FOUR SONGS (GESÄNGE), OP. 43
Recording: Dietrich Fischer-Dieskau, baritone; Daniel Barenboim, piano
[DG 449 633-2]
Published
1868
This is a very special and unusual song set.
Starting with Op. 46, Brahms published 21 songs in four consecutive
opus groupings (through Op. 49). Such “sets of sets” became the
norm thereafter. Op. 43, standing alone and surrounded by choral
works, serves as a kind of “prelude” to Opp. 46-49. Its grouping
and publication are rather noteworthy. The first two songs are
sublime masterpieces, among the best of the entire song output.
Their curious pairing with the other two, which are of lesser quality
and were written somewhat earlier, was the result of the publisher
Rieter-Biedermann desperately wanting to claim them after hearing the
response to a performance. Brahms must have realized how great
these two songs were, and he indicated to Rieter-Biedermann that he was
probably going to group them with some others he was working on
(presumably somewhere in Opp. 46-49). “Die Mainacht” would have
fit well in Op. 46, where the poet Hölty is represented twice, for
example. But not wanting to disappoint a publisher who
particularly wanted these two songs and did not want to wait, he
acquiesced. His comments indicated that the two earlier songs
(Nos. 3 and 4) were included so that a set could be made, but grumbled
mildly that “the poets were thrown in disorder.” The set still
works well as a unit, the long No. 4 balancing the two
masterpieces. No. 3 is simply a solo arrangement of the first of
the male choruses, Op. 41. The choral version is more
effective. It is an “old German” song set in an appropriately
archaic style, and is very similar to Op. 48, No. 6 (which also exists
in a choral version). “Von ewiger Liebe,” No. 1, is dramatic,
intense, and extremely satisfying, while “Die Mainacht,” No. 2, is
gorgeously lyrical. No. 4 is probably the weakest. It is
one of Brahms’s few settings of a genuine ballad text, but in
comparison to “Von ewiger Liebe,” its rather strained drama is much
less convincing.
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)
ONLINE SCORE FROM IMSLP (Edition Peters, edited by Max
Friedländer):
No.
1: Von ewiger Liebe (in high key, C-sharp minor/D-flat major)
No.
2: Die Mainacht (in high key, F-sharp major)
No.
3: Ich schell mein Horn ins Jammertal (original key)
No.
4: Das Lied vom Herrn von Falkenstein (in high key, D minor)
1. Von ewiger Liebe (Of Eternal Love). Text by
August Heinrich Hoffmann von Fallersleben, after a Wendish folk
text. Mäßig (Moderately)--Ziemlich langsam (Rather
slowly). Three-part through-composed form with strophic
elements. B MINOR/MAJOR, 3/4 and 6/8 time.
German Text:
Dunkel, wie dunkel in Wald und in Feld!
Abend schon ist es, nun schweiget die Welt.
Nirgend noch Licht und nirgend noch Rauch,
Ja, und die Lerche sie schweiget nun auch.
Kommt aus dem Dorfe der Bursche heraus,
Gibt das Geleit der Geliebten nach Haus,
Führt sie am Weidengebüsche vorbei,
Redet so viel und so mancherlei:
»Leidest du Schmach und betrübest du dich,
Leidest du Schmach von andern um mich,
Werde die Liebe getrennt so geschwind,
Schnell wie wir früher vereiniget sind.
Scheide mit Regen und scheide mit Wind,
Schnell wie wir früher vereiniget sind.«
Spricht das Mägdelein, Mägdelein spricht:
»Unsere Liebe sie trennet sich nicht!
Fest ist der Stahl und das Eisen gar sehr,
Unsere Liebe ist fester noch mehr.
Eisen und Stahl, man schmiedet sie um,
Unsere Liebe, wer wandelt sie um?
