Recording: Edith Mathis, soprano; Brigitte Fassbaender, alto; Peter Schreier, tenor; Dietrich Fischer-Dieskau, bass; Peter Engel and Wolfgang Sawallisch, piano [DG 449 641-2]
Recording of Op. 52a (without voices):
Silke-Thora Matthies & Christian Köhn, piano [Naxos 8.553140]
Published 1869.  Op. 52a published 1874.

Brahms was effusive in his admiration of the “Waltz King,” Johann Strauss, Jr.  When he turned to composing waltzes, however, he favored the simple binary structures of Schubert’s keyboard waltzes over the large sectional forms of Strauss’s orchestral showpieces.  The sixteen waltzes of Op. 39 were hugely popular, and a few years later, he again turned to the composition of waltzes for piano duet.  In this case, however, they were inspired by and set to words from “Polydora,” a collection of alleged translations of small international love poems by Georg Friedrich Damuer.  The diversity of these verses is given unity by the waltz forms.  The setting for vocal quartet with piano duet accompaniment was unusual, but had a precedent in a late Robert Schumann work.  It is a particularly felicitous combination, and the merging of two ensembles typically associated with domestic music making, or Hausmusik, brings the intent of the waltzes into relief.  While Brahms had already set Daumer in some songs (particularly Op. 32), and devoted an entire contemporary song group (Op. 57) to his verses, it was as the poet of the “Liebeslieder” Waltzes that Daumer became most known, despite a rich and interesting background in religion, world cultures, and science as well as poetry.  It is comical that when Brahms visited him in the poet’s old age, Daumer had never heard of the man who had made him famous through the “love-song” waltzes.  The pieces were composed quickly, but Brahms did fret a bit about the ordering and publication presentation.  As it stands, the cycle falls neatly into four groups of six, three, three, and six numbers.  Eighteen is, incidentally, the largest count of individual numbers or movements in any Brahms opus number (edging out the 16 waltzes of Op. 39, the 15 “Liebeslieder” of the Op. 65 companion set, and the 15 “Magelone” Romances).  There are only two solos (Nos. 7 and 17), in contrast to the seven of Op. 65, but there are four duets grouped in two pairs--Nos. 3 and 14 for men and Nos. 4 and 13 for women.  In No. 1, the women enter more than halfway through the song, and in No. 9, the soprano only enters for the (rather brief) middle section.  The first part of the cycle culminates in the large-scale (and utterly brilliant) No. 6, the only one not in some sort of binary form (although one of its episodes is an “enclosed” binary).  No. 9, which seems like a Strauss “Danube” tribute, is another extended form marking the halfway point.  Nos.  11 and 12 are a clear pair with their more defiant character, and they are more loosely connected to the gentle No. 10 through shared rhythms.  Nos. 13-15 (with the second duet pair) flow directly into each other.  No. 16 returns to the more defiant character.  The final waltz, No. 18, makes deft use of key relationships and “spellings” to provide a sophisticated conclusion.  Hemiola, or cross-meter, is a common device (such as in Nos. 2 and 8), and so is the figure of one long note followed by three short ones (which is even more pervasive in Op. 65).  Sometimes, new text is sung to repeated music (as in No. 5).  The cycle should ideally be performed complete.  The version without voices for piano duet alone was published with some reluctance from Brahms as Op. 52a (to help the publisher increase sales), and is vastly inferior.  In the guides below, the source nationality indicated by Daumer is given for each text.  If a tempo indication is not given in the score, the indication for the first waltz, “Im Ländler-Tempo” (speed of the “Ländler,” or German dance) is assumed and given in brackets.  Primo is used for the top piano duet part, secondo for the lower part.

Note: Links to English translations of the texts are from Emily Ezust’s site at  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.

UPDATE (June 4, 2013): Timings for a recording of the version without voices (Op. 52a) have been added at the end of each segmentThe very few alterations in the piano parts are also noted.  The most significant of these is the decorated primo part in No. 7, Part 2 repeated.

ONLINE SCORES FROM IMSLP (First Edition from Brahms-Institut Lübeck):
Main Version with Voices
Version without Voices, Op. 52a
(Note that each primo page follows its corresponding secondo page.  English text printed above secondo, German text printed above primo.  File also includes arrangement for voices with piano solo accompaniment, not considered here.)
ONLINE SCORES FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke):
Main Version with Voices
Version without Voices, Op. 52a
(Each primo page follows its corresponding secondo page.  German text printed above secondo and primo.)
ONLINE SCORE FROM THE CHORAL PUBLIC DOMAIN LIBRARY (Choral Wiki)--Note that measure numbers are incorrect, as they count upbeats and first endings.

1. “Rede, Mädchen, allzu liebes” (“Speak, maiden, whom I love all too much”).  Russian source.  Im Ländler-Tempo.  Rounded binary form (AA’BA”B’A”’) with short coda.  E MAJOR, 3/4 time.  SATB

German Text:
Rede, Mädchen, allzu liebes,
das mir in die Brust, die kühle,
hat geschleudert mit dem Blicke
diese wilden Glutgefühle!

Willst du nicht dein Herz erweichen,
willst du, eine Überfromme,
rasten ohne traute Wonne,
oder willst du, daß ich komme?

