SIX SONGS (GESÄNGE), OP. 3
Recording: Jessye Norman,
soprano (No. 1); Dietrich Fischer-Dieskau, baritone; Daniel Barenboim,
piano [DG 449 633-2]
Published 1854.
Dedicated to Bettina von Arnim.
Along with the early piano pieces, Brahms also showed the Schumanns
some of his earliest song settings for voice and piano. Many of
these were published as the opus numbers 3, 6, and 7. Op. 3 was a
natural choice for his first set of songs, following the two piano
sonatas and providing a contrast before more piano music in Opp.
4-5. The Op. 3 set does not necessarily contain all of the
earliest songs, but his choice of "Liebestreu" to introduce himself as
a song composer was a wise move, since it is in every respect an
excellent and highly effective dialogue song, possibly the best out of
the first three groups. As a complete set, Op. 6 is probably
superior to Op. 3, however. The two "Liebe und Frühling"
settings are subtly sophisticated, nearly on the level of "Liebestreu,"
but the last three songs are not quite as good. No. 4, while
exciting, seems to stretch its material a bit too far. "In der
Fremde," while an early example of Brahms's great proficiency in subtly
altering musical details between mostly similar strophic stanzas,
suffers somewhat in comparison with a great setting by Schumann of the
same text. And No. 6 (along with No. 4, the only two songs that
Brahms ever simply titled "Lied," outside of those, usually making up a
complete set, that have no titles and are typically known by their
first lines) is in my mind a better song than most scholars give it
credit for being, although its central section certainly contains one
of the most unusual passages in his entire song output. All told,
he would compose 196 songs in opus-numbered groups (this counts the
song cycle Op. 33, the quasi-duets Op. 84, and the songs with viola Op.
91). These six are a very solid introduction to this body of his
work, and "Liebestreu" at least is worthy of standing with the best of
the later ones.
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. Liebestreu (Constancy). Text by Robert
Reinick. Sehr langsam (Very slowly). Modified strophic form
(Dialogue song). E-FLAT MINOR, 4/4 time.
German Text:
»O versenk', o versenk' dein Leid,
mein Kind, in die See, in die tiefe See!«
Ein Stein wohl bleibt auf des Meeres Grund,
mein Leid kommt stets in die Höh'.
»Und die Lieb', die du im Herzen trägst,
brich sie ab, brich sie ab, mein Kind!«
Ob die Blum' auch stirbt, wenn man sie bricht,
treue Lieb' nicht so geschwind.
»Und die Treu', und die Treu',
's war nur ein Wort, in den Wind damit hinaus.«
O Mutter und splittert der Fels auch im Wind,
meine Treue, die hält ihn aus.
English Translation
0:00 [m. 1]--Piano introduction sets slow, but agitated mood with
chords in
triplet rhythm. Stanza 1 begins with mother's imperative.
Opening motive of mother's vocal line is constantly reiterated in the
piano bass.
0:21 [m. 6]--Daughter's response is more tender and marked
"träumerisch"
("dreamy").
0:43 [m. 11]--Stanza 2 begin's with mother's second imperative.
Slightly
more urgent, but musically basically identical to Stanza 1.
Brahms does indicate "Poco più mosso."
0:58 [m. 16]--Daughter's response, tender and dreamy as before.
1:21 [m. 21]--Stanza 3. Mother's third imperative uses the same
music as
before, but becomes more agitated.
1:34 [m. 26]--Daughter's response now increases the intensity and
becomes
passionate. Music now resembles mother's pleas rather than the
previous responses, rising to the climactic word "Treue".
1:48 [m. 30]--Piano gradually becomes slower and softer.
Daughter's last
words are repeated for emphasis, "die hält" twice, "ihn aus"
once. Singer descends and recedes as she repeats the text.
Piano postlude continues rhythm and bass statements of mother's opening
motive.
2:25--END OF SONG [35 mm.]
2. Liebe und Frühling I (Love and Spring I). Text by
August Heinrich Hoffmann von Fallersleben. Moderato ma non
troppo. Binary through-composed form. B MAJOR, 4/4 time.
German Text:
Wie sich Rebenranken schwingen
In der linden Lüfte Hauch,
Wie sich weiße Winden schlingen
Luftig um den Rosenstrauch:
Also schmiegen sich und ranken
Frühlingsselig, still und mild,
Meine Tag- und Nachtgedanken
Um ein trautes, liebes Bild.
English Translation
*Note: The revised version of the song is used here.
0:00 [m. 1]--Stanza 1 of text. Simple melody with rather bare
accompaniment, but pay attention to the imitation between the piano
right hand+voice and the piano left hand (which leads) at the text "Wie
sich weiße Winden schlingen..." The piano right hand then
follows the voice at "Rosenstrauch." Music comes to a pause.
0:31 [m. 12]--Stanza 2 of text. More expressive setting, as a
natural
answer to the first stanza. Melody of the 1st stanza in the piano
left hand as counterpoint. Music comes to an unresolved resting
point as it slows down.