Eisen und Stahl, sie können zergehn,
Unsere Liebe muß ewig bestehn!«
English
Translation
PART 1
0:00 [m. 1]--The 4-bar piano
introduction sets the mood with a low bass melody and a very steady,
quiet, strangely ominous 3/4 motion. The right hand responds with
off-beat arpeggios and isolated double notes or chords after the third
beat of each bar. The right hand remains in the low middle
register as well.
0:08 [m. 5]--Stanza 1.
The singer begins in a low register, continuing the mood of the
introduction. The word “dunkel” is given isolation and
emphasis. The piano continues the rhythm pattern of the
introduction. The off-beat arpeggios move to the left hand.
The isolated notes after the third beat are now single notes. The
right hand moves to a higher level and plays chords that shadow the
vocal melody. The melody itself begins with the same ominous bass
line heard in the introduction. The second line begins higher and
winds its way downward, including a plunging octave leap on
“schweiget.” There is a motion to D minor/major.
0:21 [m. 12]--The piano
anticipates the vocal line at line 3, which includes some chromatic
notes and half-steps. It begins on D minor, but moves quickly
back to B. The word “ja” is attached to the third line rather
than the fourth. The third line builds slightly, but line 4
settles down to a surprising full cadence. The piano pattern
remains quite constant. The singer’s range remains rather low
throughout the stanza. The introduction is repeated before the
next stanza, beginning at the vocal cadence.
0:46 [m. 25]--Stanza 2.
Brahms sets the second stanza to exactly the same music as the first,
in both the vocal line and the piano part. This is striking,
since the rest of the song is decidedly through-composed and
non-strophic. There are some alterations to rhythm and
declamation to fit the text, notably the omission of the high note used
for “ja” in stanza 1 and the addition of repeated notes for extra
syllables. There is also a buildup, rather than a settling, in
line 4. Only the last note of the vocal line is changed to avoid
“full” closure and lead into the dramatic music of the next section,
but the introduction is repeated as before.
PART 2
1:22 [m. 45]--Stanza 3.
After the “narrative” character of the first two stanzas, Brahms
suddenly intensifies the drama for the unusual six-line stanza
containing the boy’s words to the girl. The piano adopts a highly
intense triplet rhythm in the high register it has avoided up to this
point of the song. The arpeggios are rather angular, with
downward octave leaps and smaller upward leaps. The vocal line
also suddenly breaks into the high register against the triplet pattern
of the piano’s right hand line. The left hand plays two-note
harmonies and, on vocal rests, low octaves in long-short rhythm.
Later octaves march up and leap down.
1:36 [m. 53]--After a
half-cadence, lines 3 and 4 are set to the same music as the first two
lines, with alterations to rhythm and declamation. The volume has
now reached a rather strong level. The same half-cadence is
reached.
1:50 [m. 61]--The last two
lines of the stanza come to a marvelous climax, and are set to similar,
but new and much higher music. Brahms indicates a large crescendo and even a slight
quickening of the “moderate” speed. Under the last line, the low
bass octaves steadily march up, including powerful dotted (long-short)
rhythms. The cadence is full and powerful.
2:02 [m. 68]--An unusually
large piano interlude follows this first climax. At first, it
continues the drama of the last two lines. The piano continues
its angular triplet rhythm, at first with a steady upper note
(B). Against this, the left hand plays a melodic line with
two-note harmonies (mostly sixths). This is punctuated with low
bass octaves that also later become melodic. The music gradually
quiets down to a very hushed, almost motionless point for the girl’s
response. The right-hand triplets work their way downward to the
middle register, and the left hand slows down to longer and lower
harmonies.
PART 3
2:25 [m. 79]--Stanza 4.
The music completely changes for the girl’s response. The time
signature changes to 6/8, which is a smooth transition from the triplet
rhythm of the preceding music. Brahms also marks a tempo change
from “moderately” to “rather slowly” (“Ziemlich langsam”).
Finally, the mode shifts from B minor to B major. The narrative
introduction and her first words are extremely quiet and subdued.
