FIVE SONGS (LIEDER), OP. 106
Recording: Dietrich
Fischer-Dieskau, baritone; Daniel Barenboim, piano [DG 449 633-2]
Published 1889
The middle of Brahms's last three sets of "regular" song settings is
distinguished from both Op. 105 and Op. 107, almost literally taking
the "middle" road between them. They are in general somewhat
shorter than those of Op. 105 and certainly (with one exception) longer
than the nearly epigraphic folk-like songs of Op. 107. Formally,
they also contrast with Op. 105. Whereas that set relied
completely on modified strophic forms, Op. 106 turns toward ternary, or
ABA-type settings. Even the one modified strophic song in the set
(No. 2) has a high level of subtle contrast between verses.
Thematically, the set seems, as always, carefully organized.
Whereas Op. 105 showed different (often gender-specific) perspectives
on subjects such as death and betrayal, Op. 106 demonstrates a gradual
motion from nostalgia toward regret. The first two songs are
cheerful, depicting fond memories of the past and present. Nos.
3-5 gradually become darker, No. 3 beginning in the cheerful tone of
the first two songs, but quickly moving to its bitter conclusion.
That bitterness continues in No. 4 and especially in No. 5. Nos.
1 and 2 both share titles with previous songs, but the texts are not
the same. No. 1 is a very realistic musical evocation of the
serenade it describes. The piano accompaniment to the 6/8 tune of
No. 2 is an equally effective depiction of the boat described in the
text. No. 3, Brahms's last setting of his great contemporary (and
personal friend) Klaus Groth, begins with one of his sweetest tunes,
making the dark turn at the end of the song that much more
biting. No. 4, whose brevity anticipates the songs of Op. 107, is
a curiously reflexive text that is perhaps appropriate for Brahms, who
was approaching the end of his career as a song composer. It is
his only setting of this poet. The last song takes the bitterness
to its conclusion, but is not quite as effective a capstone to the set
as "Verrat" was to Op. 105. Overall, the songs of Op. 106 do not
quite reach the mastery of the previous set, but they are pleasing,
and, like Op. 105, display a convincing textual unity. Unlike
most sets, none of these songs show a specifically female perspective
(and the male perspective in Nos. 2 and 3 is not a strong one), making
the set an ideal recital choice for a single singer.
Personal note--"Es hing der Reif," No. 3, is one of my favorites,
certainly in my top ten Brahms songs.
Note: Links to English translations of the texts
are from Emily Ezust's
site at http://www.recmusic.org/lieder.
For the most part, the translations are line-by-line, except where the
difference between German and English syntax requires slight
alterations to the contents of certain lines. The German texts
(included here) are also visible in the translation links.
1. Ständchen (Serenade). Text by Franz
Theodor Kugler. Anmutig bewegt (With graceful motion).
Allegretto grazioso. Ternary form. G MAJOR, 4/4 time.
(The title Ständchen is
also used for Op. 14, No. 7.)
German Text:
Der Mond steht über dem Berge,
So recht für verliebte Leut';
Im Garten rieselt ein Brunnen,
Sonst Stille weit und breit.
Neben der Mauer im Schatten,
Da stehn der Studenten drei,
Mit Flöt' und Geig' und Zither,
Und singen und spielen dabei.
Die Klänge schleichen der Schönsten
Sacht in den Traum hinein,
sie schaut den blonden Geliebten
und lispelt: »Vergiß nicht mein!«
English
Translation
0:00 [m. 1]--Piano introduction features quickly arpeggiated chords and
a
light touch, perhaps imitating the instruments described in the text.
0:11 [m. 5]--Stanza 1. Graceful, nostalgic melody. The
third line
has a brief harmonic shift (to E major). Singer becomes quiet and
somewhat hesitant at the end of the verse. Piano accompaniment
remains light, with the left hand continuing the the "stumming" effect
in its alternation of bass and chords.
0:32 [m. 13]--Piano interlude begins as the introduction, but quickly
transitions to the second stanza (middle section).
0:36 [m. 15]--Stanza 2. Vocal line is more forceful, as is the
accompaniment, which, however, retains the "strumming" quality as the
text describes the instruments. The first two lines are in the
closely related D major. The third line quickly shifts to C major
(on the other side of G), and the fourth line is stated first in the
more distant E-flat major, then repeated in B major (again, on the
"other" side of G). Between the two statements of the fourth
line, the accompaniment shifts to quick, rushing arpeggios.
0:55 [m. 24]--Piano interlude incorporates the rushing arpeggios just
introduced while retaining the melodic structure of the
introduction. Motion back to the home key of G major.
1:06 [m. 27]--Stanza 3. Virtually identical to stanza 1, but
Brahms marks
it "dolce" ("sweetly"), and
the first two lines subtly alter the right
hand, with the top note separated from the lower notes.
1:28 [m. 36]--Piano postlude begins as the introduction, but closes
with the
music from the end of the vocal line. Concludes with a final
"strum."
1:43--END OF SONG [39 mm.]