0:55 [m. 21]--The slowing has set up a new tempo marking, "Poco
più
lento" ("A little slower"). The last two lines of text are
repeated. The vocal line is an augmented (longer note values)
version of the opening melody, while the piano plays the melody of the
2nd stanza. Last line now reaches melodic closure after an
expressive turn figure.
1:21 [m. 28]--Piano postlude, slow and quiet, based on opening melody.
1:51--END OF SONG [33 mm.]
3. Liebe und Frühling II (Love and Spring II). Text by
August Heinrich Hoffmann von Fallersleben. Vivace con
fuoco. Ternary/modified strophic form. B MAJOR, 4/4 time.
German Text:
Ich muß hinaus, ich muß zu dir,
Ich muß es selbst dir sagen:
Du bist mein Frühling, du nur mir
In diesen lichten Tagen.
Ich will die Rosen nicht mehr sehn
Nicht mehr die grünen Matten;
Ich will nicht mehr zu Walde gehn,
Nach Duft und Klang und Schatten.
Ich will nicht mehr der Lüfte Zug,
Nicht mehr der Wellen Rauschen,
Ich will nicht mehr der Vögel Flug
Und ihrem Liede lauschen.
Ich will hinaus, ich will zu dir,
Ich will es selbst dir sagen:
Du bist mein Frühling, du nur mir
In diesen lichten Tagen.
English Translation
0:00 [m. 1]--Stanza 1. Piano sets off the anxious, breathless
mood
with its opening notes changing to rapid tremolos as soon as the voice
enters. Sense of anticipation and yearning.
0:22 [m. 12]--Stanza 2. Shift to the minor key (B minor).
Much
more contemplative and expressive as the singer talks about what he no
longer wishes to see. Becomes more agitated at "Ich will nicht
mehr zu Walde gehn."
0:40 [m. 21]--Stanza 3. Very artful shift down a half-step to
B-flat
minor. Music is extremely similar, almost identical to second
stanza in a different key, but Brahms extends the note values on
"Lüfte Zug" and "Wellen Rauschen" to increase the latent
tension. The entire stanza is marked "very tenderly and
intimately." "Lauschen" is drawn out for the modulation back to
the home key, leading to a highly anticipatory pause.
1:07 [m. 33]--Stanza 4. As the text would suggest, the vocal
setting
comes from the first stanza, but the tremolos in the piano are even
more fast and breathless. The word "lichten" is slowed down,
drawn out to double its previous length (but the same number of
notes). Quiet piano postlude goes back to the accompaniment
pattern of the first stanza.
1:39--END OF SONG [45 mm.]
4. Lied [aus dem Gedicht "Ivan"] (Song [from the poem "Ivan"]). Text
by Friedrich Martin von Bodenstedt. Mit feurigem Schwung (With
fiery energy). Simple strophic form with small alteration in
third stanza. E-FLAT MINOR, 4/4 time.
German Text:
Weit über das Feld durch die Lüfte hoch
Nach Beute ein mächtiger Geier flog.
Am Stromesrande im frischen Gras
Eine junge weißflüglige Taube saß;
O verstecke dich, Täubchen, im grünen Wald!
Sonst verschlingt dich der lüsterne Geier bald!
Eine Möwe hoch über der Wolga fliegt,
Und Beute spähend im Kreis sich wiegt.
O halte dich, Fischlein, im Wasser versteckt,
Daß dich nicht die spähende Möwe entdeckt!
Und steigst du hinauf, so steigt sie herab
Und macht dich zur Beute und führt dich zum Grab.
Ach, du grünende feuchte Erde du!
Tu dich auf, leg mein stürmisches Herz zur Ruh'!
Blaues Himmelstuch mit der Sternlein Zier,
O trockne vom Auge die Träne mir!
Hilf, Himmel, der armen, der duldenden Maid!
Es bricht mir das Herz vor Weh und Leid!
English Translation
0:00 [m. 1]--Stanza 1. Rich chordal harmonies and a rather heroic
vocal line characterize the first two lines, as well as triplet rhythms.
0:09 [m. 5]--Remainder of the stanza is more agitated and without
triplet
rhythms. There is a slowing toward the end, and then a quiet
piano interlude.
0:32 [m. 17]--Stanza 2. Musically identical to the stanza 1.
0:42 [m. 21]--Last four agitated lines of second stanza and piano
interlude as
before. Note the textual correspondence of the verses. The
dove and the fish are told to hide, respectively, from the vulture and
the seagull to the same agitated music after the predators are
introduced with the more heroic musical language.
1:04 [m. 33]--Stanza 3. First two lines are again musically
identical
to the other stanzas.
1:15 [m. 37]--The rest of the stanza begins as in the other two verses,
but at
"Hilf, Himmel, der armen, der duldenden Maid!" Brahms directs the
singer to become much more agitated.