The music is now very sweet and comforting, in stark contrast to what
has gone before. The piano introduces a rocking figure on the
first half of each bar. This turning figure will pervade the
entire final section.
2:53 [m. 87]--The last two
lines of the stanza increase somewhat in speed, volume, and intensity,
but the rhythmic pattern continues in the piano. Already in the
bar bridging to the third line, the piano has introduced the “rocking”
figure at a lower level on the second half of the bar. The
harmony is quite unstable, first suggesting E major and then, on the
other side of the home key, F-sharp major before becoming highly
chromatic in the fourth line. The music settles down after
“unsere Liebe.”
3:11 [m. 94]--Another, briefer
interlude slows the music down again and brings it back to the soft
level of the section’s opening. This already begins at the fourth
stanza’s final half-cadence. The rocking figure continues over
harmonies and the established bass pattern, but now the patterns on the
second beat move out of the middle range. At first, they are
higher than those on the first beat, but then they settle together on a
steady trill-like motion that is played close below a long held note as
the music slows. All of this is over steady bass octaves on
the preparatory “dominant” note. A distinct upbeat leads into
stanza 5.
3:27 [m. 99]--Stanza 5.
The first two lines are a nearly strophic repetition of those in stanza
4. The first words (“Eisen und Stahl”) swing down lower, but then
“man schmiedet sie um” remains at a high, questioning level rather than
descending, as had the narrative words in stanza 4. The long top
right hand notes are also now syncopated. Other than this, the
second line, with a similar opening (“unsere Liebe”) is set in the same
way as in stanza 4.
3:52 [m. 107]--The increase in
speed and volume begins as at 2:53 [m. 87], but rather than settling
down, the intensification continues to a warm, full-hearted, and very
satisfying climax. The point of departure is after “unsere
Liebe.” These words are repeated for emphasis, and at that
climactic point, where the voice reaches its highest pitch, the piano
introduces a “cross rhythm” grouping that suggests 3/4 meter.
This cross rhythm gradually moves back to regular 6/8 motion. A
lengthened, syncopated repetition of the key word “ewig” creates a
final vocal phrase that is an irregular five bars.
4:16 [m. 117]--The piano
postlude begins with the vocal cadence and overlaps with it, creating
another five-bar phrase. It moves back to the cross-rhythm and
implied 3/4 motion, which remains in force until the end. The
plunging broken chords descend quickly from the excited cadence to the
slow, quiet, and serene ending of a truly great song.
4:41--END OF SONG [121 mm.]
2. Die Mainacht (The May Night). Text by
Ludwig Heinrich Christoph Hölty. Sehr langsam und
ausdrucksvoll (Very slowly and full of expression). Ternary form
(with A’ fusing A and B). E-FLAT MAJOR, 4/4 time.
German Text:
Wann der silberne Mond durch die Gesträuche blinkt,
Und sein schlummerndes Licht über den Rasen streut,
Und die Nachtigall flötet,
Wandl’ ich traurig von Busch zu Busch.
[ Here a stanza not set by Brahms]
Überhüllet von Laub girret ein Taubenpaar
Sein Entzücken mir vor; aber ich wende mich,
Suche dunklere Schatten,
Und die einsame Träne rinnt.
Wann, o lächelndes Bild, welches wie Morgenrot
Durch die Seele mir strahlt, find ich auf Erden dich?
Und die einsame Träne
Bebt mir heißer die Wang herab!
English
Translation (including Stanza 2 of the poem, not set by Brahms)
0:00 [m. 1]--A two-bar piano
introduction sets up the slow, lullaby-like accompaniment
pattern. Steadily rising bass notes and chords elicit undulating
three-note responses from the right hand.
0:11 [m. 3]--Stanza 1 (A). The warm melody begins in
a low register and moves at a slow pace against the continuing
“lullaby” accompaniment. The first two lines gently rise and
fall, the second with slightly more intensity and adding some chromatic
notes.