Rasten ohne traute Wonne,
nicht so bitter will ich büßen.
Komme nur, du schwarzes Auge.
Komme, wenn die Sterne grüßen.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-2 (A).  The piano secondo establishes the waltz rhythm with low bass notes and chord responses.  The two men sing alone until the last stanza.  At the outset, they are in harmony, singing short phrases.  The tenor line includes a prominent leap followed by a beguiling upward slide.  The primo right hand doubles the tenor in octaves, while its left hand includes a turning figure of a long note followed by three short ones, a rhythm that will pervade both sets of Liebeslieder waltzes.  The primo right hand doubles both voices at the half-cadence on the second line, where they also include the turning figures. [Op. 52a: 0:00.  Three melodic octaves are added to the primo right hand to complete the melody.  These had been taken by the tenor alone.]
0:15 [m. 10]--Stanza 1, lines 3-4 (A’).  The third line is musically the same as the first.  The fourth line begins in the same way as the second, but where the second line’s turning figures turned back and forth, this line’s figures move steadily downward, shifting the harmony to a darker arrival on G-sharp minor. [Op. 52a: 0:12.  Again, three melodic octaves are added to the primo right hand to complete the melody.]
0:24 [m. 18]--Stanza 2, lines 1-2 (B).  Here, the voices are in a more swinging rhythm.  The bass sings in straight rhythm for the first two bars.  Beginning back on E major, the harmony takes a striking detour through the distant G major in the second line, which suggests a “pious” resistance.  While the piano parts are more fully scored, the primo generally follows the tenor, the secondo the bass. [Op. 52a: 0:22]
0:35 [m. 26]--Stanza 2, lines 3-4 (A”).  The musical lines are highly varied, but the contour and character is similar to that of the first stanza.  There are chromatic inflections to the melody, which provide added color to the harmony.  The “turning” rhythm is now in the secondo right hand, and is turned upside down, the notes moving in the opposite directions as before.  The leap and “beguiling” slide are also turned in the opposite directions.  The last line finally comes to a cadence on E major, with the primo following the voices more freely.  The repetition of “willst du” extends the phrase by a bar.  The cadence, however, overlaps with the entry of the women on the last stanza. [Op. 52a: 0:33.  The secondo is slightly changed in the first measure, m. 26, to continue the syncopation and add a broken octave.  In the same measure, a melodic note is added to the primo left hand.]
0:46 [m. 34]--Stanza 3, lines 1-2 (B’).  Overlapping with the cadence of stanza 2, the two women make their first entry in response to the men’s entreaties.  Other than the initial upbeats, their lines are essentially the same as those the men sang to the first two lines of stanza 2, with the motion through G major protesting the accusation of resistance, creating a parallel.  The secondo is slightly thinner at the beginning. [Op. 52a: 0:45]
0:57 [m. 42]--Stanza 3, lines 3-4 (A”’).  The women continue to sing to essentially the same lines as those in stanza 2.  At the last line, the men suddenly interrupt with the last line of stanza 2, but they sing the notes that would be expected at that point.  The women re-enter a bar later with their final line, following the original melodies, but the men continue their line with new harmonies, stating it twice in full.  In order to accommodate this, the women lengthen “grüßen,” stretching the line by one more bar than before.  Their late entry on the line precludes text repetition.  The piano parts are as before, varied only at the extension. [Op. 52a: 0:54.  The same alterations to the first (upbeat) measure, m. 42, as at 0:33.]
1:11 [m. 52]--Coda.  The women and men both repeat their lines, giving the men three total repetitions of the last line from stanza 2 under the women’s two statements of the last line from stanza 3.  Furthermore, the women’s repetition cuts off the word “komme,” further emphasizing the men’s continued, seemingly unnecessary entreaties.  The last words, “grüßen” and “komme,” come together on notes extended to two bars.  Under these long notes, the piano parts play short, detached cadence chords before the final syllable. [Op. 52a: 1:08.  In the second and third measures from the end, the primo left hand and the secondo right hand hold a chord instead of playing two shorter ones.  The primo right hand and secondo left hand are unchanged.]
1:20--END OF WALTZ-SONG [56 mm.] [Op. 52a: 1:19]

2. “Am Gesteine rauscht die Flut” (“Against the stones the stream rushes”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  A MINOR, 3/4 time.  SATB

German Text:
Am Gesteine rauscht die Flut,
heftig angetrieben;
wer da nicht zu seufzen weiß,
lernt es unterm Lieben.

English Translation

0:00 [m. 1]--Part 1.  A three-note scale upbeat in the piano primo makes a transition from the E major of the previous song to the A minor of this one.  The tenor passionately sings the first line in a broad hemiola, with the beats grouped into larger implied 3/2 bars against the prevailing 3/4.  As he completes the line, the other three voices overlap with a harmonized answer, also in hemiola.  While the primo doubles the main vocal line in octaves, the secondo stubbornly remains in solid 3/4 with steady bass notes and after-beat chords. [Op. 52a: 0:00]
0:06 [m. 5]--The tenor again leads in the second line, replacing the opening lower turn with a huge octave leap.  His entry overlaps with the completion of the first line by the others.  For this second line, the other three voices begin after only one bar of the tenor line, so that they can all end together.  The tenor must sing one bar of straight 3/4 to “catch up” to the hemiola of the others as he stretches his words.  The piano primo still follows the voices, but now adds harmony.  The voices and pianists unite on an E-minor cadence. [Op. 52a: 0:04]
0:10 [m. 1]--Part 1 repeated, first line. [Op. 52a: 0:08]
0:14 [m. 5]--Part 1 repeated, second line. [Op. 52a: 0:11]
0:18 [m. 9]--Part 2.  Voices and pianists quiet down for the third line.  The voices all come together on the line, singing in harmony, but still with the hemiola rhythm and grouping.  The secondo is thinner, but still maintains the 3/4 pulse with after-beat notes.  The primo has a small bridge that sounds like an soaring echo before the line is repeated at a higher level, on E minor.  Again, the primo provides an upward-striving bridge.  For the final line, the volume is again strong.  The voices sing together in straight 3/4, with soaring leaps, while the piano primo plays one last hemiola grouping before the emphatic A-minor cadence. [Op. 52a: 0:14]
0:30 [m. 9]--Part 2 repeated.  The transition into it is only slightly different from what it was after Part 1. [Op. 52a: 0:25]
0:46--END OF WALTZ-SONG [20 mm.] [Op. 52a: 0:39]

