchen”) accompanied by the orchestra. She has a lovely head voice rife with overtone, yet sturdy and audible despite its curious lack of chest. Apparently she will soar for many years. Chandler-Eteme acquitted herself well in the Requiem’s ravishingly beautiful “Ihr habt nun Traurigkeit.” Baritone Stephen Powell, a fixture on opera stages nationwide, displayed a voice of lush scope and quality in the “Herr, Lehre doch mich” and “Denn wir haben hie keine bliebende Statt” with its exciting “trumpet shall sound” section. His diction was crisp. The chorus gets the hit tune, “Wie lieblich sind deine Wohnungen,” known in the hymnal as “How Lovely Is Thy Dwelling Place (Oh, Lord of Hosts).” An agnostic, Brahms took a lot of flak for Ein deutsches Requiem, a mass that has no crucifixion and resurrection. He steadfastly maintained that it was a German mass in German rather than Latin, and not a Catholic mass. It is, instead, a mass of consolation for those who mourn (the living) and those who are mourned (the dead). San Diego Symphony’s Jacobs’ Masterworks series resumes at 8 p.m. Saturday, April 4, when violinist Corey Cerovsek plays Mendelssohn’s Violin Concerto. Under the baton of Philip Mann, the orchestra will also play Ottorino Respighi’s “Fountains of Rome.” For more details, visit www.sandiegosymphony.com or call (619) 235-0804.