0:42 [m. 9]--The last two lines
change keys suddenly, ending up in the minor version of E-flat, which
continues through the brief bridge to the next stanza. The
“lullaby” continues in the right hand, but the bass pattern breaks,
introducing slow syncopations held across bar lines. The vocal
phrase in the third line rises to the stanza’s highest pitch in the
related key of G-flat major, while the last line makes a very slow
descent to the minor-key cadence. The bridge passage is
essentially a minor-key version of the introduction.
1:12 [m. 15]--Stanza 2 (B). Perhaps Brahms skipped
Hölty’s second verse so that he could write this highly
imaginative ternary form. The second musical verse begins
suddenly in yet another new key, the rather distant B major (although
the minor version of E-flat helped to get there). Musically, it
is quite different, being set in a higher register, and with gentle
repeated chords and double notes replacing the slow lullaby rhythm in
the piano part, the right hand slowly leaping up and down. The
shift in tone color is striking, including the atmospheric chromatic
notes. The first half of the second line suddenly swells in
volume from the quiet that has thus far dominated.
1:34 [m. 21]--The piano begins
a sudden motion back toward E-flat, which is continued by the voice
with the second half of line two. This unstable passage is rather
disturbing and disruptive. The piano begins the shift at the top
of the preceding buildup, introducing arpeggios in the left hand played
in triplet rhythm. The remainder of line two (in A-flat minor)
remains strong, ending with a distinctive downward leap in the voice,
while the third line settles suddenly back down, both in volume and
pitch, in E-flat minor. The piano motion goes back to the
pulsations without the arpeggios, then slows down to isolated
syncopations and finally off-beat chords.
2:05 [m. 27]--For the last
line, Brahms quickly shifts back to major and an accompaniment
resembling the opening (but with the right hand beginning its figures
on the beats). The music magically becomes very warm and full at
the climactic word “Träne.” This word is stretched out with
a long note and a descending arpeggio. The verse ends
inconclusively, however. The piano becomes quiet and slower in
the brief interlude resembling the introduction, and comes to an
expectant pause. This vocal line is strangely similar to that of
the third line of stanza 3, a relationship that will become more clear
at line 3 of the last verse.
2:35 [m. 33]--Stanza 3 (A’). The first two lines of
the verse in the vocal line are musically the same as in the first
stanza (with the exception of a syncopated emphasis and lengthening on
“find”). The accompaniment, however, shifts from the slow lullaby
rhythm to a more rocking and active, yet still gentle triplet rhythm
derived from the lullaby motion.
2:58 [m. 39]--The surprise
moment of the song! At line 3 of the last stanza, the music no
longer follows that of the first verse, and suddenly the singer
presents the music of the last line of the second stanza, as at 2:05
[m. 27]. The texts of the lines are obviously the same, with the
first word of the final line, “bebt,” replacing the earlier
“rinnt.” This is a wonderful example of allowing textual response
to override musical form. What Brahms has essentially done here
is to combine the material of the first two musical verses in the last
one. The continuing triplet motion (including chords and double
notes) makes the climax at “Träne” more intense than that at
2:05 [m. 27], however, and where that moment had become inconclusive
and abortive, Brahms uses his remaining “extra” line to bring it to a
fine resolution.
3:19 [m. 45]--The word
“heißer” is repeated on a descending arpeggio, and at that point
there is a brief harmonic shift down to E (notated as F-flat) to
increase the drama just a bit before the close. From here, the
music settles down. The word “Wang,” which quickly shifts back
down to E-flat, is drawn out with syncopation to accomplish this
“settling” to the cadence on E-flat. The triplet motion continues
in the piano until it stops on a chord under the end of “Wang” and the
first syllable of “herab.”
3:34 [m. 48]--The piano
postlude is similar to the introduction, but with more harmonic “color”
notes (mostly D-flats) that indicate the path this incredible song has
taken. It is extended upward for two bars toward a final chord,
doubling the length of the introduction and interludes. The
close, after such a fulfilling climax, is soft and slow (and ever
slower), as at the song’s hushed beginning.