3. “O die Frauen” (“O women”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  B-FLAT MAJOR or A MAJOR, 3/4 time.  TB duet.
The original key is B-flat major, which is used in all the early printings and the manuscript.  Brahms indicated in his own copy of the first edition a change to A major as a possibly smoother transition between A minor (No. 2) and F major (No. 4).  The old complete edition prints the song twice, once in each key  In this recording, Schreier and Fischer-Dieskau sing the song in the original B-flat major.  The recording of Op. 52a also uses the version in B-flat major.

German Text:
O die Frauen, o die Frauen,
wie sie Wonne tauen!
Wäre lang ein Mönch geworden,
wären nicht die Frauen!

English Translation

0:00 [m. 1]--Part 1.  The primo part is flowing and decorative, and begins with a brief preparatory “grace note.”  The secondo provides a solid bass, especially on the off-beats.  There are no major rhythmic complexities.  The two men twice sing their high, gently sighing “O die Frauen.”  In the second line, the primo becomes slightly syncopated and gains fuller harmony.  Colorful chromatic harmonies underscore the importance of the repeated word “Wonne” (“bliss”), where the bass singer also makes expressive leaps. [Op. 52a: 0:00]
0:16 [m. 1]--Part 1 repeated. [Op. 52a: 0:14]
0:29 [m. 9]--Part 2.  In the third line, the secondo and primo alternate on the more decorative lines.  When not playing them, the primo has short broken octaves.  The line is sung twice.  Except for the word “Mönch,” where the tenor reaches high, the second statement is a step lower. [Op. 52a: 0:28]
0:41 [m. 17]--The last line again has the primo becoming syncopated.  This time, it even has a high trill in both hands.  The two singers swell upward over more colorful harmonies before descending on “Frauen.”  The piano works downward after the singers.  The words “die Frauen,” now settled back down, are repeated over another primo trill.  Here, the bass trails downward at the cadence. [Op.52a: 0:41]
0:51 [m. 9]--Part 2 repeated.  Two sequential statements of the third line. [Op. 52a: 0:51]
1:04 [m. 17]--Part 2 repeated.  Last line with climax, trills, descent, and repetition on the words “die Frauen.” [Op. 52a: 1:04]
1:18-END OF WALTZ-SONG [22 mm.] [Op. 52a: 1:19]

4. “Wie des Abends schöne Röte”  (“Like the evening’s lovely red”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  F MAJOR, 3/4 time.  SA duet.

German Text:
Wie des Abends schöne Röte
möcht ich arme Dirne glühn,
Einem, Einem zu gefallen,
sonder Ende Wonne sprühn.

English Translation

0:00 [m. 1]--Part 1.  The song begins with a rising three-note upbeat played by both pianists in octaves.  When the two voices enter, the secondo has a more flowing line while the primo decorates and doubles the voice parts.  The singers themselves have yearning stepwise motion on almost every downbeat, usually moving inward toward each other and resolving from dissonance into the main harmony.  The music moves from F major to A minor for the cadence of Part 1. [Op. 52a: 0:00.  In the last measure, the first ending, the secondo breaks the solid bass octave into a broken ascent.]
0:15 [m. 1]--Part 1 repeated.  The three-note upbeat is altered to move back to F major from A minor. [Op. 52a: 0:14.  The broken octave in the secondo bass is present in the second ending as well.]
0:27 [m. 9]--Part 2.  The three-note upbeat is again slightly different.  In the third line, the soprano enters slightly before the alto.  Both voices strive higher to the climax on “Gefallen.”  The piano parts in this line pass descending arpeggios back and forth.  The fourth line settles back down and is more similar to Part 1, but the stepwise motion is now typically upward.  The piano primo reaches quite high before the cadence. [Op. 52a: 0:27]
0:38 [m.9]--Part 2 repeated.  The three-note upbeat is again altered.  Before each part and each repetition, the notes of this upbeat are slightly different, so there are four different versions of it. [Op. 52a: 0:41]
0:54--END OF WALTZ-SONG [16 mm.] [Op. 52a: 0:58]

5. “Die grüne Hopfenranke” (“The green hops vine”).  Russian source.  [Im Ländler-Tempo].  Binary form.  A MINOR, 3/4 time.  SATB

German Text:
Die grüne Hopfenranke,
sie schlängelt auf der Erde hin.
Die junge, schöne Dirne,
so traurig ist ihr Sinn!

Du höre, grüne Ranke!
Was hebst du dich nicht himmelwärts?
Du höre, schöne Dirne!
Was ist so schwer dein Herz?

Wie höbe sich die Ranke,
der keine Stütze Kraft verleiht?
Wie wäre die Dirne fröhlich,
wenn ihr das Liebste weit?

