FIFTEEN ROMANCES FROM L. TIECK’S “MAGELONE” (SONG CYCLE),
OP. 33
Recording: Dietrich Fischer-Dieskau, baritone; Daniel Barenboim, piano
[DG 449 633-2]
Numbers
1-6 published 1865. Numbers 7-15 published 1868-69.
Dedicated to Julius Stockhausen.
The song cycle was one of the most quintessential
products of early romanticism in music. The great examples of
Schubert and Schumann, and the later French cycles by composers such as
Fauré, are among the most familiar of all art songs. It is
rather curious, then, that the spiritual follower of Schubert and
Schumann in song composition should have only composed one real “song
cycle.” It is even more curious that, while including much great
music, it is not entirely successful. By definition, a “song
cycle” consists of songs setting a single poet, and the settings are
typically of poems that were grouped together by the poet
himself. The “Magelone” romances fit that definition. The
cycle is one of the major products of the “first maturity,” the second
of the four periods of composition traditionally assigned to
Brahms. It is not only by far his largest group of songs, but it
is one of his largest single works overall. It takes nearly an
hour to perform it. Not only is the cycle long as a whole, but it
consists of very long songs. Brahms avoided strophic forms,
opting for dramatic shifts in tempo, rhythm, and musical
material. Many of them are unusually sectional, beginning and
ending with contrasting moods and content. The piano parts are
also quite elaborate, and several songs have extensive introductions
and postludes. Brahms never again wrote anything quite like these
songs, and the cycle is a fine example of the temperament of the mature
but still youthful composer at his most romantic phase, before growing
the famous beard and coming to represent the preservation of tradition
in “serious” music.
Ludwig Tieck (1773-1853) was a popular early romantic poet and
dramatist. The poems that Brahms set in his Op. 33 came not from
a collection of verse. They were lyrical “interludes” in Tieck’s
short novel The Wondrous Love Story
of the Beautiful Magelone and Count Peter of Provence. The
novel was a favorite of Brahms in his youth. The poems comment
somewhat on the action of the novel. Most of the settings are in
the voice of the protagonist, Count Peter, so the cycle is almost
always performed by a man, but No. 13 is in the voice of the sultan’s
daughter. Brahms omitted two of Tieck’s seventeen poems (both
coming between No. 14 and No. 15). He clearly wanted to convey
the drama of the novel in the course of his cycle. This explains
the many large and unusual forms employed. Nos. 3, 6, and 9 reach
a length and scope of material not otherwise seen in Brahms’s song
output, and No. 1 is also an unusually large narrative structure.
There are shorter songs, however, such as No. 2. Brahms enters a
world of chivalry in this song and in others. There are
imitations of Peter’s lute, suggestive galloping rhythms, and even a
sweet lullaby (but on a far grander scale than the extremely famous
lullaby from Op. 49) in No. 9. The guides below will provide a
brief outline (in italics) of the story leading to each poem.
This outline comes from Stanley Appelbaum’s translations of the texts
in the Dover edition of the songs. In a later edition of the
poems alone (excluding No. 2), Tieck gave them one-word titles (usually
a noun expressing an emotional state). The novel (which Brahms
used) included titles for only Nos. 10 and 13.
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.
ONLINE
SCORE FROM IMSLP (First Edition from Brahms-Institut
Lübeck--original keys; matches the revisions of Nos. 3 and 4 in
the complete edition described in the notes at the bottom of the guide,
and also includes a similar discrepancy in mm. 63-65 of No. 4 that did
not make it into the complete edition)
ONLINE SCORE FROM IMSLP (Edition Peters, edited by Max
Friedländer):
No.
1: Keinen hat es noch gereut (original key)
No.
2: Traun! Bogen und Pfeil sind gut für den Feind
(original key)
No.
3: Sind es Schmerzen, sind es Freuden (original key--includes the
original version of the passage described in the note at the bottom of
the guide as a variant reading)
No.
4: Liebe kam aus fernen Landen (original key--contains the original
version of the passage described in the note at the bottom of the
guide, which is sung by Fischer-Dieskau in the recording)
No.
5: So willst du des Armen dich gnädig erbarmen? (original key)
No.
6: Wie soll ich die Freude, die Wonne denn tragen? (original key)
No.
7: War es dir, dem diese Lippen bebten? (original key)
No.
8: Wir müssen uns trennen, geliebtes Saitenspiel (original key)
No.
9: Ruhe, Süßliebchen, im Scatten (original key)
No.
10: Verzweiflung. So tönet denn schäumende Wellen
(original key)
No.
11: Wie schnell verschwindet so Licht als Glanz (original key)
No.
12: Muß es eine Trennung geben (original key)
No.
13: Sulima. Geliebter, wo zaudert dein irrender Fuß?
(original key)
No.
14: Wie froh und frisch mein Sinn sich hebt (original key)
No.
15: Treue Liebe dauert lange (original key)
BOOK I:
1. “Keinen hat es noch gereut” (“No one has yet regretted”).
Allegro. Through-composed form with rondo-like elements.
E-FLAT MAJOR, 3/4 time. [Title in later edition: Ermunterung (Encouragement)].
The young knight Peter is full of unformulated dreams until a wandering
minstrel sings this song.
German Text:
Keinen hat es noch gereut,
Der das Roß bestiegen,
Um in frischer Jugendzeit
Durch die Welt zu fliegen.
Berge und Auen,
Einsamer Wald,
Mädchen und Frauen
Prächtig im Kleide,
Golden Geschmeide,
Alles erfreut ihn mit schöner Gestalt.
Wunderlich fliehen
Gestalten dahin,
Schwärmerisch glühen
Wünsche in jugendlich trunkenem Sinn.
Ruhm streut ihm Rosen
Schnell in die Bahn,
Lieben und Kosen,
Lorbeer und Rosen
Führen ihn höher und höher hinan.
Rund um ihn Freuden,
Feinde beneiden,
Erliegend, den Held. -
Dann wählt er bescheiden
Das Fräulein, das ihm nur vor allen gefällt.
Und Berge und Felder
Und einsame Wälder
Mißt er zurück.
Die Eltern in Tränen,
Ach, alle ihr Sehnen -
Sie alle verreinigt das lieblichste Glück.
Sind Jahre verschwunden,
Erzählt er dem Sohn
In traulichen Stunden,
Und zeigt seine Wunden,
Der Tapferkeit Lohn.
So bleibt das Alter selbst noch jung,
Ein Lichtstrahl in der Dämmerung.
English Translation
0:00 [m. 1]--Stanza 1.
The piano sets up a strong opening with ascending chords blatantly
imitating a pair of hunting horns playing (the harmony is the so-called
“horn fifths” progression of the natural horn). The declamation
of the first two lines of the introductory first stanza continues this
emphatic character. They begin with a decisive descending
arpeggio whose importance will be revealed at the end of the last song.
0:10 [m. 14]--The piano
tentatively begins the “galloping” rhythm that will characterize and
unify much of the song. It is typically a turning figure moving
down to a note a half-step lower and back. The remainder of
stanza 1 is sung above the “galloping” rhythm, now in the bass.
0:18 [m. 26]--An interlude now
has the “galloping” rhythm even lower in the bass while the “horn
fifth” harmonies are heard in the right hand, briefly suggesting the
minor key. The entire first stanza and this interlude could be
considered an “introduction” to the rest of the song, as the stage has
been set, the “characters” introduced (especially the “galloping”
rhythm), and the action seems to get moving with the second
stanza. The music begins to die down in preparation for the next
vocal entrance, but the “galloping” remains constant in the bass.
0:30 [m. 41]--Stanza 2.
The vocal “hook” at the beginning of this stanza is heard frequently
and also contributes to unifying a song with an irregular form.
The vocal line largely matches the prevailing rhythm with a jaunty,
upbeat melody. The piano incorporates the “galloping” rhythm into
thicker chords. There is some harmonic color introduced in the
last two lines, which come to an incomplete close. A brief bridge
leads to the next stanza.
0:44 [m. 60]--Stanza 3.
The rhythm continues, but the musical material is new. The stanza
is also shorter (the poem is obviously irregular in the length and
meter of its stanzas). The vocal line is higher at the
beginning. The entire stanza is much more quiet. The music
turns to the minor at the end of the verse, and the last line (except
for “Wünsche”) is repeated.
0:55 [m. 75]--A more
substantial, but rather bare interlude leads to the next verse,
continuing in minor.
1:01 [m. 82]--Stanza 4.
In the only large scale repetition in the song, the music matches that
of stanza 2, although the opening vocal “hook” will again appear in
stanzas 6 and 7, which veer in new directions. Although stanza 4
is shorter than stanza 2 in the poem, Brahms tailors it to match the
music by repeating the words “führen ihn höher.” The
same brief bridge follows, as in stanza 2.
1:15 [m. 101]--Stanza 5.
Although the contour of the melody is different, it is extremely
similar to that of stanza 3, and the piano matches stanza 3 exactly at
the beginning, although the voice is louder. The first three
lines correspond quite closely to that verse. The point of
divergence is the key change, which is now to G minor instead of the
“home” minor key of E-flat. The last line, together with
“beneiden” from the second, are repeated to approximate the length of
the third verse. The word “Freuden” from line 1 is also stated
twice in succession. A brief interlude with chromatic motion
leads to the last two lines of the stanza.
1:30 [m. 121]--The last two
lines are set to completely new music. The “galloping” rhythm
finally takes a break for the line mentioning the feminine element, and
the music takes an appropriately contemplative turn. The line is
set twice. The first is in G major, matching the G minor of the
preceding cadence. The piano left hand has leaps down to wide
broken octaves under right hand harmonies that follow the vocal
line. There are some chromatic notes. It does not come to a
complete close, and an altered version of the “chromatic” interlude
before 1:30 modulates to E-flat, where the second statement
begins.
1:42 [m. 135]--The second
statement corresponds to the first statement, but slight alterations to
the melody place it in the home key of E-flat rather than A-flat, which
would have been expected since the melody begins a half-step above the
first statement. A repetition of the words “vor allen” strongly
asserts E-flat, and a full close coincides with a return to the
“galloping” rhythm and a slightly longer version of the “brief bridge”
heard after stanzas 2 and 4.
1:57 [m. 153]--Stanza 6.
The “galloping” rhythm having been reintroduced, it is quickly
abandoned again in favor of arching right-hand arpeggios with the top
note repeated and a slower left hand mostly in octaves. The
“hook” from stanzas 2 and 4 is heard, but the melody moves in new
directions. A brief motion to minor is heard in the second
line. The music seems to be building and striving higher.
In the last two lines, echo effects of the vocal line are joyously
introduced in the right hand, the arching arpeggios moving to the
left. On its second entrance in the last line (which is a step
higher than the vocal line it echoes), the “echo” pattern continues
through a rather long, generally descending and receding interlude
after the singer comes to a half-close.
2:28 [m. 191]--Stanza 7.
The final verse begins in a similar manner to stanza 6, with the same
arching arpeggios in the right hand. After the first line,
however, there are divergences. The second line does not move to
minor, although there are colorful harmonic detours throughout the
verse, notably to A-flat. Three groups of two words are repeated
to lengthen the stanza somewhat. The first is “der
Tapferkeit.” It is at this point that the “echo effects” from
stanza 6 are heard again before the last two lines.
2:47 [m. 213]--The next
repeated words are “das Alter,” also followed by the “echo
effects.” The left-hand arpeggios enter a last time before the
final line, and continue through the first statement of that line (with
the last group of two repeated words, “ein Lichtstrahl”). To this
point, although there are differences, the stanza is relatively close
to the previous one. This last line suddenly tapers off and the
music seems to “put on the brakes” as the last syllable of
“Dämmerung” makes an extremely colorful turn to C-flat.
3:04 [m. 230]--The music
suddenly subdued, the final line of text is sung a second time (without
the repetition of “ein Lichtstrahl”). The galloping rhythm and
the arching arpeggios are sacrificed for a slower-moving accompaniment
and longer notes in the vocal part. The line begins in the remote
C-flat major, turning only at the last word to the home key. The
first syllable of “Dämmerung” is sustained for three measures
before the last quiet vocal cadence.
3:17 [m. 241]--As the singer
finishes, the piano resumes the galloping rhythm for a rather extended
postlude. The former pace returns, but not the volume, which
remains quiet to the end. At fist, we hear reminiscences of the
now-familiar “hook” from stanzas 2, 4, 6, and 7, but then the right
hand dissolves into high, light chords. The pervasive galloping
rhythm in the bass continues as the music dies away.
3:41--END OF SONG [257 mm.]