2. Auf dem See (On the Lake). Text by
Christian Reinhold. Anmutig bewegt und ausdrucksvoll (With
graceful motion and full of expression). Two-part modified
strophic form. E MAJOR, 6/8 time.
(The title Auf dem See is
also used for Op. 59, No. 2.)
German Text:
An dies Schifflein schmiege,
Holder See, dich sacht!
Frommer Liebe Wiege,
Nimm sie wohl in Acht!
Deine Wellen rauschen;
Rede nicht so laut!
Laß mich ihr nur lauschen,
Die mir viel vertraut!
[ Here a stanza not set by Brahms]
Deine Wellen zittern
Von der Sonne Glut;
Ob sie's heimlich wittern,
Wie die Liebe tut?
Weit und weiter immer
Rück den Strand hinaus!
Aus dem Himmel nimmer
Laß mich steigen aus!
Fern von Menschenreden
Und von Menschensinn,
Als ein schwimmend Eden
Trag dies Schifflein hin!
English
Translation
0:00 [m. 1]--Piano introduction sets the graceful, somewhat halting
pattern of
the accompaniment. Note the quickly rolled chords.
0:09 [m. 5]--Stanza (strophe) 1. Vocal line is in a typical
"rocking"
6/8 motion appropriate to the text describing a boat on a lake.
The rippling accompaniment, sweeping downward with some subtle shift in
accent, also evokes the water. The last line is repeated.
Harmony moves to closely related B major for a half-cadence.
0:28 [m. 14]--Stanza (strophe) 2. After a brief recall of the
introduction, the first part of this verse becomes more forceful, the
vocal line moving upward chromatically (in half-steps). The piano
accompaniment sweeps up and down. The last two lines return to
the music of strophe 1, but come to a full cadence on E.
0:46 [m. 23]--Stanza (strophe) 3. Another brief recall of
introduction. This stanza begins with similar text to that of
stanza 2 (as, in fact, does the stanza Brahms omitted). The music
also begins as strophe 2, but rather than returning to the music
of strophe 1, intensifies and comes to a climax. This ends the
first part (3 stanzas/strophes). Note that strophe 2 has a clear
connection to strophe 1, while strophe 3 is related to strophe 2, but
not strophe 1. This is an interesting progression for a modified
strophic form.
1:06 [m. 32]--The piano interlude leading to the second part (2
stanzas/strophes), retains the energy picked up by strophe 3. The
shift of accent (syncopation) becomes more pronounced.
1:11 [m. 35]--Stanza (strophe) 4. The vocal line begins as did
strophe 1,
but Brahms indicates that the music continue to become more lively, and
the more forceful syncopations in the accompaniment continue. The
music then diverges from strophe 1 in the last two lines. These
lines
are repeated, leading almost effortlessly to a full cadence like that
of strophe 2. Brahms clearly considered these two lines the
climax of the poem. Note how strophe 4 begins like strophe 1 and
ends like strophe 2.
1:31 [m. 45]--Stanza (strophe) 5. The music of the introduction
is heard
again. Things become gradually and steadily quieter and more
still over the course of the verse. It is the most dissimilar to
the other strophes. The accompaniment keeps the "halting"
character of the introduction, and slows down significantly (even
undermining the 6/8 flow) for the third line. The strong
syncopation continues in the accompaniment.
2:03 [m. 61]--Brahms repeats the last two lines of the stanza, and then
repeats
the last line yet again. The music continues to slow and become
quiet. The statements of the last line are vaguely similar to
passages in strophe 2. The short postlude after the cadence
returns to the halting character of the introduction, even including
one last quickly rolled chord.
2:45--END OF SONG [71 mm.]
3. Es hing der Reif (Hoarfrost was Hanging). Text
by Klaus Groth. Träumerisch (Dreamily). Ternary
form. A MINOR, 3/4 time.
German Text:
Es hing der Reif im Lindenbaum,
Wodurch das Licht wie Silber floß.
Ich sah dein Haus, wie hell im Traum
Ein blitzend Feenschloß.
Und offen stand das Fenster dein,
Ich konnte dir ins Zimmer sehn -
Da tratst du in den Sonnenschein,
Du dunkelste der Feen!
Ich bebt' in seligem Genuß,
So frühlingswarm und wunderbar:
Da merkt' ich gleich an deinem Gruß,
Daß Frost und Winter war.
English
Translation
0:00 [m. 1]--Brief piano introduction beginning with a partial bar does
not clearly establish the minor
key, but strongly suggests it.
0:08 [m. 5]--Stanza 1. The very sweet, swaying melody is a
major/minor
mixture, and by the end of the second line, the music clearly feels
more in C major than in A minor (the two keys are relative--same key
signature). The accompaniment includes some colorful chords with
notes foreign to both keys. Brahms uses a style here that seems
to anticipate certain idioms of later popular song.
0:20 [m. 13]--The last two lines of stanza 1 continue the major/minor
ambiguity, the third line seeming to move clearly to minor. The
last line is repeated, coming to a half-cadence in C major rather than
A minor.