4:15--END OF SONG [51 mm.]
3. Ich schell’ mein Horn ins
Jammertal (I Blow my Horn into
the Vale of Tears). Anonymous Old German text from the
famed collection Des Knaben
Wunderhorn. Durchaus nicht zu langsam und ziemlich frei
vorzutragen (Not too slowly throughout, and to be presented rather
freely). Simple strophic form. B-FLAT MAJOR, Cut time [2/2].
German Text:
Ich schell’ mein Horn ins Jammertal,
Mein Freud’ ist mir verschwunden,
Ich hab’ gejagt, muß abelahn,
Das Wild läuft vor den Hunden.
Ein edel Tier in diesem Feld
Hätt’ ich mir auserkoren,
Das schied von mir, als ich wohl spür’,
Mein Jagen ist verloren.
Fahr hin, Gewild, in Waldeslust!
Ich will dir nimmer schrecken
Mit Jagen dein’ schneeweiße Brust,
Ein ander muß dich wecken
Mit Jägers Schrei und Hundebiß,
Daß du nit magst entrinnen;
Halt dich in Hut, mein Tierlein gut!
Mit Leid scheid’ ich von hinnen.
Kein Hochgewild ich fahen kann,
Das muß ich oft entgelten,
Noch halt ich stät’ auf Jägers Bahn,
Wie wohl mir Glück kommt selten.
Mag mir nit g’bürn ein Hochwild schön,
So laß ich mich begnügen
An Hasenfleisch, nit mehr ich heisch,
Das mag mich nit betrügen.
English
Translation
(Stanzas 1-2)
English
Translation
(Stanza 3)
Each eight-line stanza corresponds to four musical lines in each
verse. It is a simple strophic form with all verses under the
same staff. The musical style is very archaic. The piano
simply follows the four-part harmony of the male a cappella choral setting in Op.
41, No. 1, and even the top line, sung by the voice, is in the piano
part. The entire piano part is notated in the bass clef; the
treble staff is empty. The archaic and austere-sounding harmony
stems from the fact that the chords are all in “root position” (meaning
the keynote of the chord is always in the bass--a B-flat chord will
have B-flat in the bass).
0:00 [m. 1]--Stanza 1. No
introduction. The first musical line (two lines of text) is
exactly the same as the second (at 0:12, m. 12). The rhythm of
the poetry leads to unusual 11-measure phrases. The musical lines
rise and fall in B-flat major until suddenly being diverted to a
half-cadence in the related G minor (with a hollow fifth serving as the
“dominant” chord--without the chord’s third, or middle note) at the
phrase’s end.
0:24 [m. 23]--Line 3 (5 and 6
of the poem) provides contrast, with new harmonies and a more insistent
melodic line. The first half of the line suggests C minor.
The second half moves hesitantly back to B-flat major. The volume
swells slightly at the end (louder, then softer). The phrase is
again 11 bars.
0:35 [m. 34]--Line 4 (7 and 8
of the poem) begins as the first two, but what had been the last two
notes (at the “-lo-” syllable of “verloren”) are expanded into a very
effective melisma, with seven
notes on the syllable. No other syllable in each verse has more
than one note. The melisma includes another loud-soft swell, but
is responsible for avoiding the sudden half-cadence in G minor heard in
the first two lines. The music finally settles on the last
syllable, “-ren.” The melisma lengthens the phrase to 14 bars.
0:53 [m. 1]--Stanza 2.
Exact strophic repetition with new text.
1:15 [m. 23]--Line 3.
Notice the singer swell a bit early on the colorful word
“Hundebiß” (“dog’s bite”).
1:25 [m. 34]--Line 4. The
melisma is on the syllable “hin-” of “hinnen.”
1:43 [m. 1]--Stanza 3.
Strophic repetition with new text. The verse is the “lament” and
“acceptance” of the singer’s sad hunting story.