2. “Traun! Bogen und Pfeil sind gut für den Feind”
(“Verily! Bow and arrow are useful against the enemy”).
Kräftig (Forcefully). Alternating strophic form
(ABAB’A’). C MINOR, 3/4 time.
Then Peter asks his parents to let him travel in search of
adventure. His mother gives him three rings for his future
bride. On leaving home, Peter sings what is described as an “old
song”:
German Text:
Traun! Bogen und Pfeil
Sind gut für den Feind,
Hülflos alleweil
Der Elende weint;
Dem Edlen blüht Heil,
Wo Sonne nur scheint,
Die Felsen sind steil,
Doch Glück ist sein Freund.
English Translation
The poem is not divided into stanzas, but Brahms logically separates it
into two groups of four lines.
0:00 [m. 1]--Verse 1 (A). No introduction. The
beginning is immediately forceful and rather heavy, with thumping low
bass octaves and strong dotted rhythms. There are distinctive
upward striving flourishes that lend variety to the steady beat.
The modal-flavored minor key and the general archaic character are
reminiscent of Brahms’s ballad settings (such as Op. 14, No. 3 and Op.
43, No. 4). The last two lines are repeated. The top voice
of the piano doubles the singer until the first statement of the fourth
line, after which the piano right hand gains more character entering on
half-beats. The key is changed to G minor at the last minute for
the second statement of the fourth line, and the verse cadences there.
0:16 [m. 13]--An interlude
continues the forceful, heavy character, with rich chords and sighing
thirds in the right hand. The music moves back to C minor.
0:22 [m. 17]--Verse 2 (B). The first two lines (fifth
and sixth of the poem) are set in E-flat major, a key relative to C
minor. The piano becomes less active, playing rising upbeat chord
groups, and the voice, though now in major, seems even more emphatic
than before, moving in strong arpeggios. The last two lines
(seventh and eighth) shift abruptly to the more remote D-flat major,
but are set analogously. The last line is repeated on longer
descending notes, wrenching the music home to C minor.
0:37 [m. 28]--The piano again
becomes more active, with three downward-moving bass octaves leading to
an exact repetition of the text and music of verse 1 (A).
0:53 [m. 41]--The interlude
from 0:16 [m. 13] is repeated exactly.
0:59 [m. 45]--A textual
repetition of verse 2, but the music is first transposed and then
changed (B’). The first
two lines are set in the “home” major key of C instead of the
“relative” key of E-flat. Correspondingly, the last two lines are
set in B-flat (a whole step down, as D-flat was to E-flat), but now the
actual musical line is changed, moving up instead of down. The
piano part is also completely different, matching the rhythm of the
voice with some internal motion, and sounding almost bell-like.
The repetition of the last line again moves to C minor in a rather
jarring manner, but from a different key.
1:14 [m. 56]--The
downward-moving bass octaves lead to a final repetition of the first
verse (A’). The vocal
line is mostly the same, but the piano is varied, entering on
half-beats the entire time rather than doubling the voice at the
beginning. Groups of three notes and chords are followed by a
rest and then a single off-beat chord. The groups of three move
upward at first, then downward under the last line. The last line
(line 4 of the poem) is changed on its repetition to strive higher,
close more emphatically, and end in the home key of C minor. The
piano pattern breaks at the end, with three separate off-beat chords
under the higher-striving close.
1:29 [m. 68]--With the entrance
of the last word, the piano ends with a postlude that is a variation of
the previous interludes from 0:16 [m. 13] and 0:53 [m. 41]. The
final cadence introduces the “picardy third” (making the final chord
major in a minor key), another archaic-sounding device. The
cadence is lengthened with an typical internal motion and a rising
syncopated arpeggio in the bass.
1:45--END OF SONG [72 mm.]
3. “Sind es Schmerzen, sind es Freuden” (“Are they sorrows or are they
joys”). Andante--Vivace. Large multi-sectional form
(AABB’CDC’). A-FLAT MAJOR, 4/4 and 6/8 time. [Later title: Zweifel (Doubt)].
In Naples, he and Magelone, the
king’s daughter, fall in love at a distance as he wins tourneys
incognito. In his ardor he sings this song.
German Text:
Sind es Schmerzen, sind es Freuden,
Die durch meinen Busen ziehn?
Alle alten Wünsche scheiden,
Tausend neue Blumen blühn.
Durch die Dämmerung der Tränen
Seh’ ich ferne Sonnen stehn, -
Welches Schmachten? welches Sehnen!
Wag’ ich’s? soll ich näher gehn?
Ach, und fällt die Träne nieder,
Ist es dunkel um mich her;
Dennoch kömmt kein Wunsch mir wieder,
Zukunft ist von Hoffnung leer.
So schlage denn, strebendes Herz,
So fließet denn, Tränen, herab,
Ach, Lust ist nur tieferer Schmerz,
Leben ist dunkles Grab, -
Ohne Verschulden
Soll ich erdulden?
Wie ist’s, daß mir im Traum
Alle Gedanken
Auf und nieder schwanken!
Ich kenne mich noch kaum.
O, hört mich, ihr gütigen Sterne,
O höre mich, grünende Flur,
Du, Liebe, den heiligen Schwur:
Bleib’ ich ihr ferne,
Sterb’ ich gerne.
Ach, nur im Licht von ihrem Blick
Wohnt Leben und Hoffnung und Glück!
English Translation
0:00 [m. 1]--An unusually long
piano introduction gives an idea of the large scope of this song.
It is sweetly expressive, with gently rolled chords and broken octaves
suggesting Peter’s lute. The melody is mostly harmonized in
euphonious double thirds or sixths, with thicker chords in the second
half, where the volume also becomes louder. The last two bars
introduce a brief triplet rhythm with wide leaps.
0:43 [m. 10]--Stanza 1 (A). The vocal line begins with
the expressive melody heard at the beginning of the piano
introduction. It is characterized by turning figures on words
such as the second “sind” and “Busen.” The lute-like rolled
chords continue in the piano between low octave leaps in the
bass. The harmony of the verse moves to a half-cadence. The
last three bars of the introduction (with the leaping triplets) begin
at this half-cadence (triplets start a bar earlier) and lead to the
repetition of the material for the second verse.
1:34 [m. 10]--Stanza 2 (A). This verse is set to the
same music as stanza 1, and Brahms even indicates this with a repeat
sign rather than notating the music twice. Again, the
half-cadence arrives with a repetition of the end of the introduction,
but the chords in the last measure are not rolled, since they now lead
to new material that does not include the lute imitation.
2:23 [m. 21]--Stanza 3 (B). This verse and the next
are set in the home minor key (A-flat minor). The vocal line is
more detached and hesitant, as is the piano, which abandons the lute
chords for more bare right and left hand alternations. Before the
third line, the piano states the main melody of the introduction and
the previous verses in minor, and the singer then also presents it in
minor. The last line includes a very slow turn figure before the
cadence, which remains in minor. A brief bridge continues the new
piano pattern, but again includes rolled chords.
3:11 [m. 33]--Stanza 4 (B’). Essentially set to the
same music as stanza 3 with several slight alterations (including added
upbeats) due to text declamation. The piano part is varied in the
last two lines. Line 3 has the piano harmonize a third above the
voice, whereas in verse 3 it had doubled the vocal line (this is the
minor-key version of the opening melody). The last line includes
a new descending four-note figure in the right hand. The brief
bridge at the end is the same as before.
3:58 [m. 45]--Stanza 5 (C). This stanza of the poem
has two more lines and a completely different meter than the preceding
verses, not to mention a sudden contrast of mood. Brahms responds
by suddenly changing the meter and tempo. Now in 6/8 time, the
speed is the lively “Vivace” in contrast to the much slower preceding
“Andante.” Upper neighbor note figures become prominent in the
piano. The third, fourth, and fifth lines move strongly toward
D-flat major. At that point, the voice and piano become quite
boisterous, their figures resembling hunting horn calls. The last
line moves to a half cadence.
4:11 [m. 57]--The text and
music of stanza 5 (C) are
repeated with a slightly varied piano part and vocal line. The
repetition is best considered part of the first C in the larger form since there is
no new text, and since the later C’
also includes both statements of the material. The first line in
the voice part is set a third higher. The words “auf and nieder”
are repeated twice in the fifth line, adding an extra measure.
The last line is drawn out in longer notes than before and now moves to
a full cadence in A-flat major. Three bare piano octaves leap
downward, leading to the next section.
4:26 [m. 71]--Stanza 6, lines
1-3 (D). The tempo is
still “Vivace,” but Brahms suddenly and unexpectedly moves back to 4/4
meter and yet more new material. The right hand of the piano
thumps out octave G’s on the half-beats as the left hand strides up and
down in the low register, also in octaves. The voice arches down
and up in a disjunct line suggesting the key of C minor (as do the
octave G’s in the piano). Before line 3, the drumming octaves are
abandoned in favor of more breathless figures. The voice abandons
the disjunct line in favor of a steadily upward stepwise
striving. Line 3 is stated twice, and the music moves back to
A-flat.
4:44 [m. 82]--Lines 4 and 5
suddenly arrest the motion and move freely over long, sustained
chords. They come to an expectant half-cadence, not in A-flat,
but in D-flat (a key associated with much of C). The two lines could be
considered a transition from D
back to the C material, and
indeed, they occur in the following C’
section. They are also the emotional goal of the poem.
4:55 [m. 86]--Stanza 6, lines
6-7, incorporating lines 4-5 (C’).
A return to 6/8 meter, where the song will end. The difference
from the first C section is
primarily at the beginning, which replaces the first four measures with
two new ones reiterating the word “Ach!” (which is heard three times in
succession) and including piano figures in the “hunting-horn”
vein. The music also begins in D-flat rather than moving
there. With the third “Ach!” the music closely follows that of
stanza 5 (from line 3). The words “nur im Licht” are repeated to
compensate for the different amount of text leading to the last
line. Since line 7 of this verse is longer than line 6 of stanza
5, an extra measure is added to this line.
5:06 [m. 97]--This music
matches that at 4:11 [m. 57]. A repetition of lines 4 and 5 of
the poetic stanza (previously heard in the “transition” at 4:44 [m.
82]) replaces the reiterated “Ach!” (which had in turn replaced the
first two lines of “poetry” as heard in stanza 5). “Sterb’ ich gerne”
is set a third higher than “soll ich erdulden” in the corresponding
spot of the first C.
On the repetition of lines 6-7, not only are the words “nur im Licht”
stated twice, but also the words “von ihrem” (corresponding to the
repeated “auf und nieder” in stanza 5). The final statement of
line 7 is an even more emphatic cadence than at the end of the first C section, including a new terminal
turn figure and other new notes because of the longer line. A
short postlude in the mood of the C
section, including an emphatic final rolled chord, brings this highly
diverse song to a close in a completely different mood from the sweetly
lyrical lute imitations of the beginning.
5:37--END OF SONG [115 mm.]
BOOK II:
4. “Liebe kam aus fernen Landen” (“Love came from a far-off
land”). Andante--Poco vivace e sempre animato. Large
ternary form with abbreviated return (ABA’-CDC-A”). D-FLAT MAJOR,
4/4 time. [Later title: Hoffnung
(Hope)].
He sends Magelone two of the rings,
one with this song...
German Text:
Liebe kam aus fernen Landen
Und kein Wesen folgte ihr,
Und die Göttin winkte mir,
Schlang mich ein mit süßen Banden.
Da begann ich Schmerz zu fühlen,
Tränen dämmerten den Blick:
Ach! was ist der Liebe Glück,
Klagt’ ich, wozu dieses Spielen?
Keinen hab’ ich weit gefunden,
Sagte lieblich die Gestalt,
Fühle du nun die Gewalt,
Die die Herzen sonst gebunden.
Alle meine Wünsche flogen
In der Lüfte blauen Raum,
Ruhm schien mir ein Morgentraum,
Nur ein Klang der Meereswogen
Ach! wer löst nun meine Ketten?
Denn gefesselt ist der Arm,
Mich umfleucht der Sorgen Schwarm;
Keiner, keiner will mich retten?
Darf ich in den Spiegel schauen,
Den die Hoffnung vor mir hält?
Ach, wie trügend ist die Welt!
Nein, ich kann ihr nicht vertrauen.
O, und dennoch laß nicht wanken,
Was dir nur noch Stärke gibt,
Wenn die Einz’ge dich nicht liebt,
Bleib nur bittrer Tod dem Kranken.