English Translation

0:00 [m. 1]--Part 1.  The bass in the secondo has a two-bar introduction with stepwise descending octaves beginning on the upbeat.  The first two lines are sung by the women, who are doubled in both hands of the primo.  They maintain a steady long-short rhythm with many “neighbor” notes.  Meanwhile, the secondo continues its bass pattern of mostly stepwise descents.  Its right hand figures are the only things heard on the second beats of bars. [Op. 52a: 0:00]
0:17 [m. 11]--The men sing the last two lines of the first stanza, their entry overlapping with the last descent of the women.  They maintain the same rhythmic patterns, as do the piano parts.  The primo remains in the high register, but it still doubles the men’s vocal lines in upper octaves in both hands.  At their cadence, the men make a striking motion to the related major key, C major. [Op. 52a: 0:12]
0:28 [m. 3]--Part 1 repeated, without the two-bar introduction.  The women now sing the first two lines of the second stanza. [Op. 52a: 0:22]
0:40 [m. 11]--The men conclude the repetition by singing the last two lines of the second stanza. [Op. 52a: 0:31]
0:50 [m. 19]--Part 2.  The new material is used for stanza 3.  The women sing the first two lines to a phrase that moves toward E minor.  The patterns are the same, but the secondo includes falling octaves which were not used before.  The word “Kraft” is suddenly held out, breaking the rhythmic pattern and extending the vocal line by a bar.  A rising bridge in the piano parts extends the phrase yet another bar. [Op. 52a: 0:41]
1:05 [m. 29]--For the only time in the song, all four parts join together for the last two lines.  The first half of the phrase swells to a high point in volume as well as pitch, only to recede in the second half.  With all four parts singing in harmony, the primo still plays exact octave doubling in both hands.  It mostly doubles only the soprano and alto, but adds some bottom notes (three-note chords) doubling the tenor line at the beginning and end.  The secondo bass doubles the vocal bass in octaves, and its right hand roughly follows the tenor line.  The phrase concludes gently, but still in the minor key. [Op. 52a: 0:53]
1:16 [m. 19]--Part 2 repeated.  The first two lines of stanza 3 are again sung by the women as before. [Op. 52a: 1:03]
1:30 [m. 29]--Last lines of stanza 3 from all four voices, as before.  Note here (as in the first statement) the only articulated vocal syllable on a second beat of a bar--the second syllable of “wäre.” [Op. 52a: 1:16]
1:45--END OF WALTZ-SONG [36 mm.] [Op. 52a: 1:32]

6. “Ein kleiner, hübscher Vogel” (“A small, pretty bird”).  Hungarian source.  Grazioso.  Rondo form (ABB’A’CA).  A MAJOR, 3/4 time.  SATB

German Text:
Ein kleiner, hübscher Vogel
nahm den Flug
zum Garten hin,
da gab es Obst genug.
Wenn ich ein hübscher,
kleiner Vogel wär,
ich säumte nicht,
ich täte so wie der.

lauert an dem Ort;
der arme Vogel
konnte nicht mehr fort.
Wenn ich ein hübscher,
kleiner Vogel wär,
ich säumte doch,
ich täte nicht wie der.