1:27 [m. 44]--From this point, the musical substance is varied from the
previous stanzas. The volume and intensity increase, and Brahms
uses repetition of each half of the final line to build energy and
reach to a higher top note than before. At the first "Weh und
Leid," he inserts a 3/2 measure. This is the climax, and the
music slows and subdues itself for the repetition of those words.
1:45--END OF SONG [48 mm.]
5. In der Fremde (Far From home or In a Distant Land). Text by
Josef Karl Benedikt von Eichendorff. Poco agitato. Modified
strophic form. F-SHARP MINOR, 4/4 time.
German Text:
Aus der Heimat hinter den Blitzen rot
Da kommen die Wolken her,
Aber Vater und Mutter sind lange tot,
Es kennt mich dort keiner mehr.
Wie bald, ach wie bald kommt die stille Zeit,
Da ruhe ich auch, und über mir
Rauscht die schöne Waldeinsamkeit,
Und keiner kennt mich mehr hier.
English Translation
0:00 [m. 1]--Piano introduction sets up the accompaniment pattern--a
rocking,
constant motion with alternating repeated lower notes.
0:12 [m. 5]--Stanza 1. Melancholy mood. Piano pattern
remains
constant. Note the subtle syncopation on "Aber" at the beginning
of the third line. Most of the last line of text is repeated.
0:47 [m. 17]--Stanza 2 begins as had the stanza 1.
0:57 [m. 20] --From this point, the music of the second stanza is very
subtly
varied. "Über mir" is drawn out over two measures where
there had previously been rests, accommodating the extra two
syllables. The next line has fewer syllables than in the first
stanza, made even more so by Brahms's alteration of the poet's original
"rauschet" with "rauscht." So "rauscht" follows immediately,
intensifying the previous syncopation on "aber" by drawing it across
the barline before a brief return to the pattern of the first verse.
1:08 [m. 24]--An extra measure of vocal rests is inserted here before
the last
line, which begins as before, but is repeated for emphasis in longer
note values. The final chord is major in a minor context (the
so-called "piccardy third").
1:37--END OF SONG [28 mm.]
6. Lied (Song). Text by Josef Karl
Benedikt von Eichendorff. Poco allegretto. AABA form.
A MAJOR, 9/8 time.
German Text:
Lindes Rauschen in den Wipfeln,
Vöglein, die ihr fernab fliegt,
Bronnen von den stillen Gipfeln,
Sagt, wo meine Heimat liegt?
Heut im Traum sah ich sie wieder,
Und von allen Bergen ging
Solches Grüßen zu mir nieder,
Daß ich an zu weinen fing.
Ach! hier auf den fremden Gipfeln:
Menschen, Quellen, Fels und Baum -
[Wirres Rauschen in den Wipfeln]1
Alles ist mir wie ein Traum!
Muntre Vögel in den Wipfeln,
Ihr Gesellen dort im Tal,
Grüßt mir von den fremden Gipfeln
Meine Heimat tausendmal!
1Not set by Brahms
English Translation
0:00 [m. 1]--Stanza 1 (Section A1).
Trill-like figures in the piano
obviously represent the "gentle rustling." Vocal setting is rich
with expressive, upward-moving suspensions. An effective harmonic
digression occurs at "stillen Gipfeln." Last line of text is
repeated. The piano trill figuration gradually spreads out to
wider intervals.
0:24 [m. 12]--Stanza 2 (Section A2).
Aside from the first note, which
approaches from above rather than below, and the wider-spaced
right-hand figures under "Heut im Traum," the setting is identical to
that of the first stanza.
0:47 [m. 22]--Stanza 3 (Section B).
This is a highly unusual passage, one
of the weirdest in all of Brahms's songs. For the setting of this
stanza, Brahms veers off to F Major, and away from the constant trill
figuration in the piano for a dreamy, leisurely setting.
0:58 [m. 26]--Here, still in stanza 3, things suddenly become very
odd.
Brahms rather inexplicably omits a line of text from the poem and
replaces it with a very abrupt horn-call figure. He follows this
with the next line, "Alles ist mir wie ein Traum!" set to the horn-call
figure. Then the last three words are repeated softly as the
music modulates back to A Major. The horn call--and the setting
of the dream line, which would have fit the music immediately preceding
it, is quite strange.
1:19 [m. 31]--Stanza 4 (Section A3).
The vocal opening is the same as the
first two verses, but the accompaniment is varied, and noticeably
higher.
1:30 [m. 38]--Main point of diversion from the first two verses.
The
pattern is very typical of early Brahms songs (see no. 4 of this opus
for
another example). The point of harmonic diversion in the first
two stanzas is replaced by a stronger upward striving in the same key
to a similar text ("fremden Gipfeln"), and then at the climax the final
line is stretched out with longer note values, and as a consequence,
only the last word, rather than the whole line, is repeated as the
music dies away to the "rustling" music in the piano.
1:49--END OF SONG [43 mm.]
END OF SET
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