English Translation
The larger ternary form is superimposed on two smaller ternary
forms. The first section comprises three stanzas that are in
simple ABA form. The same applies to the middle section in a
faster tempo (whose parts will be labeled CDC). The form is
rounded with a return to one statement of A. The seven stanzas
all have the same meter, rhyme scheme, and length (unlike No. 1 and No.
3).
0:00 [m. 1]--Stanza 1 (A). With no introduction, the
singer begins the gentle, attractive melody opening with two downward
leaps. The first three lines are accompanied by a simple pattern
with right-hand chords on half-beats. The top part in the left
hand doubles the voice under the first line, then dips to lower notes
for the second. In the third line, the left hand “anticipates”
the opening vocal melody by two beats as the second line ends.
0:23 [m. 7]--The fourth line is
stated twice, as in all stanzas using the A material. The first
statement oscillates between two notes, but includes an octave leap
(and piano echoes with rolled octaves). The second contains
distinctive “sigh” figures in the vocal line (already introduced less
overtly in line 2). Under these, the middle voice in the left
hand still has vestiges of the opening downward leaps. The piano
echoes the sigh figures in a two-bar bridge passage. Despite a
full cadence, the vocal and piano lines are questioning, ending a third
above the tonic (home key) note.
0:44 [m. 13]--Stanza 2 (B). In its only appearance,
the music of B is presented in
B-flat minor (relative to the home key of D-flat), and is somewhat
darker in tone. It begins with the “sigh” figures. The
piano part consists mostly of chords and low octaves on the half-beats,
but in the third and fourth lines (which are somewhat warmer), the
piano doubles and harmonizes the vocal line. Most of the fourth
line is repeated (without the words “klagt ich”). The final
cadence is again questioning, and includes a turn figure. A
simple piano arpeggio, still in the minor key, leads to the return of A.
1:30 [m. 25]--Stanza 3 (A’). While the vocal line is
identical to that of stanza 1, the accompaniment is “turned around,”
with the left hand notes now on the half-beats. The piano chords
in line 3 move up instead of down, and the echoes in the first
statement of line 4 are now higher as a result. The piano bridge,
echoing the sigh figures, is the same, but an extra measure is added to
move the music to the new key of F major for the middle section of the
song. There is a brief buildup in this extra measure.
2:15 [m. 38]--Stanza 4 (C). The tempo changes to “Poco
vivace,” noticeably faster, and the key is the much brighter F
major. The melody is exuberant, with several leaps and sequential
motion. The accompaniment consists of descending arpeggios in
triplet rhythm (three notes to a beat), and echoes the voice in the
first two lines. A top voice with a long-short rhythm is heard
above the arpeggios. No part of the fourth line is repeated,
breaking the pattern of the first (slower) section. A short
one-measure bridge continues the descending arpeggios.
2:36 [m. 48]--Stanza 5 (D). This is the most
harmonically active stanza so far. In the beginning it suggests F
minor, but it moves as far afield as A major and F-sharp minor (two
keys relative to each other). The character is similar to C, and moves at the same speed, but
it is more breathless and agitated, rapidly increasing, then decreasing
in volume. The right hand of the piano now plays punctuating
upbeat chords, but the left hand figures retain the triplet rhythm of C off the beat. The verse
ends with a half-cadence in F minor, and another one-measure bridge
continues the accompaniment pattern of the verse, moving back to
major. Again, the fourth line is not repeated.
2:58 [m. 59]--Stanza 6 (C). The C material returns virtually
unchanged, save that the accompaniment pattern of D persists for the first line.
The original accompaniment returns with the second line.
3:19 [m. 69]--Three measures
are added to the original bridge, which slows the arpeggios down and,
in the last measure, eliminates the triplets. The music moves
back home from F to D-flat major.
3:28 [m. 72]--Stanza 7 (A”). The final return of the
opening material restores the left hand to its “on-beat” position, and
the vocal line is again unchanged. The right hand, however, is
much more decorative, and the triplet rhythm of the middle section
enters at the second line, often going against the grain of the
straight duple rhythm. This is especially apparent in the “sigh”
figures in the repeat of the last line.
4:04 [m. 82]--The familiar
bridge echoing the “sigh” figures now incorporates the triplet rhythms
into the sighs. These are extended an extra measure before
settling to the close in quiet chords.
4:40--END OF SONG [86 mm.]
5. “So willst du des Armen dich gnädig erbarmen?” (“Will you
then, on a poor man graciously take pity?”). Allegro.
Expanded ternary form (ABB’A). F MAJOR, 2/4 time. [Later title: Glück (Happiness)].
...and one [ring] with this song in
the form of written poems.
German Text:
So willst du des Armen
Dich gnädig erbarmen?
So ist es kein Traum?
Wie rieseln die Quellen,
Wie tönen die Wellen,
Wie rauschet der Baum!
Tief lag ich in bangen
Gemäuern gefangen,
Nun grüßt mich das Licht!
Wie spielen die Strahlen!
Sie blenden und malen
Mein schüchtern Gesicht.
Und soll ich es glauben?
Wird keiner mir rauben
Den köstlichen Wahn?
Doch Träume entschweben,
Nur lieben heißt leben;
Willkommene Bahn!
Wie frei und wie heiter!
Nicht eile nun weiter,
Den Pilgerstab fort!
Du hast überwunden,
Du hast ihn gefunden,
Den seligsten Ort!
English Translation
0:00 [m. 1]--Stanza 1 (A). A very brief two-measure
lead-in consists of rapidly descending thirds and fourths. The
voice almost instantly enters, and at that point the piano right hand
shifts to a breathless pattern of double notes and chords in a triplet
rhythm, with many repetitions and reiterations. The left hand
plays mostly solid octaves at a slower pace, often echoing the
“lead-in.” The contour of the accompaniment loosely follows the
vocal line, despite clashing with its straight rhythm. The vocal
line itself is exuberant and extroverted. Lines four and five
take a brief detour to “sharp keys” (A, D, G) before being
wrenched back to F in the soaring last line, whose words “wie rauschet”
are repeated. The bridging lead-in from the opening begins before
the voice is finished, and is extended two measures to a brief half
cadence.
0:22 [m. 23]--Stanza 2 (B). This stanza is
harmonically unstable and chromatic. The singer is more hesitant
as the verse at first suggests a motion to two minor keys (F and G) and
then toward A-flat major/minor. The accompaniment is simply
alternating left and right hand chords and octaves. The last line
is repeated, first in E major and then in E-flat, where it comes to a
cadence. The accompaniment chords continue for three measures and
move back to the point where B
began.
0:42 [m. 46]--Stanza 3 (B’). The first three lines are
the same as in stanza 2 (B),
but magically, the third line is repeated in a sudden move back home to
F major. The last three lines are very joyous. The right
hand responses are now in triplet rhythm, the left hand playing more
solid low octaves on the beat. The last line (“Willkommene
Bahn!”) is repeated in longer notes, and the accompaniment moves to
repeated triplet chords under both statements of the words. The
opening “lead-in” enters before the verse is finished and comes to a
half cadence, as after stanza 1.
1:03 [m. 70]--Stanza 4 (A). The last stanza is set to
the same music as the first. The word “seligsten” is repeated in
the last line. The descending “lead-in” does not begin until the
vocal line is finished, however, shifting it forward a beat. This
is offset by eliminating the last harmonized third of the first two
descending patterns. Only a slight change of direction is needed
to change the half-cadence to a solid full close to end the song.
1:30--END OF SONG [89 mm.]
6. “Wie soll ich die Freude, die Wonne denn tragen?” (“How can I
endure the joy, how can I then endure the bliss?”). Allegro--Poco
sostenuto--Poco animato--Vivace, ma non troppo. Large
multi-sectional through-composed form (AA’BCC’DEE’). A MAJOR, 4/4, 3/4,
and 2/4 time. Later title: Erwartung
(Anticipation)].
Finally granted a personal meeting,
he sings this song.
German Text:
Wie soll ich die Freude,
Die Wonne denn tragen?
Daß unter dem Schlagen
Des Herzens die Seele nicht scheide?
Und wenn nun die Stunden
Der Liebe verschwunden,
Wozu das Gelüste,
In trauriger Wüste
Noch weiter ein lustleeres Leben zu ziehn,
Wenn nirgend dem Ufer mehr Blumen erblühn?
Wie geht mit bleibehangnen Füßen
Die Zeit bedächtig Schritt vor Schritt!
Und wenn ich werde scheiden müssen,
Wie federleicht fliegt dann ihr Tritt!
Schlage, sehnsüchtige Gewalt,
In tiefer, treuer Brust!
Wie Lautenton vorüberhallt,
Entflieht des Lebens schönste Lust.
Ach, wie bald
Bin ich der Wonne mir kaum noch bewußt.
Rausche, rausche weiter fort,
Tiefer Strom der Zeit,
Wandelst bald aus Morgen Heut,
Gehst von Ort zu Ort;
Hast du mich bisher getragen,
Lustig bald, dann still,
Will es nun auch weiter wagen,
Wie es werden will.
Darf mich doch nicht elend achten,
Da die Einz’ge winkt,
Liebe läßt mich nicht verschmachten,
Bis dies Leben sinkt!
Nein, der Strom wird immer breiter,
Himmel bleibt mir immer heiter,
Fröhlichen Ruderschlags fahr’ ich hinab,
Bring’ Liebe und Leben zugleich an das Grab.
English Translation
One of the biggest and widest ranging of all Brahms’s songs, it has an
unusual amount of text repetition.
0:00 [m. 1]--A full, richly
harmonized 4-measure introduction sets up the generally joyous mood of
the song. The left hand plays triplet rhythms against the
two-note figures in the right hand, in a typical Brahms clash of
rhythms.
0:11 [m. 5]--Stanza 1 (A). The singer continues the
happy mood of the introduction. Small pauses lend an air of
excitement. Of special note are the figures in the left hand of
the piano with their distinctive trills. The triplet rhythm plays
against them (but the first part of each group of three is a rest, not
a note), now in the right hand. After the third line, the hands
reverse, with the right hand playing trills and the left hand taking
the triplet rhythm. This alternation happens four times in quick
succession. The words “dem Schlagen” and “die Seele” are sung
twice. The verse closes on a half-cadence.
0:24 [m. 11]--The introduction
is repeated (the triplets shifting to the left hand again).
0:33 [m. 15]--Stanza 2 (A’). This begins as had stanza
1, but diverges quickly as the music changes to a minor key (F-sharp
minor, relative to the home key of A major). To deal with the
longer stanza, the text repetitions are dispensed with and the verse is
extended by three measures. The alternation between the hands of
triplets and trill figures still happens four times after the third
line (now in the new minor key), the last time without the trill,
anticipating the last line. At this last line, the accompaniment
changes to an ominous left-hand counter-melody in octaves while the
right hand plays octaves and chords on the half-beats. This
changes the mood considerably. The accompaniment pattern
continues in a brief two-measure bridge to the next section after the
singer comes to a full cadence in F-sharp minor.
0:59 [m. 25]--Stanza 3 (B). The change in material
reflects the text graphically. The left hand melody in octaves
continues from the end of the last verse. It illustrates the
“tarrying feet” (the word “bleibehangnen” literally means “laden with
lead”). The voice presents a tentative line in dotted rhythms,
still in the key of F-sharp minor.
(Note: the translation of the
first line should read “With what
tarrying feet…” instead of “Which what.”)
1:12 [m. 29]--In the middle of
the third line, the music suddenly changes back to the mood of A. Rather abruptly, the mode
shifts to F-sharp major (not modulating back to A). The
distinctive figure with the trills is heard first in the right hand
with triplet rhythms in the left. As in the other verses, the
hands switch roles four times. The trills in the right hand seem
to suggest the “feather-light” step. The last line is repeated
and the music slows slightly as it comes to a half cadence in F-sharp
major.
1:28 [m. 35]--The tempo changes
to “Poco sostenuto,” the time signature to 3/4, and the key signature
is formally changed to F-sharp major (the key of the last stretch of
music). A piano interlude introduces these changes with four
measures of “sigh” figures and low bass broken octaves.
1:40 [m. 39]--Stanza 4 (C). The mood has now
completely changed. The 3/4 meter is slow, but has a certain
“swing.” The vocal line continues the sigh figures of the
interlude, as does the piano right hand. The left hand plays very
low notes in block and broken octaves. Despite some chromatic
inflections, the music remains rooted in F-sharp major. The word
“vorüberhallt” is “echoed,” which is in fact what the word means
(though “echoes” is translated as a noun, the word is actually used as
a verb in the original--the translation is quite accurate,
however). The fourth line comes to a satisfying and warm full
cadence.