Der Vogel kam
in eine schöne Hand,
da tat es ihm,
dem Glücklichen, nicht and.
Wenn ich ein hübscher,
kleiner Vogel wär,
ich säumte nicht,
ich täte doch wie der.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-4 (A).  The primo plays repeated octaves on the note E, then repeats them an octave lower.  The secondo takes over for another statement yet an octave lower.  This small introduction establishes the basic rhythm.  The tenor then sings the lilting opening phrase alone, with engaging pauses on the second beats of the bars.  The first two hesitant words are still introductory, the main patterns beginning on “hübscher.”  The primo decorates his line with light “bird-call” repetitions while the secondo plays a solid waltz rhythm with bass octaves on the downbeats followed by chords. [Op. 52a: 0:00]
0:15 [m. 13]--Stanza 1, lines 5-8.  The other three voices begin their response, overlapping with the tenor’s conclusion.  Their opening upbeat is on shorter notes.  The material is essentially the same as the tenor’s statement, but with vocal harmonies.  The primo now adds an even more decorative line, with downward swooping arpeggios in triplet rhythm depicting the flight of the bird. [Op. 52a: 0:15]
0:23 [m. 21]--Stanza 2, lines 1-4 (B).  A sharp trill in the primo leads into the new section, which is in the key of C-sharp minor.  The tenor and bass forcefully sing the first two lines of the stanza in a decisive rhythm representing the treacherous twigs.  The primo is still decorative, playing rapid, detached arpeggios in octaves.  The secondo plays sharp chords that emphasize the vocal lines.  In the third and fourth lines, the alto joins the men, and the music veers toward G-sharp minor, reaching a half-cadence there. [Op. 52a: 0:22]
0:31 [m. 29]--Stanza 2, lines 1-4 repeated (B’).  The same material begins, now with the soprano joining the lower voices and taking the melody.  In the third and fourth lines, the music changes to remain in C-sharp minor, ending on a half-cadence there.  The tenor and bass repeat the fourth line as a lead-in to the following “codetta.” [Op. 52a: 0:29]
0:40 [m. 38]--In a sort of “codetta” to the B section, the last words, “nicht fort,” are passed twice from the soprano down to the tenor and bass in harmony.  The soprano and tenor sing them on a rising half-step.  The alto does not sing here.  This “codetta” is at a suddenly quiet level, and when the words are passed to the tenor and bass the second time, the piano parts adjust the harmony to E major, the related major key to C-sharp minor.  The piano primo echoes the rising half-step one last time. [Op. 52a: 0:37]
0:46 [m. 43]--Stanza 2, lines 5-8 (A’).  The tenor smoothly leads back to A major with a variant of his initial melody that moves downward and smoothes out the line.  The words are a counter-argument to the last four lines of stanza 1.  The piano parts play similar music to what they did in the A section.  Note the faster notes on “kleiner Vogel.” [Op. 52a: 0:44]
0:55 [m. 51]--Stanza 2, lines 5-8 repeated.  The other three parts overlap with the tenor’s ending and sing the response to the same music as was used at 0:15 [m. 13].  The major difference is that here they are singing the same words that the tenor just did.  The primo again includes the downward swooping arpeggios. [Op. 52a: 0:52]
1:02 [m. 59]--A “codetta” is added to the A’ material.  The alto and tenor repeat the words “nicht wie der” in a secretive, detached manner.  The left hand of the primo and the right hand of the secondo accompany them.  The same words are then stated by soprano, tenor, and bass (without alto), in a response.  All hands except the right hand of the secondo play here.  This pattern with these two statements is repeated, but now the alto sings instead of the tenor in the response, and its final harmony is changed.  Finally, all four voices and all four hands come together in an emphatic cadence on “wie der.”  A brief bridge with repetitions of the keynote A in the basic rhythm follows.  It is used to pivot to F major. [Op. 52a: 0:59]
1:11 [m. 67]--Stanza 3, lines 1-2 (C, Part 1).  The tenor begins a gently flowing melody that quietly reaches upward.  After he sings the first line, the other voices join him in harmony to sing both lines.  The key of the section is F major.  The piano parts provide block harmonies, but the “preparatory” grace notes in the primo are notable.  The first part ends on an incomplete cadence. [Op. 52a: 1:09]
1:23 [m. 67]--Stanza 3, lines 1-2 (C, Part 1) repeated. [Op. 52a: 1:19]
1:33 [m. 75]--Stanza 3, lines 3-4 (C, Part 2).  The piano parts play a brief interlude to lead into these lines.  The “preparatory” grace notes are played in the secondo here.  The tenor leads in, as before, and the music is essentially the same, even when the other voices enter for the repetition of the third line, but there is an internal harmonic change suggesting D major.  This was not present in Part 1.  The passage ends with the same incomplete cadence as did Part 1, however.  [Op. 52a: 1:30]
1:49 [m. 75]--Stanza 3, lines 3-4 (C, Part 2) repeated, including the lead-in piano interlude. [Op. 52a: 1:48]
2:05 [m. 87]--Stanza 3, lines 5-8 (A).  The transition here has the same function as did the introduction to the song, and is in the same rhythm.  Instead of simple octaves, the piano parts play chords that move from F major back home to A.  The primo holds its outer octaves after the first chords while the secondo begins its two sets of harmonies.  The tenor then sings to the same music he used for the first lines of the song, including the three introductory syllables.  The piano parts are also the same.  Only the text is different. [Op. 52a: 2:07.  The secondo has added tenuto marks for emphasis on the harmonies over which the tenor had sung the three introductory syllables.  These harmonies (and the syllables) have great transitional significance at this point.]
2:20 [m. 99]--Stanza 3, lines 5-8 repeated.  The other three voices enter and sing their lines as heard at 0:15 [m. 13] and 0:55 [m. 51].  The words are the same as those at 0:15 [m. 13], and a repetition of the tenor’s text.  The accompaniment, including the swooping arpeggios, is also the same. [Op. 52a: 2:21]
2:28 [m. 107]--The “codetta” from 1:02 [m. 59] is used to end this most extended waltz-song.  The absence of the word “nicht” in the repeated text creates a bit of variation, especially in the piano parts.  The fourth statement of the text (the second response) includes the tenor, but not the soprano and alto in another variance.  The emphatic cadence on “wie der” is also changed so that the soprano ends on the keynote, creating more finality. [Op. 52a: 2:28]
2:36--END OF WALTZ-SONG [111 mm.] [Op. 52a: 2:37]

7. “Wohl schön bewandt’” (“Quite fair and contented”).  Polish source.  [Im Ländler-Tempo].  Binary form.  C MINOR, 3/4 time.  Soprano (or alto) solo.

German Text:
Wohl schön bewandt
war es vor ehe
mit meinem Leben,
mit meiner Liebe;
durch eine Wand,
ja, durch zehn Wände
erkannte mich
des Freundes Sehe.
Doch jetzo, wehe,
wenn ich dem Kalten
auch noch so dicht
vorm Auge stehe,
es merkts sein Auge,
sein Herze nicht.