0:40 [m. 26]--Stanza 2. The C-major character continues for
the
first two lines, the suddenly sparse accompaniment suggesting the
trepidation of looking in the window.
0:58 [m. 38]--The last two lines of the stanza are musically more
related to
stanza 1, but shift dramatically to a foreign key (A-flat). Line
4 quickly returns back home, however. A short, dramatic recall of
the piano introduction sets up the last stanza.
1:19 [m. 48]--Stanza 3. Very similar to stanza 1, but with
important
changes. The first line is altered to better fit the declamation
(including a dramatic pause after "bebt'" ["trembled"]), and includes a
piano "echo" that was not there before. Lines 2 and 3 are
virtually identical, with some very slight accompaniment variation at
the beginning of line 2. Line 3 again moves clearly to
minor. But line 4 is now altered, along with its repetition, to
stay strongly in A minor and end there, not only confirming the key of
the song, but starkly emphasizing the very dark turn of the line.
2:00 [m. 74]--Postlude reminiscent of the introduction, but without
ambiguity
and much more bleak.
2:12--END OF SONG [77 mm.]
4. Meine Lieder (My Songs). Text by Adolf
Frey. Bewegt und leise (With motion and quietly).
Through-composed form. F-SHARP MINOR, Cut time (2/2).
German Text:
Wenn mein Herz beginnt zu klingen
Und den Tönen löst die Schwingen,
Schweben vor mir her und wieder
Bleiche Wonnen, unvergessen
Und die Schatten von Zypressen -
Dunkel klingen meine Lieder!
English
Translation
Like the poem, the song is short, and although there is a mild sense of
"return" at the last line, it is really a through-composed piece.
0:00 [m. 1]--Introduction sets up agitated and restless, but quiet mood.
0:07 [m. 5]--The first two lines retain the character of the
introduction, the
piano part under the first line being virtually identical to it.
0:19 [m. 13]--The third and fourth lines are less agitated, marked "dolce"
("sweetly") by Brahms. Two introductory measures. The
downward sweep of the accompaniment continues. The fourth line
introduces three four-note patterns based on the third measure of
the first line.
0:36 [m. 23]--The fifth line reduces the vocal motion to slower notes
("sigh"
figures). The left hand of the piano introduces an upward motion
(until now, the lines of the piano generally moved down). One
piano-only measure follows the text (Lines 3-5 had no break between
them.)
0:46 [m. 28]--The final line is a sort of "return" to the first line
and the
introduction, but now the vocal line begins by moving down, while the
piano continues the upward motion introduced. The line is
repeated, incorporating the characteristic grace note from the
introduction and first line.
1:00 [m. 36]--Postlude is a repetition of the introduction, but the
last
measure is repeated as the music slows to a close and some final
cadential chords are added.
1:23--END OF SONG [42 mm.]
5. Ein Wanderer (A Traveler). Text by
Christian Reinhold. In langsam gehender Bewegung (In slow, but
constant motion). Modified strophic or ternary form (First and
third verses nearly identical) F MINOR, 2/4 time.
German Text:
Hier, wo sich die Straßen scheiden,
Wo nun gehn die Wege hin?
Meiner ist der Weg der Leiden,
Des ich immer sicher bin.
Wandrer, die des Weges gehen,
Fragen freundlich: Wo hinaus?
Keiner wird mich doch verstehen,
Sag' ich ihm, wo ich zu Haus.
Reiche Erde, arme Erde,
Hast du keinen Raum für mich?
Wo ich einst begraben werde,
An der Stelle lieb' ich dich.
English
Translation
While the most dramatic and the most tragic song of the set, it is
structurally the simplest.
0:00 [m. 1]--Stanza 1. Two chords set up the stoic mood of the
song. The piano part is steady and inexorable. The upward
vocal sweep of the first line is constant through the three
verses. One-measure break between lines two and three. Line
three intensifies the mood and introduces more dotted rhythms (and
syncopation in the piano left hand). Line four comes to a full
cadence, but the last two words (three syllables) are repeated to
settle the music down.
0:39 [m. 14]--Stanza 2. The vocal line begins as in stanza
1, but the
piano part is changed, moving downward at first rather than
upward. The second line diverges from the notes of the
first. Lines three and four begin lower than in stanza 1, and the
piano part becomes more agitated (quicker dotted rhythms) at this
point. Line four intensifies, as before, but now four words
(syllables) are repeated instead of two (three), and they increase the
intensity rather than settle it down. The piano comes to a
dramatic unresolved pause, and the vocal line does not finish its
cadence.
1:16 [m. 26]--Stanza 3. Introduced by bare octaves instead of
chords. Except for the first two measures, the verse is virtually
identical to stanza 1. Those two measures dispense with the
upward striving of the piano part in favor of four descending block
chords in the right hand and offbeat octaves in the left. Another
very minor difference is that the notes of the word "werde" are a third
higher than those of "Leiden" in stanza 1. Three words are
repeated at the end (three syllables, though, as in stanza 1).
The final piano cadence is slightly extended.
2:15--END OF SONG [40 mm.]
END OF SET
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