2:14 [m. 51]--As this cadence
arrives, the music changes somewhat, the piano introducing a “swinging”
triplet rhythm that alternates between the hands, the right hand
largely harmonized in thirds and sixths. The singer echoes the
words “ach, wie bald” in a distinctive downward leap. The words
“der Wonne” are also repeated. After another complete cadence,
the last two lines are presented again (with “ach, wie bald” and “der
Wonne” again stated twice in succession). This time they come to
a half cadence leading to a three-measure interlude that continues the
alternation between hands of the slowly “swinging” triplet rhythm.
2:47 [m. 66]--Stanza 5 (C’). The first four lines are
presented to the same music as the previous stanza, at least in the
vocal line. The piano is changed, with the left hand now
incorporating the “swinging” triplet rhythm introduced at the end of
the last stanza in wide leaps. The words “aus Morgen Heut” are
repeated in the spot of the previous “echo,” but the text doesn’t match
this gesture as nicely. The words “von Ort” are repeated because
the line is shorter than the corresponding line in stanza 4.
3:18 [m. 78]--The “swinging
triplet” rhythm now alternates hands as before, but the voice is not
heard immediately. The entrance of the fifth line is somewhat
“delayed” with no repetition of words. Because there are four
lines to set at this point instead of two (as at the analogous point of
stanza 4), there is no wholesale repetition of text. The varying
length of the lines also means that the relatively unimportant words
“wie es” are the only ones repeated at all (compare the twofold
repetitions of “Ach, wie bald” and “der Wonne” in the previous
verse). The “delayed” entry of the fifth line also contributes to
the relative lack of text repetition here. The vocal line is also
changed somewhat at the seventh line, abandoning the downward leap
associated with “ach, wie bald.” The rhythm is suited to the new
text, causing slight variations throughout the section. The music
comes to a complete cadence as a result of a slight change to the half
cadence heard before 2:47 [m. 66].
3:42 [m. 90]--A long interlude
continues the pattern of “swinging triplets” alternating between hands
until a first weak cadence (after four measures). Then the
triplets in the right hand are changed to “straight” rhythms (two notes
to a beat). This gives the illusion of a slowing tempo where none
really exists. The key is still F-sharp major, with several
inflections of chromatic, or “color” notes. The arrival of the
next section, aborting the expected cadence, is rather jarring.
3:59 [m. 98]--Stanza 6, lines
1-4 (D). Suddenly, the
meter changes back to 4/4 and the tempo is close to the original speed
(marked “Poco animato”). The mood of the A section returns, as do its
gestures, particularly the distinctive left hand figure with the
trills. Here, the chords in triplet rhythm are in the right hand
and remain there with no alternation. The left hand states the
“trill” gesture four times total (including the passage marked at
4:06), twice each under lines 1 and 3. Broken octaves are heard
under lines 2 and 4. The passage is harmonically unstable, with
each line moving to a new key area. Line 1 continues in F-sharp
minor, changing mode from the previous music. Line 2 shifts
suddenly to D major.
4:06 [m. 102]--Lines 3 and 4
continue to move away from the “sharp” key areas (F-sharp, A, D) toward
“flat” ones. Line 3 is analogous to line 1, but the vocal contour
is different. It is set in G minor, a half-step higher than line
1. Similarly, line 4 is the same as line 2, but is a half-step
higher, in E-flat major, quite distant from home. Line 4 is
repeated, and skillfully drawn back down the half-step to D, where line
2 was heard, coming quickly from a distant point back toward the home
key. This time, there is a subtle inflection toward minor on the
word “Leben.” The succeeding 2-measure interlude also shifts
toward minor at the very end.
4:20 [m. 109]--Stanza 6, lines
5-8 (E). A magical key
change brings us finally back home to A major. The tempo is now
even faster (“Vivace, ma non troppo”), and the meter is cut in half to
2/4. 8 measures of interlude set up the new material, with
breathless piano figures shifting between the hands. These are
generally four notes or double-notes long, with the first two repeated.
4:28 [m. 117]--The voice enters
over this new piano material. The melody is extroverted and
jubilant, full of leaps and light embellishments. The four-note
groups continue in the piano through the climax at the end of the third
(seventh) line, which is somewhat stretched out. Then, for the
last line, the accompaniment is again in triplets (and single notes),
which creates an illusion of slowing down. “Liebe und Leben” and
then “zugleich” are repeated before the singer reaches a half
cadence. A four-measure interlude in the triplet rhythm leads to
the repetition/expansion of this material (E’).
4:51 [m. 143]--Second full
statement of stanza 6, lines 5-8 (E’).
The initial statement of the first three lines (5-7) is the same as at
4:28 [m. 117].
5:05 [m. 159]--The music now
diverges from the first statement at 4:28 [m. 117], bringing back
material from the first stanza. The triplet rhythm enters as
before at the last line, but the single notes are abandoned in favor of
full chords. And most importantly, the “trill” figure from the
first part of the song returns yet again in the left hand, its natural
home. Brahms marks the music “animato” at this point.
Rather than moving straight to the last line, the third (seventh) is
now excitedly repeated. When the last line enters, its
presentation is greatly expanded. It is stated a total of four
times, none of them set the same way. On the first one, the
familiar alternation of the trill and triplet figures between the hands
is heard again, but this does not continue past the second
statement.
5:15 [m. 171]--The triplet
figures move to the left hand before the third statement. The
first syllable of “Liebe” is sustained for two measures in this
statement. The clinching final statement rockets upward--while
the piano bass shoots downward in octaves--and adds an extra repetition
of the word “zugleich.” The cadence is emphatic, temporarily
arresting the motion, which resumes with a very brief postlude echoing
the last musical phrase of this highly varied song.
5:40--END OF SONG [187 mm.]
BOOK III:
7. “War es dir, dem diese Lippen bebten?” (“Was it you for whom
these lips trembled?”). Lebhaft (Lively)--Animato. Expanded
ternary form (AA’BA”). D MAJOR, 3/4 time. [Later title: Erinnerung (Recollection)].
At the tryst he presents the third
ring and vows eternal fidelity; they kiss. Back in his lodging,
he sings this song.
German Text:
War es dir, dem diese Lippen bebten,
Dir der dargebotne süße Kuß?
Gibt ein irdisch Leben so Genuß?
Ha! wie Licht und Glanz vor meinen Augen schwebten,
Alle Sinne nach den Lippen strebten!
In den klaren Augen blickte
Sehnsucht, die mir zärtlich winkte,
Alles klang im Herzen wieder,
Meine Blicke sanken nieder,
Und die Lüfte tönten Liebeslieder.
Wie ein Sternenpaar
Glänzten die Augen, die Wangen
Wiegten das goldene Haar,
Blick und Lächeln schwangen
Flügel, und die süßen Worte gar
Weckten das tiefste Verlangen;
O Kuß, wie war dein Mund so brennend rot!
Da starb ich, fand ein Leben erst im schönsten Tod.
English
Translation
0:00 [m. 1]--Stanza 1 (A). No introduction.
After a single chord, the singer begins the restless, agitated melody,
which freely mixes steps and leaps. While the right hand plays
chords doubling the voice, the faster-moving left hand is
notable. Its figures are mainly oscillating neighbor notes (with
a few low bass notes thrown in), but the distinctive rests on the first
part of the third beat in many of these figures increase the restless
mood projected by the voice.
0:13 [m. 11]--The quieter third
line takes a brief harmonic detour to F major. In line 4, the
words “wie Licht” are dramatically repeated over a rise in volume to
help bring the rest of the verse home using a near repetition of the
music of the first two lines. The entire last line is also
repeated to new music with new bass broken octaves, and comes to a
broad cadence where the first syllable of “Lippen” is sustained for
five beats. This happens over a syncopation in the bass.
Most of the stanza consists of irregular five- and seven-bar phrases.
0:42 [m. 34]--Stanza 2 (A’). A one-bar transition
leads to the first two lines, which are rather static and subdued in
comparison to what has gone before. The restless left hand
figures remain anchored to a low D, whereas in stanza 1 they mostly
hovered around a high and more harmonically active A. The second
line tries to move to new harmonies, but the static left hand
undermines this. The word “zärtlich” is
repeated. The accompaniment pattern continues in a
three-bar interlude.
0:59 [m. 47]--From this point,
the last three lines of stanza 2 follow the last three lines of stanza
1 exactly, using the music from 0:13 [m. 11]. The strange
“hybrid” construction means that the new material in the first two
lines of stanza 2 could be called a small “b” section and the last three an
abbreviated a’. The
words “alles” and “meine Blicke” are repeated to compensate for the
different poetic meter, and the word “sanken” is stretched over six
notes. The last line is repeated in its entirety, as in stanza
1. The first syllable of “Liebeslieder” is set to the long note.
1:29 [m. 70]--A quiet piano
interlude similar to the beginning of stanza 2, with the left-hand
figures on the low D. Like many phrases in both stanzas, it is an
irregular five-bar phrase.
1:35 [m. 75]--Stanza 3, lines
1-6 (B). The change in
poetic structure inspires a change in the music. The section is
set in the key of G major and marked “Animato.” Although the
motion is quick and light, the music is quiet and even subdued.
Similar to the first two lines of stanza 2, this quiet music sets a
reference to the eyes. The accompaniment is simpler, consisting
of chords on beats 2 and 3 of each bar. The phrases are more
regular, all in four bars until the last phrase is stretched to five
with the elongation of the word “Verlangen” using a turn figure.
The five phrases only approximately correspond to the six lines of
text. The third and fourth phrases hint at A minor and arrive at
a dissonant “diminished seventh” on “gar.” A three-bar interlude
follows the last elongated phrase.
2:02 [m. 99]--Unexpectedly,
lines 4-6 of the stanza are repeated, to nearly the same three phrases.
The only variation is on the three notes beginning with “tiefste,”
which continue to move up by steps instead of skipping down to the long
note in the word “Verlangen.” As a result, this long note is
approached by a single downward octave leap. The three-bar
interlude is reduced to two, which suddenly increase in volume and
return home to D major, leading to the abbreviated return of A.
2:22 [m. 114 (113)]--Stanza 3,
lines 7-8 (A”). The words
“O Kuß” establish the mood and material of A again, and from “wie war dein
Mund” (with “dein Mund” repeated), the music is analogous to a point
just after the beginning of line 4 of stanzas 1 and 2. This is
appropriate, as the music from that point also set two lines.
Instead of an entire line being repeated, the words “ein Leben” and “im
schönsten Tod” are repeated in succession, including a third
statement of the word “schönsten.” Although the music
follows the melody and harmony closely, the lengths and placements of
certain notes are changed to fit the meter of the text. The first
syllable of the third “schönsten” is set to the long note.
NOTE: This guide describes
what is sung in the recording. Some
editions repeat “o Kuß” rather than “dein Mund,” shifting the
text so that a large descent is on “o Kuß, wie war” instead of
“wie war dein Mund.”
2:46 [m. 132]--The piano
postlude is very similar to the interlude at 1:29 [m. 70], extended by
two measures. Like that interlude, it is quiet. It slows at
the end, finally putting the brakes on the general exuberance and
restlessness of the song.
3:11--END OF SONG [138 mm.]
8. “Wir müssen uns trennen, geliebtes Saitenspiel” (“We must
part, beloved lute”). Andante--Allegro--Andante. Expanded
ternary form (ABA’CDC’D’A”). G-FLAT MAJOR, 4/4 and cut time
[2/2]. [Later title: Entschluss
(Resolution)].
Threatened with an unwanted
bridegroom, Magelone asks Peter to run off with her to his
homeland. Before meeting her he sings this song.
German Text:
Wir müssen uns trennen,
Geliebtes Saitenspiel,
Zeit ist es, zu rennen
Nach dem fernen, erwünschten Ziel.
Ich ziehe zum Streite,
Zum Raube hinaus,
Und hab’ ich die Beute,
Dann flieg’ ich nach Haus.
Im rötlichen Glanze
Entflieh’ ich mit ihr,
Es schützt uns die Lanze,
Der Stahlharnisch hier.
Kommt, liebe Waffenstücke,
Zum Scherz oft angetan,
Beschirmet jetzt mein Glücke
Auf dieser neuen Bahn!
Ich werfe mich rasch in die Wogen,
Ich grüße den herrlichen Lauf,
Schon mancher ward niedergezogen,
Der tapfere Schwimmer bleibt obenauf.
Ha! Lust zu vergeuden
Das edele Blut!
Zu schützen die Freude,
Mein köstliches Gut!
Nicht Hohn zu erleiden,
Wem fehlt es an Mut?
Senke die Zügel,
Glückliche Nacht!