English Translation

0:00 [m. 1]--Part 1.  The first statement of Part 1 sets the first four lines.  The music is characterized by heavy upbeats resolving downward but steadily working upward.  The primo is primarily concerned with decorating and doubling the singer, while the secondo counters her upbeat rhythm by placing its two-note descents on the second beat of each bar.  It also provides a solid low bass.  The end of the phrase evokes the memory of happiness with a warm motion to A-flat major, a third below the home C minor. [Op. 52a: 0:00]
0:13 [m. 1]--Part 1 repeated.  The repetition sets lines 5-8.  Because of the accentuation of line 5, the piano parts take the first upbeat alone.  The word “durch” then enters on the downbeat, and the long note that was used for “schön” in the first statement is split into two notes for “durch” and the first syllable of “eine.” [Op. 52a: 0:12]
0:23 [m. 9]--Part 2.  It sets the last six lines.  The first four of these are given more hopeful music.  There is a strong motion toward A major, emphasized by a turning decoration in the primo.  Brahms never quite arrives there, receding back to C minor after the high point on “noch.”  The last two lines take another harmonic detour through D-flat major, a half-step above the keynote.  This moves immediately and strongly back to C minor as the word “Herze” is held for almost six beats, the primo adding a gentle turn figure to the bleak cadence.  The secondo retains its rhythmic patterns on the second beat of each bar. [Op. 52a: 0:23]
0:43 [m. 9]--Part 2 repeated, using the same text. [Op. 52a: 0:46--m. 25.  This is the most significant alteration in the piano-only waltz-songs.  The repeat is written out, and the primo is ornately embellished.  The first two measures have arching scales, the first in triplets, the second in faster six-note groups, also in triplet rhythm.  After the turning decoration and the high point, which are unchanged, the move back to C minor breaks into a trill, sliding down by half-step.  At the point where the penultimate line would be sung, the primo first winds up high in jagged triplets, then plunges down in an almost unmeasured scale over the turn to D-flat, and actually undermines that harmonic turn by using the note G-natural (instead pointing toward F minor or A-flat major).  Finally, suspended notes and syncopation are added to the line for
“Herze,” and the gentle turn is delayed a beat.]
1:10--END OF WALTZ-SONG [24 mm.] [Op. 52a: 1:23--40 mm.]

8. “Wenn so lind dein Auge mir” (“When your eyes look at me”).  Polish source.  [Im Ländler-Tempo].  Binary form.  A-FLAT MAJOR, 3/4 time.  SATB

German Text:
Wenn so lind dein Auge mir
und so lieblich schauet,
jede letze Trübe flieht
welche mich umgrauet.

Dieser Liebe schöne Glut,
laß sie nicht verstieben!
Nimmer wird, wie ich, so treu
dich ein andrer lieben.

English Translation

0:00 [m. 1]--Part 1.  Stanza 1, lines 1-2.  There is an introductory bar from the secondo that sets up the rhythm in a similar manner to the opening of No. 1.  The primo is immediately remarkable for its soaring arpeggios leading to characteristic long-short resolutions.  These resolutions are also present in the blissful vocal harmonies.  The second and third bars before the end of the phrase are grouped in an expressive hemiola (implied 3/2 bar) in all vocal and piano parts except for the vocal bass and the secondo left hand, which articulate the actual downbeat. [Op. 52a: 0:00]
0:13 [m. 10]--Stanza 1, lines 3-4.  This phrase has a similar structure to the first one, but it makes a decisive harmonic motion to the “dominant” key, E-flat, at the end.  The placement of the hemiola is the same, but now it is only really present in the piano parts, the vocal parts sticking to the 3/4 grouping against it.  The primo, playing in octaves, uses a zigzagging lead-in line to round off Part 1. [Op. 52a: 0:12]
0:24 [m. 2]--Part 1 repeated.  Stanza 1, lines 1-2 as before, without the introductory bar.  Brahms indicates that the repeat should be quieter than the first statement. [Op. 52a: 0:22]
0:34 [m. 10]--Stanza 1, lines 3-4 as before. [Op. 52a: 0:33]
0:45 [m. 18]--Part 2.  Stanza 2, lines 1-2.  The first line begins with the lower three parts, the soprano trailing behind them by a bar.  The piano parts already introduce the hemiola grouping in this line, but only the alto voice participates in this grouping.  The line makes a colorful harmonic shift to E major.  The second line makes a similar shift downward, to C major.  The men’s parts overlap with the completion of “Glut” from soprano and alto.  This time, both the soprano and alto play the “trailing” role.  The hemiola is placed as in the first line, but now it is the tenor who participates instead of the alto.  The soprano and alto state the line quickly so that all four parts can end together.  The entire phrase is quite restless. [Op. 52a: 0:44]
0:55 [m. 26]--Stanza 2, lines 3-4.  These last lines move back to A-flat.  They open in a slight overlap with the closing gesture of the previous phrase.  They build slightly in volume and work to the highest pitches in the soprano and tenor.  The hemiola, located where it was in both phrases of Part 1, now includes all voices and both hands of both piano parts. [Op. 52a: 0:54]
1:05 [m. 18 (34)]--Part 2 repeated.  Stanza 2, lines 1-2 as before, with motions to E major and C major. [Op. 52a: 1:05]
1:15 [m. 26]--Stanza 2, lines 3-4 as before.  The final cadence is followed by a low punctuating A-flat, the same as had opened Part 2 and its repetition. [Op. 52a: 1:15]
1:29--END OF WALTZ-SONG [34 mm.] [Op. 52a: 1:31]

9. “Am Donaustrande, da steht ein Haus” (“On the banks of the Danube, there stands a house”).  Hungarian source.  [Im Ländler-Tempo].  Rounded binary form.  E MAJOR, 3/4 time.  SATB

German Text:
Am Donaustrande,
da steht ein Haus,
da schaut ein rosiges
Mädchen aus.

Das Mädchen,
es ist wohl gut gehegt,
zehn eiserne Riegel
sind vor die Türe gelegt.

Zehn eiserne Riegel
das ist ein Spaß;
die spreng ich
als wären sie nur von Glas.

