Op. 20, Brahms's first set of vocal duets, has come in for as much negative criticism as any of his works.  They are certainly much different from his later duets, or even from his contemporary solo songs (such as Op. 19).  They seem to be rather simple pieces, at least on the surface.  All of them share the same 6/8 meter, the voices frequently move together in thirds and sixths, and Nos. 2 and 3 include much strophic repetition.  No. 1 is slightly more complex, with more variation between the verses and the voices moving in imitation, rather than strictly together, in the middle verses.  But some of the negative criticism misses the point.  Brahms never published anything that he didn't think was worthy, and it is quite clear that in his first set of duets he is emulating one of his great predecessors, Felix Mendelssohn.  The third duet adopts the idiom of that composer's "Venetian Gondola Songs" for piano.  Brahms also enjoys his characteristic harmonic surprises in the two "Path of Love" duets.  All of the texts are translations by the great German scholar Herder of folk poems.  The first two come from the same larger group of English poems with the refrain of "love will find the way (path)."  They were included in Herder's "Voices of the Nations" ("Stimmen der Völker").  The third comes from an Italian source (hence the "gondola song" idiom chosen by Brahms). 

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.  In the case of No. 1, the "translation" is, for the most part, simply the original English text, to which Herder remained extremely close in his poetic translation.  Links to translations of Herder's version as well as the original English texts are provided for Nos. 1 and 2.

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1. Weg der Liebe I (The Path of Love I).  Text by  Johann Gottfried Herder, adapted from an English folk poem.  Allegro.  ABCB'A arch-like varied strophic form.  E MAJOR, 6/8 time.

German Text:
Über die Berge,
Über die Wellen,
Unter den Gräbern,
Unter den Quellen,
Über Fluten und Seen
In der Abgründe Steg,
Über Felsen, über Höhen,
Find't Liebe den Weg!

In Ritzen, in Falten,
Wo der Feu'rwurm nicht liegt,
In Höhlen, in Spalten,
Wo die Fliege nicht kriecht,
Wo Mücken nicht fliegen
Und schlüpfen hinweg,
Kommt Liebe, sie wird siegen
Und finden den Weg.

Sprecht, Amor sei nimmer
Zu fürchten, das Kind!
Lacht über ihn immer,
Als Flüchtling, als blind,
Und schließt ihn durch Riegel
Vom Taglicht hinweg:
Durch Schlösser und Siegel
Find't Liebe den Weg.

Wenn Phönix und Adler
Sich unter euch beugt,
Wenn Drache, wenn Tiger
Gefällig sich neigt,
Die Löwin läßt kriegen
Den Raub sich hinweg,
Kommt Liebe, sie wird siegen
Und finden den Weg.

English Translation (mostly the original English words, but accommodating Herder's minimal poetic alterations)
Original English Text

0:00 [m. 1]--First strophe (A).  With no piano prelude, the two voices immediately set up the rocking 6/8 motion, moving in harmonies dominated by pleasing thirds.  The sixth and seventh lines are set to a distinct harmonic motion to C major.  The last line moves "home," and it is repeated, along with an "extra" repetition of the first two words.  The piano accompaniment maintains the same rhythmic pattern throughout, though the "off-beats" are often shifted between the hands.  Very brief interlude maintains this pattern
0:27 [m. 25]--Second strophe (B).  This strophe is set in the closely-related (dominant) key of B major.  The first two couplets are in nearly-exact canon (imitation), with the alto leading.  Extra bars are added because of the canon.  The voices come together for the last two couplets.  Includes a similar harmonic digression as the first strophe, but this occurs earlier (right before the voices come together).  The last line is not repeated, but includes an upward-reaching climax.  The piano accompaniment pattern breaks in the following interlude (repeated notes in the left hand).
0:54 [m. 52]--Third strophe (C).  Set in the more distant key of G major.  The soprano now leads, but the alto does not follow in exact imitation.  In fact, the motion of the alto voice is usually nearly opposite to that of the soprano (contrary motion).  This continues through five lines, and is continuous, without the intervening "extra" bars of "B."  The whole strophe is far more chromatic (many half-steps) than the first two.  The voices come together (the alto dropping two words) at the sixth line in the familiar third harmony.  They sing the seventh line in octaves and long notes, returning to third harmony in the last line, whose first two words are repeated.  The piano accompaniment retains the pattern of the preceding interlude, with repeated notes and chords shifting often between the hands.  No interlude.
1:19 [m. 75]--Fourth strophe (B').  Very similar to second strophe (B), but begins in G major.  The imitation (canon) and the "extra" bars are present.  The original "off-beat" accompaniment pattern returns.  When the voices come together at the third couplet, they wrench the harmony upward to the key of B major.  Ironically, as the music reaches the key of the first "B," the actual material begins to diverge from it, particularly in the accompaniment, where repeated chords (similar to the pattern in "C") are now heard in the right hand.  The following interlude is similar to that between "B" and "C" (before 0:54), but now moves (finally) back home to E major.
1:43 [m. 100]--Exact repetition of first strophe (A)--text and music--to round off the song.  The first interlude is expanded into an exuberant postlude.
2:18--END OF DUET [128 mm.]