Spanne die Flügel,
Daß über ferne Hügel
Uns schon der Morgen lacht!
English
Translation
0:00 [m. 1]--A short piano
introduction sets up low, slow-moving, and slightly dissonant “sigh”
figures in the right hand, with syncopated bass notes after the beats
in the left.
0:11 [m. 3]--Stanza 1 (A). The melody is smooth and
subdued, but wide-ranging. The right-hand accompaniment is very
steady, consisting of rising four-note groups evoking the lute (the
first and third notes of each are harmonized with a note below).
The left hand notes after the beats continue from the introduction, and
the first two measures echo the harmonies of the introduction.
0:21 [m. 5]--The last two lines
of the stanza move steadily downward, with some chromatic notes
introducing a motion to the related key of D-flat (which is also the
lowest note). The last line (without the word “nach”) is
repeated, with the vocal line reaching upward as the music subtly
shifts to the dark G-flat and D-flat to the brighter and rather distant
F and B-flat.
0:40 [m. 9]--Stanza 2 (B). The second stanza begins
in B-flat minor. It is characterized by the continuing sigh
figures in the left hand with fast “drum-roll” figures in the
right. The sighs and drum rolls switch hands every measure.
The vocal line is very rhythmic, and echoes the piano’s drum rolls with
long-short figures. The last two lines move the music back to the
home key of G-flat. There is a one-bar transition that echoes the
last vocal measure.
1:00 [m. 14]--Stanza 3 (A’). The vocal line follows
that of stanza 1 closely, including the motion to D-Flat, F, and
B-flat. The difference is in the text repetition. Because
the fourth line is shorter than that of stanza 1, the words “die Lanze”
from the third line are repeated before it is heard, both in its first
and second statements. There are also some small differences in
declamation and rhythm. The second statement begins as in stanza
1 (reaching upward), but changes direction and settles on an expectant
pause. The accompaniment for the stanza is not the same as that
of stanza 1. It continues the “drum roll” effects from stanza 2
in the right hand against more steady motion in the left. The
last “drum-roll” coincides with the pause (on F) in the vocal line and
completes the smaller three-part form of the first part.
1:31 [m. 20]--Stanza 4 (C). After the expectant pause,
a change of tempo to Allegro and the reduction of the 4/4 meter to cut
time [2/2] heralds the arrival of the middle section of the larger
ternary form. Like stanza 2, the key of B-flat follows naturally
from the pause, but now it is B-flat major, complete with an official
key signature change. The piano right hand, in chords and
octaves, introduces the basic short-long-short rhythm beginning on an
upbeat. The left hand typically enters during the longer right
hand notes. The pattern continues when the voice enters after two
measures. The melody is light and joyful, incorporating dotted
(long-short) rhythms within the larger short-long-short pattern.
The voice breaks off suddenly after hinting at a move to G minor, but
the piano gains strength and continues to a half-cadence in B-flat.
1:45 [m. 32]--Stanza 5 (D)--The vocal line now rises
steadily and with ever more exuberance. The last line, repeating
the words “der tapfere Schwimmer,” reaches another half-cadence in
B-flat, but this one is filled with tension, reaching an expectant
pause on a high note. The piano accompaniment for the stanza
introduces full chords in a distinctive triplet rhythm (three notes to
a beat), but with the first note of each triplet absent, replaced
either with a rest or with a tie from the last group. These are
played against the continuing straight two-note rhythm in the left hand
and the voice. They continue until the pause.
2:05 [m. 49]--Stanza 6, lines
1-4 (C’)--The piano part
follows the notes and harmony of stanza 4, but now incorporates the
triplet rhythms of stanza 5 in both hands (but the first note of each
group is now present). After the piano plays its lead-in with the
triplet rhythm using broken octaves, the vocal line follows that of
stanza 4 quite closely, but does away with the dotted rhythms because
of the shorter poetic lines. It now follows the more straight
“short-long-short” pattern throughout, contrasting with the triplets in
the piano (which comes to the same half-cadence in B-flat after the
voice breaks off).
2:18 [m. 61]--Stanza 6, lines
5-6 (D’)--Because of the
shorter lines, a full statement of the two lines corresponds closely to
the first line of stanza 5 (including the triplet rhythm with “absent”
first notes in the piano), but adds two notes to the end. The two
lines are repeated, corresponding to the second line of stanza 5, but
before that, Brahms shifts the harmony so that the line is sung a
half-step lower than in stanza 5. This causes the line to reach
the key of F-sharp (the same as G-flat, notated differently--they are
“enharmonic” keys). This is a very clever way to return to the
home key. The last two musical lines of stanza 5 are cut, and the
piano continues with a descending transition firmly establishing
F-sharp. The music slows and settles down as the triplet rhythm
comes to an end.
2:35[m. 72]--Having reached the
home key (now notated as G-flat), Brahms now restores the 4/4 meter and
restates the two-bar introduction from the opening of the song for the
abbreviated return (consisting only of A”)
of the opening section.
2:46 [m. 74]--Stanza 7 (A”)--Up through the fourth line, the
vocal line matches that of stanzas 1 and 3, moving to the low
D-flat. The accompaniment is similar to that of stanza 1, but the
rising four-note groups are split between the hands. Each hand
plays a three-note figure, the right hand entering as the left hand
plays its second note (and the left hand resting as the right hand
plays its last note) so that the second and third notes of each group
are played by both hands. This pattern remains steady through the
stanza, and the previous left hand after-beat notes are obviously now
absent.
3:07 [m. 78]--Because the
stanza has five lines instead of four, the fifth line takes the place
of the repetitions in stanzas 1 and 3. The music is quite
different. The line is set to a soaring, slowly moving vocal and
now returns quickly to G-flat after a striking but short diversion to
B. It is stated twice. The second statement begins on a
syncopated dissonance and is stretched even further, repeating and
lengthening the words “der Morgen” before a closing cadence.
3:30 [m. 82]--The piano
postlude changes the preceding pattern slightly. The right hand
still plays three-note groups (resting on the first note of the
pattern), but the left hand now plays with the first, third and fourth
notes of the pattern instead of the first, second, and third, leaving
the right hand alone on the second. The left hand makes
wide leaps after its initial (now longer) notes of the pattern.
The pattern continues for three measures, introducing several
dissonances before the last questioning cadence.
4:05--END OF SONG [84 mm.]
9. “Ruhe, Süßliebchen, im Schatten”
(“Rest, my love, in the shade”). Langsam--Animato. Modified
strophic form with refrain on the last three lines of each
strope. A-FLAT MAJOR, 6/8 time. [Later title: Schlaflied (Lullaby)].
In the course of their escape, they
rest in a forest and he sings this song.
German Text:
Ruhe, Süßliebchen, im Schatten
Der grünen, dämmernden Nacht:
Es säuselt das Gras auf den Matten,
Es fächelt und kühlt dich der Schatten
Und treue Liebe wacht.
Schlafe, schlaf ein,
Leiser rauscht der Hain,
Ewig bin ich dein.
Schweigt, ihr versteckten Gesänge,
Und stört nicht die süßeste Ruh’!
Es lauschet der Vögel Gedränge,
Es ruhen die lauten Gesänge,
Schließ, Liebchen, dein Auge zu.
Schlafe, schlaf ein,
Im dämmernden Schein,
Ich will dein Wächter sein.
Murmelt fort, ihr Melodien,
Rausche nur, du stiller Bach.
Schöne Liebesphantasien
Sprechen in den Melodien,
Zarte Träume schwimmen nach.
Durch den flüsternden Hain
Schwärmen goldne Bienelein
Und summen zum Schlummer dich ein.
English
Translation
Outside of the cycle, this song is considered one of the three “Brahms
Lullabies” (the others are Op. 49, No. 4 and Op. 91, No. 2).
There are superficial similarities with Op. 91, No. 2.
0:00 [m. 1]--The piano
introduction anticipates the “refrain” that will be heard at the end of
each verse, a gently rising figure whose fourth note is
dissonant. The left hand begins the song a beat before the first
full bar and continues in a gentle syncopation (playing the same chord
on beats three and six of each bar). The chord is the highly
anticipatory and unstable dominant seventh, which wants to pull to the
home chord, but avoids doing so.
0:11 [m. 5]--Stanza (strophe)
1. The vocal line is a gently rocking, generally descending
melody. While the right hand plays simple chords and notes on the
main beats, the left hand continues its gentle syncopation on the
dissonant chord. After the verse begins, the chord finally
changes and loses its dissonant character, but the low bass note
remains the same. The middle note of the chord moves down, then
back up, then gradually down.
0:26 [m. 11]--From the third
line, preceded by a two-measure bridge, the bass note begins to
oscillate, at first only moving a half-step above the previously
constant low note, but gradually incorporating a few other notes.
From this point, the bass is no longer in chords and consists of single
notes and octaves, but the syncopated, constant reiterations on beats 3
and 6 remain. Lines three and four are identically set and move
to the remote key of C-flat major, but line five, in a slow descent,
comes back to the territory of the home key, while avoiding a full
close there. The target key is the same pitch (E-flat) as
the pervasive bass notes of the opening.
0:55 [m. 23]--At the point of
the cadence, the unstable dominant seventh chords from the beginning
return, as does the music of the introduction. It leads to the
actual refrain (lines 6-8 of the stanza). The voice echoes the
piano’s rising line, after which the piano left hand again moves to
other chords and the right hand rises higher. The following line
is a downward near inversion of the first line, again with a slightly
dissonant fourth note suggesting the key of D-flat. Rising still
higher, the piano becomes somewhat excited.
1:17 [m. 33]--The last line
again abandons chords in favor of octaves in the left hand. It is
a descending figure, set higher than the preceding line and moving down
entirely by steps and toward G-flat. The following bridge is
quite static and begins to settle down. The line is repeated a
bit lower, starting on a long note held over a bar line and moving home
to A-flat. It includes an extra reiteration of the word “ewig”
and an even longer note on the word “bin.” This descending figure
leads to the first full cadence in the home key. Only at the
point of that cadence is the constant syncopated rhythm in the left
hand finally abandoned.
1:37 [m. 41]--An extremely
tender, rocking interlude begins with the vocal cadence and firmly (and
finally) establishes the home key while leading to the next
strophe. The bass, moving between higher chords or fifths and low
octaves, is no longer syncopated.
1:59 [m. 49]--Stanza (Strophe)
2. The syncopation in the bass is now replaced by oscillating
chords and single notes in both hands (the right hand usually has a
rest before each group until the third line, where it introduces chords
and vocal line doubling). The structure of the vocal line is
similar to that of strophe 1 with some rhythmic variation, but the keys
are different. It begins in the key of F minor (relative to
A-flat), moving to G-flat major in the second line and back to F minor
in the third. The fourth line reaches a half-cadence in E-flat
minor (relative to G-flat major, just heard). A shift to major in
line 5 (which now moves upward before leaping downward), leads to the
same cadence on the note E-flat and a return to the refrain.
2:40 [m. 67]--The refrain is
virtually the same as at 0:55 [m. 23], with a nearly identical vocal
line and right hand. Even the left hand introduces the same
harmonies as before (including the pervasive dominant seventh at the
beginning), as well as the former syncopation. The difference is
that the chords of the left hand are now broken, in keeping with the
oscillating motion of the preceding music. Now the left hand
plays on beats 2, 3, 5, and 6, holding one or two notes over the strong
beats, 1 and 4. This pattern continues throughout the
refrain. Obviously the words are different, and the rhythm is
slightly altered to match the declamation.
3:01 [m. 77]--The last line is
one syllable longer than that of stanza 1 at 1:17 [m. 33], so on its
second repetition, no word is reiterated. Instead, the first word
“ich” is stretched over two notes. The first syllable of
“Wächter” gets the long note.
3:20 [m. 85]--The tender
interlude from 1:37 [m. 41] is repeated, but with flowing broken chords
in the left hand.
3:39 [m. 93]--Stanza (Strophe)
3. Very suddenly, the tempo speeds up (“Animato”) and the music
is strikingly bumped up a half-step to A major (complete with a key
signature change to three sharps). The accompaniment is now
upward-thrusting arpeggios, which give way to wave-like figures in the
left hand under right hand chords playing with the first two lines and
also bridging them. These are quite different from their settings
in the first two stanzas, and consist of forward-thrusting, leaping
lines that finally settle at the end of line 2 with a repetition of “du
stiller.”