English Translation

0:00 [m. 1]--Part 1.  Stanza 1.  The secondo provides a brief lead-in with dissonant whole-step clashes resolving to pleasing thirds.  Only the lower three parts sing in this first part.  When they enter, it is with a harmonious, highly stylized waltz rhythm.  The right hand of the secondo follows the vocal lines, especially the alto, and the primo provides “Blue Danube”-like responses to the first two (identical) lines.  In the last two lines, this response is used to propel the waltz rhythm forward as the cadence is approached with large downward leaps in the alto.  The cadence itself is punctuated with a gentle closing descent. [Op. 52a: 0:00]   
0:29 [m. 20]--Part 1, varied repeat.  Stanza 2.  In this verse, the hands largely reverse roles.  The vocal lines are now followed much higher in the primo, and the “Blue Danube” responses are in the secondo right hand.    The whole-step/third alternation moves to the primo left hand, and the secondo left hand adds a new low bass.  The vocal parts are mostly unchanged except for the tenor, who adds parallel harmonization to the alto’s closing leaps.  The closing descent is heard, now at a lower pitch level in the secondo only. [Op. 52a: 0:25]
0:50 [m. 36]--Part 2.  Stanza 3.  The bass impetuously begins the line at a suddenly powerful level.  The other three voices (the soprano [the imprisoned maiden?] making her only appearance in the song) follow him a bar later.  The primo has rapid chords moving with the voices, with the right hand following the left off the beat.  It then moves to the “Blue Danube” responses.  The secondo is less active, providing a foundation.  The first two lines hint at B major, but remain in E.  The bass finishes before the top parts, and then begins the second couplet, the others following again.  He slows down his last line so that he can end with the others.  The phrase sternly moves to G-sharp minor.  A “Danube” echo bridges to the gentle music. [Op. 52a: 0:47] 
1:03 [m. 47]--Stanza 1 reprise.  The music of Part 1 returns, but this time the tenor has a preparatory leap the leads the alto and bass back into the music.  The soprano drops out after her brief appearance for stanza 3.  When the other voices enter, there is an extra “preliminary” hint of the “Blue Danube” response that is held over from the bridge.  The bass joins the tenor for similar lead-ins to the second line and to the last couplet.  The bass repeats “da steht,” and both tenor and bass repeat “da schaut.”  The accompaniment to the first two lines is similar to that heard at the beginning, but the secondo adds the low bass line from stanza 2.  In the last couplet, the stanza 2 pattern, with the response in the secondo, takes over.  The last vocal bar (m. 61) begins the closing descent, and the repeat signs lead back to m. 34 to complete it. [Op. 52a: 0:59]
1:26 [m. 36]--Part 2 repeated.  Stanza 3, with its impetuous bass outburst, is reprised. [Op. 52a: 1:21]
1:39 [m. 47]--Stanza 1, second reprise, with tenor and bass lead-ins and full accompaniment.  The gentle descent is completed in two new bars (mm. 62-63), with the primo entering to double the chords at a high level and with the volume and speed both receding greatly.  This explains why the repeat went back to m. 34.  These last two bars are a “closing” version of mm. 34-35. [Op. 52a: 1:33]
2:11--END OF WALTZ-SONG [63 mm.] [Op. 52a: 2:04]

10. “O wie sanft die Quelle sich”  (“Oh how gently the stream”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  G MAJOR, 3/4 time.  SATB

German Text:
O wie sanft die Quelle sich
durch die Wiese windet!
O wie schön, wenn Liebe sich
zu der Liebe findet!

English Translation

0:00 [m. 1]--Part 1.  The soprano introduces the pervasive long-short-short-short rhythm, and is freely imitated by the tenor a bar later.  The alto and bass provide slow-moving support.  The mood is light and fleeting.  The primo follows the soprano in octaves, filling in pauses with notes from the tenor line.  The secondo maintains the basic waltz pulse.  The last word, “windet,” is stretched out as all voices come together.  As they end, the piano parts have a two-bar hemiola or cross-rhythm.  The primo and the secondo bass stretch their motion to a longer implied 3/2 bar while the secondo right hand has a new arching line. [Op. 52a: 0:00]
0:14 [m. 1]--Part 1 repeated. [Op. 52a: 0:14]
0:24 [m. 11]--Part 2.  Beginning with a heavy emphasis on C major, the “subdominant” key, the tenor starts the second part alone on the third line.  The soprano freely imitates him a bar later.  Four bars into this pattern, the alto and bass begin a similar free imitation.  The tenor and soprano come to an end two bars after that.  Under the first four bars, the right hands of both parts follow the tenor and soprano respectively while their left hands keep the rhythm.  After the other two parts enter, the primo follows the alto in octaves while the secondo right hand follows the bass.  The hemiola cross-rhythm is placed at the end where it is expected, and the alto and bass now participate with the piano parts, stretching their lines.  Their completion overlaps with the first bar of the repetition on the tenor entry, where there is another emphasis on C major. [Op. 52a: 0:28]
0:36 [m. 21]--Part 2 repeated.  The tenor begins in overlap as the alto and bass complete their previous lines.  The first bar of the piano parts is slightly thicker to reflect this overlap.  The repetition then follows as before until the hemiola, where the alto and bass now abruptly end on the first bar and do not participate with the piano parts.  The alto cuts off the last word “findet,” and the bass cuts out “zu der Liebe.”  All four parts enter on the last two beats, and then the cross-rhythm is repeated with all voices participating, leading to the final cadence bar.  They state the whole last line.  The piano parts are lower in the repeated cross-rhythm, but the harmony is the same, suggesting C major (as at the repetition) and then confirming G major. [Op. 52a: 0:41]
0:54--END OF WALTZ-SONG [33 mm.] [Op. 52a: 1:05]

11. “Nein, es ist nicht auszukommen” (“No, there’s just no getting along”).  Polish source.  [Im Ländler-Tempo].  Rounded binary form.  C MINOR, 3/4 time.  SATB

German Text:
Nein, es ist nicht auszukommen
mit den Leuten;
Alles wissen sie so giftig

Bin ich heiter, hegen soll ich
lose Triebe;
bin ich still, so heißt’s, ich wäre
irr aus Liebe.