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2. Weg der Liebe II (The Path of Love II).  Text by Johann Gottfried Herder, adapted from an English folk poem.  Poco adagio molto espressivo.  Simple strophic form.  C MAJOR, 6/8 time.

German Text:
Den gordischen Knoten,
Den Liebe sich band,
Kann brechen, kann lösen
Ihn sterbliche Hand?
Was müht ihr, was sinnet
Ihr listigen Zweck?
Durch was ihr beginnet,
Find't Liebe den Weg.

Und wär' er verriegelt,
Und wär' er verkannt,
Sein Name versiegelt
Und nimmer genannt,
Mitleidige Winde,
Ihr schlüpftet zu mir
Und brächtet mir Zeitung
Und brächtet ihn mir.

Wärst fern über Bergen,
Wärst fern überm Meer:
Ich wandert' durch Berge,
Ich schwämme durchs Meer;
Wärst, Liebchen, ein' Schwalbe
Und schlüpftest am Bach,
Ich, Liebchen, wär' Schwalbe
Und schlüpfte dir nach.

English Translation (literal translation of Herder's German)
Original English Text

0:00 [m. 1]--First strophe.  Set up by one measure of repeated C's in the piano.  Vocal parts move together, mostly in pleasing thirds and sixths.  Piano characterized by repeated bass notes and full chords.  The middle couplet introduces very colorful and distant harmonies in both the voices and piano, moving back home in a satisfying manner in the last couplet.  There, the alto very briefly goes against the 6/8 swing.
0:40 [m. 18]--Very expressive piano interlude, capped with a turn figure.
0:52 [m. 22]--Second strophe.  Musically identical to the first.
1:27 [m. 38]--Expressive piano interlude, identical to 0:40 [m. 18].
1:39 [m. 42]--Third strophe.  Musically identical to first and second.
2:16 [m. 58]--Piano postlude, identical to interludes of 0:40 [m. 18] and 1:27 [m. 38], but slowing to the end.
2:34--END OF DUET [61 mm.]

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3. Die Meere (The Seas).  Text by Johann Gottfried Herder, adapted from an Italian text.  Andante.  Repeated binary form (ABAB--could also be described as "alternating simple strophic").  E MINOR, 6/8 time.

German Text:
Alle Winde schlafen
auf dem Spiegel der Flut;
kühle Schatten des Abends
decken die Müden zu.

Luna hängt sich Schleier
über ihr Gesicht,
schwebt in dämmernden Träumen
über die Wasser hin.

Alles, alles stille
auf dem weiten Meer!
Nur mein Herz will nimmer
mit zu Ruhe gehn.

In der Liebe Fluten
treibt es her und hin,
wo die Stürme nicht ruhen
bis der Nachen sinkt.

English Translation (original Italian text unavailable)

0:00 [m. 1]--Piano introduction sets up the clear style of the "Venetian gondola song."
0:14 [m. 5]--First strophe (A).  As in the first two duets, the voices move mostly in thirds and sixths, but the minor key and the gondola style are new.  Motion to major at the end.
0:38 [m. 13] --Second strophe (B)--could also be considered a continuation of the first "musical" strophe).  Begins in B minor (closely related key).  The voices have a very expansive extension on the word "Gesicht."  The second couplet is then more similar to the two phrases of the first strophe.
1:07 [m. 23]--Repetition of piano introduction as interlude.
1:20 [m. 27]--Third strophe (A).  Musically identical to first strophe.
1:43 [m. 35]--Fourth strophe (B).  Musically mostly identical to second strophe.  Extension on the word "hin."  Only the final cadence displays a very subtle change that prevents it from making a full close.
2:14 [m. 45]--Surprising repetition of final couplet in major.
2:28 [m. 49]--Piano postlude begins in major, but quickly turns back to minor.  Otherwise identical to introduction and interlude.
2:50--END OF DUET [52 mm.]
END OF SET


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