3:51 [m. 100]--The thrusting
arpeggios return for the last two lines and remain in force through the
rest of the stanza and most of the refrain. The top voice of the
piano, after a one-bar anticipation, doubles the voice in line 3, then
diverges. The settings of lines 3-5 return to the familiar
descending lines of the first two verses. Line 3 shifts
dramatically to the bright C major, leaving it to line 4 (where the key
signature changes back to 4 flats) to return home to A-flat
major. Line 5 is more decorative and set higher than in the first
two verses, but comes to the same cadence on the note E-flat as before.
4:07 [m. 111]--The final
statement of the refrain continues the animated motion of the preceding
verse. The former syncopated block chords (including the
dissonant dominant seventh) are now rolled upward in the pattern of the
preceding music. The piano line, imitated by the voice, retains
the same outline and shape. The rhythm is more animated to
accommodate the wordier text of these lines. Before the
repetition of the last line, the thrusting arpeggios become slower and
more stretched out, and the music becomes softer. That repetition
(which reiterates the words “zum Schlummer”) returns to the quiet
character of the first two verses as it reaches its cadence.
4:40 [m. 129]--In a sort of
“coming around full circle,” the tender interlude, now a postlude,
returns to the left hand syncopation of the opening (2 notes, often
octaves, played on beats 3 and 6). In its first two statements,
the left hand rhythm had not been syncopated. Since strophe 3 had
mostly straight rhythm, even in the refrain, this postlude seems to be
a bit of a role reversal and helps to close and unify the song.
It is only briefly extended and stretched for the final chords, the
left hand remaining syncopated until the end. Brahms indicated
that it should gradually and steadily slow down, since the animated
tempo of strophe 3 is still in force as it begins.
5:25--END OF SONG [138 mm.]
BOOK IV:
10. Verzweiflung--“So
tönet denn, schäumende Wellen” (Despair--“Resound, then, foaming
waves”). Allegro. Expanded ternary form (AA’BA). C
MINOR, 3/4 time.
A raven flies off with the three
rings while Magelone sleeps and, trying to recover them when they fall
into the sea, Peter is blown far from shore in a small boat; he sings
this song.
German Text:
So tönet denn, schäumende Wellen,
Und windet euch rund um mich her!
Mag Unglück doch laut um mich bellen,
Erbost sein das grausame Meer!
Ich lache den stürmenden Wettern,
Verachte den Zorngrimm der Flut;
O, mögen mich Felsen zerschmettern!
Denn nimmer wird es gut.
Nicht klag’ ich, und mag ich nun scheitern,
Im wäßrigen Tiefen vergehn!
Mein Blick wird sich nie mehr erheitern,
Den Stern meiner Liebe zu sehn.
So wälzt euch bergab mit Gewittern,
Und raset, ihr Stürme, mich an,
Daß Felsen an Felsen zersplittern!
Ich bin ein verlorener Mann.
English
Translation
0:00 [m. 1]--The piano
introduction sets up the character of the song. The fast,
turbulent arpeggio and scale figures of the right hand are played
against starkly syncopated octaves in the left.
0:06 [m. 5]--Stanza 1 (A). While remaining agitated
and intense, the piano arpeggios become quieter and basically only move
upward now, while the left hand usually plays after the beats.
The first line of the stanza is a rather broad, arching phrase.
After another measure echoing the end of the phrase, the second line is
sung to a similar, but less arching phrase that ventures harmonically
toward B minor. The second line is repeated to another similar,
downward moving phrase, without the one-measure break and moving back
home harmonically.
0:20 [m. 15]--The third line
introduces a new rhythmic figure in triplets, heard in full chord
harmony and bass octaves in the piano, and then taken up by the
voice. The line is set twice to a pair of two-measure phrases
(shorter than those of the first two lines), the second higher than the
first. The triplet rhythm continues in the piano under the last
line, which is stretched to five measures by a longer-breathed
descending line and the punctuating repetition at the cadence of the
words “das grausame Meer.” (under which the triplets slow down to
“straight” rhythm).
0:34 [m. 23]--At the vocal
cadence, the piano introduction is repeated with the left hand
syncopation placed in a higher octave and sounding somewhat more mild.
0:38 [m. 27]--Stanza 2 (A’)--The stanza is an abbreviated
version of stanza 1. The first two lines are set to two-measure
phrases similar to the third line of stanza 1, with the triplet figures
in the voice. The piano, however, continues with the faster
figures in regular rhythm rather than introducing the full chord
harmony heard at 0:20. The stanza suggests the key of F minor for
these two lines.
0:44 [m. 31]--The third line is
set in a very similar manner to that of stanza 1, and with similar
harmony, but it is not repeated at the higher level. The setting
of the fourth line begins like the third-line repetition in stanza 1,
but quickly turns to the music of that stanza’s fourth line and is the
same length. The stanza effortlessly moves to the same ending and
cadence as stanza 1. Because line four is shorter in this verse,
the words “denn nimmer” are repeated at first, and then the entire line
is stated again.
0:55[m. 37]--The music of the
introduction is heard again, this time with the hands reversed, the
running arpeggios and scales in the left and the syncopated octaves in
the right. It begins as an exact reversal, but as the original
ending approaches, it is changed and extended for a modulation to a new
key, with the running figures remaining in the left hand. The
music becomes quiet as the key changes.
1:04 [m. 43]--Stanza 3 (B)--This verse is quieter and more
restrained. The piano left hand moves in smooth triplet-rhythm
arpeggios while the right remains in the regular straight (duple)
rhythm. The vocal line, entering after two measures, is slower
moving and is characterized by “sigh” figures. The stanza opens
in the dark key of A-flat minor (but with the four-flat key signature
of A-flat major).
1:18 [m. 51]--From the third
line, the stanza moves to major, initially suggesting D-flat, but then
approaching a cadence back in A-flat. The third line is very
expressive and more hopeful, including a sustained, rising vocal
line. The fourth line transfers the triplets to the right hand,
harmonizing above the voice. The “straight” rhythm moves to
the left hand with distinct climbing figures The singer descends
and settles before the piano slows down and moves to the implied (and
aborted) cadence.
1:37 [m. 58]--The agitated
music and tempo of the introduction suddenly return. It is
similar to the previous statements, but it begins in A-flat and must
move back home to C minor. It is extended by a measure,
maximizing the tension before the return of the A music.
1:44 [m. 64]--Stanza 4 (A)--The music is virtually identical
to that of stanza 1 with minor adjustments for textual
declamation.
1:57 [m. 73]--The third line
introduces the rhythmic triplet figure, as at 0:20 [m. 15]. The
pattern of text repetition is the same, with the words “ein verlorener
Mann” repeated at the end.
2:13 [m. 81]--At the final
vocal cadence, the introduction music is heard a last time, with the
arpeggios now extended higher and then reaching to the lowest register
of the keyboard, slowing as a final, emphatic chord is approached.
2:31--END OF SONG [84 mm.]
11. “Wie schnell verschwindet so Licht als Glanz” (“How quickly
disappear light and radiance”). Etwas langsam (Rather
slowly). Modified strophic form with bridge (AA’[B]A”A’). F
MINOR, 3/8 time. [Later title: Trauer
(Grief)].
Magelone rides on sadly and goes to
live in the hut of an old shepherd and his wife; she sings this song.
German Text:
Wie schnell verschwindet
So Licht als Glanz,
Der Morgen findet
Verwelkt den Kranz,
Der gestern glühte
In aller Pracht,
Denn er verblühte
In dunkler Nacht.
Es schwimmt die Welle
Des Lebens hin,
Und färbt sich helle,
Hat’s nicht Gewinn;
Die Sonne neiget,
Die Röte flieht,
Der Schatten steiget
Und Dunkel zieht.
So schwimmt die Liebe
Zu Wüsten ab,
Ach, daß sie bliebe
Bis an das Grab!
Doch wir erwachen
Zu tiefer Qual:
Es bricht der Nachen,
Es löscht der Strahl.
Vom schönen Lande
Weit weggebracht
Zum öden Strande,
Wo um uns Nacht.
English
Translation
0:00 [m. 1]--A particularly
wonderful piano introduction establishes the musical material and even
the phrase structure of the song. A melancholy two-bar descending
line is repeated with the first note inflected upward. These are
answered by a consequent four-bar phrase with rich, chromatic harmonies
ending on a half-close.
0:19 [m. 9]--Strophe 1 (A). The strophe sets two
stanzas of the poem. The setting of the first stanza matches the
piano introduction closely (without the upward inflection on the second
line), coming to the same half-close. One line is set to each
two-bar phrase, and two to the four-bar phrase. The piano left
hand moves mostly in octaves, the right hand in slow chords.
0:38 [m. 17]--The setting of
the poem’s second stanza also follows the 2+2+4 measure phrase
structure, but the voice is less active, the piano taking the more
flowing line in beautiful double notes (thirds). The first two
phrases are similar, but the second is set a third higher. The
four-measure phrase features sets of three-note figures that leap down,
then up. There are three of these figures, moving sequentially
downward. The entire stanza moves away from the home key, ending
with on a very warm D-flat major.
0:57 [m. 25]--A two-bar
interlude reestablishes F minor and the opening gesture.
1:01 [m. 27]--Strophe 2 (A’). This strophe only sets
one stanza (the third), but cleverly reaches the same length of the
first strophe. The first two lines are set to the same two-bar
phrases, but the second includes the upward inflection of the piano
introduction. The third line matches the opening two measures of
the four-bar phrase from the introduction and first stanza. The
fourth line, however, rather than approaching the half-close, imitates
the third line a half-step lower, resulting in two additional two-bar
phrases instead of a four-bar phrase. The third and fourth lines
are then repeated completely to a new four-bar phrase, incorporating
the “down-up” motion from the end of the second stanza and coming to a
full cadence in the home key.
1:29 [m. 39]--The piano repeats
this last new four-bar phrase. If this interlude is considered
part of strophe 2, then strophe 2 is the same length as strophe 1,
despite only setting one stanza and only repeating half of it.
1:38 [m. 43]--Bridge (B). Shifting to the major mode
of the home key (F), the music reaches a very tender and quiet bridge
passage. The first two lines of the poem’s fourth stanza are set
to a sweetly descending four-bar phrase, extended by the piano (which
reaches a very low bass) to six bars. The last two lines make a
dramatic harmonic shift to D-flat (the key heard at the end of strophe
1). After their two-bar piano extension, the piano plays an
additional four bars (a total of ten measures, six in the piano),
returning to the home key and the melancholy mood. The piano
measures and the vocal measures each total eight, making the entire
bridge the same length as the other strophes, though setting only one
stanza with no repetition.
2:15 [m. 59]--Strophe 3 (A”). Like strophe 1, it sets
two poetic stanzas (the fifth and sixth). While generally
following strophe 1 closely, it does incorporate the upward inflection
on the second line as heard in the piano introduction and strophe
2. The setting of the fifth stanza comes to the familiar
half-close, but the vocal line reaches lower. The accompaniment
is new and more active, with descending figures passed between the
right and left hands, sometimes in double notes (mostly thirds).
2:31 [m. 67]--The setting of
the sixth stanza is close to that of the second, but now the singer
participates in the flowing line and thirds previously heard only in
the piano for the first two lines. This is the emotional climax
of the song, indicated by an increase in volume. The last two
lines gradually return to the previous vocal phrase, but the piano left
hand continues the more active motion in broken octaves. As
before, the stanza moves to D-flat major. The piano extends the
verse an extra bar as the music settles down.
2:50 [m. 76]--The two-bar
interlude from 0:57 [m. 25] is played, reestablishing F minor.
2:55 [m. 78]--Strophe 4 (A’). The strophe, setting the
seventh and final stanza of the poem, matches strophe 2 exactly, with
the last two lines repeated as before. The full cadence in the
home key is again reached.
3:26 [m. 90]--The piano repeats
the last four-bar phrase, as at 1:29 [m. 39], and it serves as a
postlude, with fuller harmonies in the last two chords. While the
structure of this song is complex, the emotional affect is that of a
straightforward and poignant lament.
3:44--END OF SONG [93 mm.]
12. “Muß es eine Trennung geben” (“Must there be a
parting”). Poco Andante. Modified strophic form. G
MINOR, 6/8 time. [Later title: Trennung
(Parting)].
Peter is found by Moors, who sell him
to the Sultan; he sings this song
German Text:
Muß es eine Trennung geben,
Die das treue Herz zerbricht?
Nein, dies nenne ich nicht leben,
Sterben ist so bitter nicht.
Hör’ ich eines Schäfers Flöte,
Härme ich mich inniglich,
Seh’ ich in die Abendröte,
Denk’ ich brünstiglich an dich.
Gibt es denn kein wahres Lieben?
Muß denn Schmerz und Trennung sein?
Wär’ ich ungeliebt geblieben,
Hätt’ ich doch noch Hoffnungsschein.