2:06 [m. 23]--Line 3. The
grammar of the line break before line 4 (7) suggests carrying the line
through.
2:17 [m. 34]--Line 4.
Melisma on the syllable “-trü-” of “betrügen.” The
singer puts emphasis on the final closure.
2:37--END OF SONG [47 mm. (x3)]
4. Das Lied vom Herrn von Falkenstein
(The Song of the Lord of Falkenstein).
Text from Des Knaben Wunderhorn
and also included in Johann Ludwig Uhland’s collection of folksongs, as
indicated by Brahms. Allegro. Sehr kräftig (Very
strong/powerful). Modified strophic/ternary form. C MINOR,
4/4 time.
German Text:
Es reit’ der Herr von Falkenstein
Wohl über ein’ breite Heide.
Was sieht er an dem Wege stehn?
Ein Mädel mit weißem Kleide.
»Gott grüße euch, Herrn von Falkenstein!
Seid ihr des Lands ein Herre,
Ei so gebt mir wieder den Gefangenen mein
Um aller Jungfrauen Ehre!«
Den Gefangenen mein, den geb’ ich nicht,
Im Turm muß er verfaulen!
Zu Falkenstein steht ein tiefer Turm,
Wohl zwischen zwei hohen Mauren.
»Steht zu Falkenstein ein tiefer Turm
Wohl zwischen zwei hohen Mauren,
So will ich an die Mauren stehn,
Und will ihm helfen trauren.«
Sie ging den Turm wohl um und wieder um:
»Feinslieb, bist du darinnen?
Und wenn ich dich nicht sehen kann,
So komm’ ich von meinen Sinnen.«
Sie ging den Turm wohl um und wieder um,
Den Turm wollt’ sie aufschließen:
»Und wenn die Nacht ein Jahr lang wär’,
Kein Stund’ tät’ mich verdrießen!
Ei, dörft ich scharfe Messer trag’n,
Wie unser’s Herrn sein’ Knechte,
So tät’ ich mit Dem von Falkenstein
Um meinen Herzliebsten fechten!«
Mit einer Jungfrau fecht’ ich nicht,
Das wär’ mir eine Schande!
Ich will dir deinen Gefang’nen geb’n,
Zieh mit ihm aus dem Lande.
»Wohl aus dem Land da zieh’ ich nicht,
Hab’ niemand was gestohlen;
Und wenn ich was hab’ liegen lahn,
So darf ich’s wieder holen.«
English
Translation
Each of the nine stanzas is set to one of three basic musical
strophes. Strophe #1=Stanzas 1, 2, 3, and 8. Strophe
#2=Stanzas 4, 7, and 9 (but the last line of Stanza 9 is that of
Strophe #1). Strophe #3=Stanzas 5 and 6. Brahms thus adds
variety to a long, basically strophic setting. Strophes 1 and 2
are very similar. Strophe 3 is quite different, and in a
different key. Its music is used for the “middle” stanzas, or the
B section of a ternary
form. The same interlude, or bridge, is
used between all stanzas except for 5-6 and 6-7. In all stanzas
except 5 and 6, the last word is repeated along with the word “ja” (not
meaning “yes,” but adding emphasis. The “basic strophes” are
usually not exact repetitions--the accompaniment has several
variations. Strophes 1 and 2 are 11 measures, while strophe 3 is
10.
0:00 [m. 1]--Stanza 1.
There is no introduction. The music
of strophe #1 is introduced for this narrative verse. The
minor-key vocal line is “dramatic,” as fits the ballad text, and there
are many leaps and skips. The last line makes a slight hint at F
minor. The repetition of the last word
(“Kleide”) brings the verse to a full close. The accompaniment is
bare and stark, completely in octaves doubling the vocal line.
0:16 [m. 12]--The “interlude,”
which is repeated six times total, is
introduced. It features “sighing” chords and rapid octave skips
in the bass. It is six measures long.