Aber so muß ich nun klagen:
Wo ist Hoffnung, als das Grab?
Fern muß ich mein Elend tragen,
Heimlich bricht das Herz mir ab.
English
Translation.
0:00 [m. 1]--Stanza
1. A one-measure prelude establishes the sadly flowing downward
arpeggios passed between hands that characterize the piano
accompaniment for most of the song. They are quiet, but
agitated. Each is introduced with a low bass note. The
vocal line is characterized by a long note followed by a rising figure
in each of the four lines, all of which are set to three-measure
phrases. A characteristic embellishment is the anticipation of
the note before the second syllable of “geben,” and another is the turn
figure on “Herz.” The second line comes to a half cadence.
0:20 [m. 8]--The third line of
the strophe is the same as the first, but set a step higher, in A
minor, subtly approached from the half cadence of line 2. The
fourth line returns to G in an equally subtle manner, reaching higher
than before, but the music is now in major. The harmony comes to
a close on a G major chord, but the voice finishes on the note B, a
third above, lending the phrase a questioning character.
0:35 [m. 13]--At the vocal
cadence, the piano echoes the last six notes of the fourth line in
harmony, the arpeggios being transferred entirely to the left
hand. These echoes are in longer note values, some of them
syncopated. This allows the three-measure phrase to be retained
(the first overlapping with the last bar of the vocal phrase).
The echoes remain in major, with minor-key inflections in the chords.
0:44 [m. 2]--Stanza 2.
This is set to the same music as stanza 1, and Brahms indicates this
with repeat signs. The closing interlude after stanza 1 replaces
the one-measure prelude. Everything, including that closing
interlude, is included in the repeat signs except for the first,
preparatory measure.
1:25 [m. 16]--Stanza 3.
Although it contrasts with the preceding verses, it uses the same basic
material and even retains the three-measure phrases. The first
line begins as before, but the harmonies quickly move toward the key of
E-flat major. The second line begins “early,” not allowing the
first to complete its third measure. This allows the words
“muß denn Schmerz” to be repeated. The word “Schmerz”
therefore takes the long note where the line “should” have begun.
This line varies significantly from the preceding verses, and leads
over a crescendo to the song’s climax.
1:39 [m. 22]--The last two
lines of the verse are quite surprising. Both of them begin
“early,” as had the second, and introduce new material, with long notes
being held across bar lines. The “surprise” is in the piano,
which suddenly abandons the pervasive downward arpeggios and plays the
main opening melody, harmonized in thirds while the left hand
reiterates the note D in the third phrase and G in the fourth.
The phrases are harmonically active, the third sounding as if it is
moving back home to G minor, but the fourth taking a diversion instead
to the related C minor. In both cases, the piano completes the
three-bar phrase. The third line is the climax of the song, while
the fourth is a sort of echo, completing the bleak thought.
1:58 [m. 28]--Stanza 4.
It follows stanza 3 with no interlude other than the piano’s completion
of the last three-bar phrase. It is essentially the same as the
first and second stanzas (strophes), with a subtle difference at the
beginning. Although the vocal line is exactly the same from the
outset, the piano arpeggios, re-entering after their only interruption,
retain the harmony of the preceding C minor from the foregoing music at
first, only matching the previous strophes in the third measure.
The motion from C minor back to G minor is thus smoothly handled under
the beginning of the verse, and the vocal line easily matches this new
harmony.
2:30 [m. 39]--As at 0:35 [m.
13], the vocal cadence introduces the “echo” in the piano of the last
six notes in harmony. However, at the third of these (the second
measure), the voice overlaps it with a repetition of the entire last
line. The first three notes are a half-step lower, suggesting a
return to minor. But the last six are now stated in the longer
note values, as they had been in the piano. The first of these
arrives with the last note of the piano phrase. The piano
continues the pattern, though, with the chords now more directly
harmonizing with the voice. The second of these last notes (fifth
of the entire phrase) makes another hint at minor before the last four
notes again establish the major mode. The voice includes a
“hemiola,” or implied 3/4 measure. The final vocal phrase retains
its strangely questioning character. The longer notes stretch it
to four measures, for a total of five with the first piano measure
before the “overlap.”
2:44 [m. 43]--The piano
postlude, arriving with and overlapping the vocal cadence, continues
the pervasive arpeggios, moving steadily downward and continuing to
waver between major and minor before major is finally settled upon at
the end. It is essentially another three-measure phrase, with a
final chord added in a last extra measure.
3:10--END OF SONG [46 mm.]
BOOK V:
13. Sulima--“Geliebter, wo
zaudert dein irrender Fuß?” (Sulima--“My love, where tarries
your wandering [wrongly-treading] foot [feet]?”). Zart, heimlich
(Tenderly, secretively). Vivace. Large two-part strophic
form (AAB form in each strophe). E MAJOR, 2/4 time. [Later
title: Lockung (Allurement)].
After nearly two years, Sulima, the
Sultan’s daughter, asks him to run away with her and he agrees, merely
on the chance of reaching home again. Repenting, he sets out
alone in a small boat as Sulima sings this song in the distance.
German Text:
Geliebter, wo zaudert
Dein irrender Fuß?
Die Nachtigall plaudert
Von Sehnsucht und Kuß.
Es flüstern die Bäume
Im goldenen Schein,
Es schlüpfen mir Träume
Zum Fenster hinein.
Ach! kennst du das Schmachten
Der klopfenden Brust?
Dies Sinnen und Trachten
Voll Qual und voll Lust?
Beflügle die Eile
Und rette mich dir,
Bei nächtlicher Weile
Entfliehn wir von hier.
Die Segel, sie schwellen,
Die Furcht ist nur Tand:
Dort, jenseit den Wellen
Ist väterlich Land.
Die Heimat entfliehet,
So fahre sie hin!
Die Liebe, sie ziehet
Gewaltig den Sinn.
Horch! wollüstig klingen
Die Wellen im Meer,
Sie hüpfen und springen
Mutwillig einher,
Und sollten sie klagen?
Sie rufen nach dir!
Sie wissen, sie tragen
Die Liebe von hier.
English
Translation
Note: The first word of
the song (a direct translation would be “beloved man”) and the
character of Sulima suggest that the song should be sung by a woman;
however, the entire cycle is usually taken by one singer, usually a
man, reflecting Peter’s voice in most of the poems.
0:00 [m. 1]--The piano
introduction is rather long. It consists of three phrases, the
first two shorter and identical, and the third more varied and longer
than the first two combined. This reflects the structure of each
large strophe. The first two phrases introduce the playful,
skipping dotted rhythm present in the accompaniment (and the voice) for
much of the song. The third, longer phrase introduces the many
“color” notes (usually flattened a half-step from where they are in the
home key--an inflection toward the minor) that appear throughout the
song, graphically suggesting the exoticism associated with Peter’s
captivity and the character of Sulima. The music finally settles
on a repeated note (B), preparing the entry of the voice.
0:09 [m. 12]--Stanza 1 (A). The vocal line continues
the playful, skipping dotted rhythm of the introduction, which also
continues in the piano. The persistence of this rhythm also
conveys a sense of restlessness or impatience. The “color” notes
are noticeable, particularly when the last line is repeated in a more
slowly drawn concluding phrase. A short, vamp-like interlude
follows.
0:20 [m. 12]--Stanza 2 (A). A repetition of the music
of stanza 1, indicated with a repeat sign. The last line is of
course repeated to the slower phrase, and the “vamp” is heard again at
the end.
0:31 [m. 26]--Stanza 3 (B). The longer section
rounding out the strophe begins. Stanza 3 is set to a breathless
rising line, still in the persistent skipping dotted rhythm. The
top notes of the phrases are flattened “color” notes. The last
line is NOT repeated.
0:37 [m. 34]--Stanza 4 (B continued). This stanza
rounds out the strophe. It moves generally downward, coming the
opposite direction from stanza 3. “Color” notes are heard at the
end of lines 1 and 2. Lines 3 and 4 leap gradually downward
(chromatically, by half-step). Lines 3 and 4 are repeated as a
clinching, climactic phrase that rises again and is more drawn out at
the end. Under this repetition, the left hand finally departs
from the persistent “skipping” rhythm for a strong descent in
“straight” rhythm.
0:47 [m. 47]--The long piano
introduction from the beginning is repeated.
0:56 [m. 58]--Stanza 5 (A). Repetition of the music of
stanzas 1 and 2, with the last line repeated and the vamp-like
interlude.
1:07 [m. 58]--Stanza 6 (A). Repetition of the music of
stanzas 1, 2, and 5 (indicated with a repeat sign from the end of
stanza 5), with the last line repeated and the vamp-like interlude.
1:17 [m. 72]--Stanza 7 (B’). Varied statement of the
music of stanza 3. Lines 1 and 2 are the same, but the harmony of
lines 3 and 4 (not the rhythm or general direction) is subtly changed
to lend more of a “minor” flavor.
1:24 [m. 80]--Stanza 8 (B’ continued). A mostly
unchanged repetition of the music from stanza 4, with the repetition of
lines 3 and 4 over a strong “straight” rhythm descent in the left
hand. There is a very slight alteration under the first syllable
of the word “Liebe,” (analogous to the second syllable of “entfliehn”
in stanza 4) where the “color” note enters a beat later in the right
hand.
1:33 [m. 93]--The long
introduction begins as in the interlude between the large strophes (at
0:47 [m. 47]), but changes direction halfway through to settle down to
a quiet, but still playful ending. The pervasive dotted rhythm
remains in force to the end. A remarkable aspect of this song is
its complete lack of any departure from the home key (the bright E
major) other than the isolated “color” notes. There is no
large-scale modulation.
1:49--END OF SONG [104 mm.]
14. “Wie froh und frisch mein Sinn sich hebt”
(“How happy and fresh my thoughts soar”). Lebhaft (Lively).
Rondo form (ABACA). G MAJOR, 3/4 (9/8) time. [Later title: Neuer Sinn (Fresh Thoughts)].
As his voyage gets underway, he sings
this song
German Text:
Wie froh und frisch mein Sinn sich hebt,
Zurück bleibt alles Bangen,
Die Brust mit neuem Mute strebt,
Erwacht ein neu Verlangen.
Die Sterne spiegeln sich im Meer,
Und golden glänzt die Flut.
Ich rannte taumelnd hin und her,
Und war nicht schlimm, nicht gut.
Doch niedergezogen
Sind Zweifel und wankender Sinn;
O tragt mich, ihr schaukelnden Wogen,
Zur längst ersehnten Heimat hin.
In lieber, dämmernder Ferne,
Dort rufen heimische Lieder,
Aus jeglichem Sterne
Blickt sie mit sanftem Auge nieder.
Ebne dich, du treue Welle,
Führe mich auf fernen Wegen
Zu der vielgeliebten Schwelle,
Endlich meinem Glück entgegen!
English
Translation
Note: Brahms indicated the
meter of the song as 3/4 (9/8). Both of these are triple meters,
but 3/4 has a “straight” division of the beat into two parts, while 9/8
has a “triplet” division of the beat into three. While there are
exceptions (notably at the very beginning), the vocal line is generally
in the 3/4 “straight” meter against the piano’s 9/8 “triplet” rhythm.
0:00 [m. 1]--Four bright,
strong chords, beginning on an upbeat (partial measure), prepare the
joyous mood.
0:05 [m. 3]--Stanza 1 (A). The vocal line soars with
happiness. The first two lines are set to two-measure phrases,
the last two to three-measure phrases. The rapid arpeggios of the
accompaniment are in a “divided” triplet rhythm (9/8). They are
brilliant and virtuosic, featuring many rapidly repeated notes (often
double notes) at the tops of lines. The vocal line is in a mostly
“straight” rhythm, but the subtle “triplet” feel appears at the
beginning on “froh und” and “Sinn sich.” The verse begins on an
upbeat, which is absent for stanzas 3 and 5. Note the colorful
harmonies under “hebt,” “Bangen,” and “erwacht.” The words “ein
neu” are repeated as the line reaches its highest pitch.
0:23 [m. 13]--A piano interlude
continues the brilliant arpeggios, highlighting the rapid repeated
notes at the top. It also modulates to the key of D major.
0:30 [m. 17]--Stanza 2 (B). This stanza is more
gentle. The brilliant arpeggios give way to more subdued,
undivided triplets in the piano with smooth left hand harmonies.
The voice retains the “straight” rhythm. The first two lines are
set in the closely related D major in two-measure phrases. The
second line (without the word “und“) is repeated in longer note values,
stretching it to a three-measure phrase, followed by a measure of the
piano alone.
0:45 [m. 25]--The last two
lines of the stanza move back to G and are set in the minor version of
that key. It is a very slight melancholy turn in this exuberant
song. Line 3 is set to a two-measure phrase. Line 4 echoes
it somewhat, but lengthens the last notes, stretching it to three
measures. A short interlude introduces rising triplet figures and
a strong descent in slower notes, preparing the return of the
passionate, joyous A music.
0:59 [m. 33]--Stanza 3 (A). A repetition of the music
from stanza 1, but with significant rhythm adjustments to fit the
text. The opening upbeat is gone, and in fact the verse starts
slightly after, rather than before the downbeat. The “triplet”
feel at the opening is straightened out. Conversely, the word
“schaukelnden” is set to a triplet where there was not one
before. There are other slight shifts. Most notably, the
final cadence is slightly stretched out, ending on the downbeat of the
next measure, since the poetic line ends on a strong, rather than a
weak syllable. There is no text repetition at the highest point
(as there was before), but the word “ersehnten” is stretched over seven
notes.
1:15 [m. 43]--An interlude
enters at the final downbeat of the extended vocal cadence. The
piano arpeggios are now all rising and decrease in volume, settling
down to the tender music of stanza 4. As the key changes to C,
several colorful harmonies are introduced.
1:22 [m. 47]--Stanza 4 (C). Set in the “open” key of C
major, this stanza is more gentle and tender than stanza 2 was.
The piano makes its most significant departures from the 9/8 meter,
playing several decorative phrases in the straight 3/4 as it harmonizes
with and echoes the voice. The first two lines are set to a
beautiful four-bar phrase with a single “color” note borrowed from the
minor on “rufen.”
1:30 [m. 51]--This phrase is
echoed almost exactly in the last two lines, but line four stretches a
couple of notes. The word “Sie” is set to a longer note
(significantly the one with the minor “color” inflection), as is the
first syllable of “sanftem.” This stretches the four-bar phrase
to five measures. This fourth line is repeated with even more
lengthening and stretching, creating its own new four-bar phrase over
more of the decorative 3/4 motion in the piano. This happens as
more “color” notes move the music back to G and the music increases in
volume for the final return of the exuberant A music. There is a one-bar
interlude continuing the piano figuration from the repetition of the
last line.
1:48 [m. 61]--Stanza 5 (A). Again, this is a close
repetition with rhythmic adjustments for the text. This is the
only statement of the material that begins right on the downbeat
(stanza 1 began before it, stanza 3 after it). A triplet feel is
heard on “Ebne,” but not on “treue.” An “extra” statement of the
word “endlich” at the beginning of line 4 fills in a space where rests
existed before. There is no stretched out word on several notes
at the high point, as there was in stanza 3.
2:04 [m. 71]--The last line is
repeated in an extended cadence phrase. The word “endlich” is
again stated twice in longer note values, the second with a color note
on the last syllable. The final word “entgegen” is lengthened as
the high point is again reached with very colorful harmony (Brahms
indicated a possible simplified version of this difficult last
word--Fischer-Dieskau sings the more difficult version). The
lengthening expands the phrase to five measures. The final vocal
downbeat introduces a last measure of upward-striving piano arpeggios
that conclude the song with a flourish.
2:23--END OF SONG [76 mm.]
15. “Treue Liebe dauert lange” (“True love
lingers long”). Ziemlich langsam (Rather slowly)--Lebhaft
(Lively)--Tempo I. Ziemlich langsam. Rondo form
(ABA’CA”). E-FLAT MAJOR, 4/4, 3/4, and cut [2/2] time.
[Later title: Treue (Fidelity)].
Eventually fishermen lead him to the
shepherd’s hut, where he discovers
Magelone. Back in Provence,
the three rings have been found by the royal cook in a fish’s
stomach. On every anniversary of their reunion, Peter and
Magelone sing this song.
[Note: Brahms omitted two of
Tieck’s poems between Nos. 14 and 15.]
German Text:
Treue Liebe dauert lange,
Überlebet manche Stund‘,
Und kein Zweifel macht sie bange,
Immer bleibt ihr Mut gesund.
Dräuen gleich in dichten Scharen,
Fordern gleich zum Wankelmut
Sturm und Tod, setzt den Gefahren
Lieb’ entgegen, treues Blut.
Und wie Nebel stürzt zurücke,
Was den Sinn gefangen hält,
Und dem heitern Frühlingsblicke
Öffnet sich die weite Welt.
Errungen,
Bezwungen
Von Lieb’ ist das Glück,
Verschwunden
Die Stunden,
Sie fliehen zurück;
Und selige Lust,
Sie stillet,
Erfüllet
Die trunkene, wonneklopfende Brust;
Sie scheide
Von Leide
Auf immer,
Und nimmer
Entschwinde die liebliche, selige, himmlische Lust!
English
Translation
0:00 [m. 1]--A four-bar piano
introduction with an upbeat introduces a three-note figure that skips
up and steps down. It will become prominent throughout the
song. The mood is fervent and hymn-like, with a chromatic
color-note twinge on the top note of the third figure. The last
figure moves straight down in longer notes. The initial meter is
4/4. The key of E-flat was also that of the first song, one of
several elements that will here bring closure and unity to the entire
cycle.
0:14 [m. 5]--Stanza 1 (A). The first line is set to a
slowly upward and downward leaping line. The music of the
introduction is repeated underneath the vocal line in the piano.
The second line has shorter note values, and the piano accompaniment
becomes more active and syncopated after the restatement of the
introduction under the first line. The word “manche” is repeated.
0:40 [m. 13]--At the last word
of the second line, the meter subtly changes to 3/4. A descending
three-note arpeggio in dotted rhythm is heard in octaves from the piano
bass while the right hand plays repeated triplet chords. The
voice echoes the bass arpeggio as it begins the third line. The
bass arpeggio is heard one more time at a lower level after the vocal
line begins. The fourth line is set to a forward-striving rising
line, with the piano adding an echoing melody over its constant triplet
chords. The line is repeated (including an “extra” repetition of
“immer bleibt”) as the music descends to a warm cadence. At the
cadence, the bass repeats the three-note arpeggio as the right hand
states the opening three-note figure again leading into the next
section.
1:03 [m. 23]--Stanza 2 (B). The piano figuration from
the end of stanza 1 continues, with the three-note leaping bass
arpeggios in the left hand and the triplet chords in the right.
The stanza begins with a dramatic and striking modulation over a series
of minor-key harmonies. The vocal line steadily rises toward a
dissonant climax in the rather remote B minor at the third line, which
speaks of “storm and death.” Beginning with a syncopation, the
fourth line suddenly becomes quiet and is set to a very sweet and
tender line in a rich B major. The triplets in the right hand
shift from repeated block chords to more gentle arpeggios. At the
cadence, an interlude utilizing the bass arpeggios modulates back home
to E-flat major.
1:37 [m. 36]--Stanza 3 (A’). The music of stanza 1 is
repeated. The first two lines are now in the prevailing 3/4
rather than the opening 4/4. Surprisingly, this change does not
affect the music as much as expected. The piano introduction,
with a shorter first note on each three-note group, is still heard
under the first line, and the syncopated music is still heard under the
second. The vocal line simply shortens the length of some notes
(usually the last ones in the measures). Line 3 and most of line
4 are set to the same music as in stanza 1. The repetition of
line 4 also begins the same, stating the words “öffnet sich”
twice. From that point, as “weite” is repeated, the line expands
and reaches higher to a loud, dramatic half cadence instead of down to
the soft and warm full cadence of stanza 1. The tension-filled
last chord of the piano is marked with a fermata (hold).
2:28 [m. 54]--Stanza 4 (C). The tension is resolved by
the arrival of the new “Lebhaft” tempo and the quick 2/2 (cut time)
meter. The short lines of the stanza lend themselves well to a
breathless setting. The first three lines are an ingenious
transformation of the piano introduction with its three-note
figures. The piano plays in a swinging triplet rhythm. It
interjects a dramatic outburst after these lines, coming to another
tension-filled fermata. The music remains in the home key of
E-flat.
2:38 [m. 61]--Lines 4-10 are
set to even more breathless music. The vocal line sweeps
generally downward in each measure, usually turning up on the last
note. The piano accompaniment also uses similar figures, but they
are twice as fast as the vocal ones. Line 10 finally strives
upward to another held chord on A-flat major, the voice reaching its
highest note of the song (A-flat) as it resolves upward.
2:54 [m. 74]--Lines 11-15
resume the quick motion, but the vocal line moves in longer notes
beginning with the chromatic descending line 13 (“auf immer”) .
The direction of the fast piano figures is reversed. The notes
become even longer at line 14 (“und nimmer”). The piano begins to
play long upward arpeggios at the first “nimmer.” The line “und
nimmer” is stated twice in long notes before a third statement
introduces the first word of line 15 (“entschwinde”) in faster
notes. The piano introduces a fast syncopated rhythm under this
line, the right hand playing mostly in double notes (usually
sixths). “Und nimmer entschwinde” is repeated again (the fourth
statement of line 14) before line 15 is finally completed, all over the
new syncopated piano figures. Two piano-only measures lead to an
expanded restatement of “die himmlische Lust.” There are many
“color” notes throughout this passage.
3:18 [m. 96]--Lines 11-15 are
stated again in their entirety with no internal repetition, the
syncopated figures in the piano being replaced by the pattern heard in
lines 4-10, with the left hand playing in a slower triplet
rhythm. The rhythm of the vocal line matches that of the first
statement of lines 11-12 (which is the same as that of lines
1-3). Under the longer line 15, the hands reverse material, and
the fast figures that are now in the left hand reverse direction.
The voice again reaches its highest note (A-flat) on the word “Lust,”
but it leaps down and the music comes to one last tense fermata on a
half cadence.
3:35 [m. 105]--A”. The final section sets the
first line of stanza 1 followed by lines 11-12 and 14-15 of stanza
4. It resolves the tension of the last fermata by returning to
the long-absent opening 4/4 meter and the slower tempo. The
setting matches the first two lines of stanza 1 (the 4/4 section) up
until the last measure of that passage. To this music is set line
1 of stanza 1 (after which there is a pause) and lines 11, 12, and 14
of stanza 4.
4:02 [m. 112]--The final
statement of the last line is to new music that continues the character
of the first part of stanza 1. The cadence of the last measure
from that section is avoided. The word “entschwinde” moves the
pattern of “und nimmer” (which matched the first “manche” in stanza 1)
up a step. The words “liebliche selige” introduce
downward-sweeping arpeggios over the continuing piano
syncopation. “Selige” once more reaches the highest A-flat, and
is the final climax of the song. There is a pause after this
word. “Himmlische Lust” is finally set to another slowly
downward-sweeping arpeggio. As it is heard, the descending
three-note bass arpeggio from the beginning of the 3/4 section at 0:40
[m. 13] is heard, again over the triplet chords. The notes happen
to match the last vocal arpeggio This reminiscence only lasts a
measure and Brahms instructs a very fast quieting for the final sighing
cadence.
It turns out that this last descending arpeggio setting “himmlische
Lust” nearly exactly matches the opening vocal gesture of the first
song of the cycle, “Keinen hat es noch gereut.” By extension, the
three-note dotted-rhythm bass arpeggio first heard at 0:40 [m. 13] is
also derived from that gesture. Thus by a very simple reference
Brahms brings the long, diverse cycle full circle. The gesture is
a sort of “heroic” motto.
4:37--END OF SONG [116 mm.]
END OF CYCLE
Notes:
There is confusion over a certain passage of No. 3. In the
passage at 4:26 [m. 71], the first two lines of stanza 6 (here marked D), Brahms originally created a
different setting (line 3 was the same). He had a rising scale
line that echoed the piano bass. He later changed it to the
down-up C-minor arpeggio described in the guide. Late in his
life, he asked the publisher to change the passage back to the original
rising scale, calling the revision “a great idiocy.” Many
editions retained the revision (including the first complete edition
reprinted by Dover) and that is what Fischer-Dieskau recorded, so that
is what is described in the guide.
There is similar confusion in a passage of No. 4. It involves the
third line of stanza 4 (which begins at 2:15 [m. 38]), here marked C. Fischer-Dieskau sings
the original setting, which consists of an upward leap beginning on the
second beat of the measure, matching the analogous passage of stanza 6
at 2:58 [m. 59]. The first complete edition has a different
setting for this line that leaps down and begins on the first beat of
the measure. This is apparently another revision that was
rejected by Brahms in favor of the original setting, which in this case
is what this recording presents.
BRAHMS LISTENING GUIDES HOME