0:25 [m. 18]--Stanza 2.
These are the first words of the
woman. The vocal line is as in stanza 1 (strophe #1), but the
accompaniment is varied. It is still largely octaves, but the
hands are separated, the right hand playing off the beat. Harmony
is now introduced for the last line with rich full chords and a
significant inner motion at the cadence.
0:40 [m. 12]--Second statement
of the “interlude” (moving back with the
repeat mentioned below).
0:48 [m. 18]--Stanza 3.
These are the first words of Lord
Falkenstein. Musically, it is the same as Stanza 2, with repeat
signs in the score. There are some variations in declamation and
rhythm.
1:03 [m. 29]--Third statement
of the “interlude,” outside the repeat
sign and moving to the next verse.
1:10 [m. 35]--Stanza 4.
This is the second passage of the woman’s
words. It is the introduction of strophe #2. The music is
very similar to strophe #1 (used in the first three verses), but the
“arching” vocal line is replaced with an up-down leaping motion.
The third line is very similar to that of strophe #1, but replaces some
leaps with stepwise motion. Line four is also similar, but only
comes to an incomplete cadence instead of a full close. The
accompaniment is similar to that used in stanzas 2 and 3, but the right
hand now plays full chords on the off-beats, including syncopation in
part of the last line. Brahms indicates an increase in speed here.
1:24 [m. 46]--Fourth statement
of the “interlude,” whose bass line is
changed at the end to move to the new key (A-flat major) for the B
section (stanzas 5 and 6).
1:32 [m. 52]--Stanza 5.
This introduces both the B section and
strophe #3. The new major key is not particularly soothing.
Brahms marks it “drängend” (“urgently”). These two verses
narrate the woman’s trip to the tower and her words to her
beloved. The setting is agitated, but quiet, and in a much higher
register. In contrast to the skips and leaps of the other verses,
the vocal motion is mostly conjunct and smooth, with repeated
notes. It increases in volume and becomes even higher in the last
two lines, which move to E-flat. The right hand of the piano
follows the vocal line in chords, while the left hand seems to imitate
the leaping motion of the interludes. The last word is not
repeated.
1:45 [m. 62]--Stanza 6.
It is not separated by the
“interlude.” It is musically identical to Stanza 5 (strophe #3),
with a slight increase in speed. It again includes the woman’s
words to her beloved. Again, there is no repetition of the last
word.
1:56 [m. 72]--Stanza 7.
It is not separated by the
“interlude.” The E-flat major ending of stanza 6 helps with the
rather abrupt motion back to C minor. The woman’s words following
her address to the beloved are set here. The music is that of
strophe #2. It is musically virtually identical to stanza 4, with
very slight changes in line 3. It is also faster, as Brahms marks
it “sehr lebhaft” (“very lively”), a marking that is in effect for the
rest of the song. Line 4 comes to a half-close, as in stanza
4. Stanzas 7-9 represent the A’
section.
2:09 [m. 83]--Fifth statement
of the “interlude,” after its absence
following verses 5 and 6. It also moves at the “lebhaft” speed of
stanza 7.
2:16 [m. 89]--Stanza 8.
This is a return to the music of strophe
#1, absent since stanza 3. It is the second and last response of
Lord Falkenstein. The accompaniment returns to the more bare
pattern of stanzas 2 and 3, with the octaves and the right hand playing
off the beat, and harmony in the last line. This matches Lord
Falkenstein’s other utterance, in stanza 3.
2:29 [m. 100]--Sixth and last
statement of the “interlude.”
2:35 [m. 106]--Stanza 9.
This is the woman’s final
response. It is set mostly to the music of strophe #2. The
first three musical lines match stanza 7. However, line 4 returns
to the music of strophe #1 so that the song can end with a full
close. The music reaches its quickest pace and ends
abruptly. There is no piano postlude.
2:52--END OF SONG [116 mm.]
END OF SET
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