English Translation

0:00 [m. 1]--Part 1 (Stanza 1).  The song begins with an impetuous outburst from all voices in block chords.  While the primo follows the vocal harmonies, the secondo agitates the mood with after-beat chords.  After the first half, the primo bridges a bar of vocal rests with an echo of the rhythm and shape of the previous bar.  The same thing happens after the second phrase, which emphasizes the “dominant” harmony of G major.  The consonant-filled text moves with tongue-twisting speed and requires precise articulation. [Op. 52a: 0:00]
0:10 [m. 1]--Part 1 (Stanza 1) repeated. [Op. 52a: 0:08]
0:18 [m. 9]--Part 2.  Stanza 2.  The contrasting passage begins at a suddenly quieter level.  The voices are still agitated, and at the end of the first phrase, “lose Triebe” recalls the predominant long-short-short-short rhythm.  Both piano parts have active, detached notes until becoming more smooth at “lose Triebe.”  The parallel second phrase builds strongly and suddenly, reaching a climax on the main rhythm with “irr aus Liebe.”  These last words are repeated in a powerful general descent.  The primo has fuller harmonies throughout this second phrase, and the secondo bass speeds up under the two statements of “irr aus Liebe.”  This contrasting passage also has fast-moving text.  It suggests the related keys of E-flat major and G minor. [Op. 52a: 0:16]
0:28 [m. 19]--Stanza 1 reprise.  This statement is an exact reprise of Part 1. [Op. 52a: 0:26]
0:35 [m. 9]--Part 2 repeated.  Repetition of the contrasting passage for the second stanza. [Op. 52a: 0:33]
0:46 [m. 19]--Second reprise of stanza 1.  The only change is a broadening for a final cadence at the end, and only the voice parts are stretched out.  The piano parts are unchanged from previous statements.  The last two bars have first and second endings because of this vocal broadening at the end. [Op. 52a: 0:43]
0:54--END OF WALTZ-SONG [26 mm.] [Op. 52a: 0:52]

12. “Schlosser auf! und mache Schlösser” (“Locksmith - get up and make your locks”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  E-FLAT MAJOR, 3/4 time.  SATB

German Text:
Schlosser auf! und mache Schlösser,
Schlösser ohne Zahl;
denn die bösen Mäuler will ich
schließen allzumal.

English Translation

0:00 [m. 1]--Part 1.  The mood and material are similar to No. 11, which it usually follows without a break.  The bass intones a stark motion, still in C minor, of the initial imperative, doubled by the secondo in octaves.  The top voices enter directly afterward with chords from the primo.  The voices then come together for the remainder of the phrase, which sets the first two lines, “mache Schlösser” being reiterated.  The long-short-short-short rhythm is again used, and E-flat major, relative key to C minor, emerges.  The second line turns quickly back to C minor.  The primo follows the vocal harmonies, also bridging the lines, while the secondo plays entierly in thumping, detached octaves.  Note the play between “Schlosser” (“locksmith”) and “Schlösser” (“locks”), which requires precise diction. [Op. 52a: 0:00--The last decay of the final chord from No. 11 bleeds into this track.]
0:08 [m. 7]--Part 1 repeated.  While the piano parts begin a decorative echo of the previous vocal line, the tenor suddenly begins to intone the third line.  The bass follows directly in the next bar (m. 8) with his initial intonation, now on the first words of the third line (“denn die bösen”).  This bar corresponds to the opening upbeats except for the presence of the primo and the tenor.  The following bar (m. 9a) corresponds exactly with m. 1 after the upbeat, and the other voices (including tenor) make their entrance on the third line.  The repeat then moves back to m. 2, and the last two lines continue to the same music, repeating  “bösen” and “schließen.” [Op. 52a: 0:08]
0:16 [m. 7]--Part 2.  The tenor begins his intonation here, as he had before, now repeating different words from the last lines, “will ich schließen.”  The bass begins his intonation in m. 8, also to these words, but m. 9b is entirely new, and launches the second part.  The top three voices state “will ich schließen” in C minor, overlapping the bass (who repeats “schließen”), with the primo now continuing its decorative echo.  The secondo begins to suggest a faster rising motion, still in octaves and single notes.  A third statement of “will ich schleßen” (the second for soprano and alto) begins a step higher.  Both of these last statements are followed by softer, slower piano echoes, the second of which is repeated as the secondo strives upward. [Op. 52a: 0:16]
0:24 [m. 14]--The two female voices, with the primo, begin a faster, more illustrative statement of the last two lines in their entirety.  The men follow them with the same faster material a bar later.  The voices come together as the women repeat “schließen” yet again.  The entire statement moves decisively to E-flat, where the emphatic cadence is surprisingly bright.  Both piano parts are also bright, strong, and detached. [Op. 52a: 0:24]
0:29 [m. 18a (8)]--Part 2 repeated.  Immediately after the cadence, the piano parts forcefully turn back to C minor and the bass intones “will ich schließen.”*  The leading tenor intonation, having already been heard twice, is here skipped.  The music repeats back to m. 9b, and the two full statements of “will ich schließen” and their echoes follow. [Op. 52a: 0:29]
0:35 [m. 14]--Repetition of the faster statement of the last two lines and final E-flat major cadence. [Op. 52a: 0:35]
0:42--END OF WALTZ-SONG [18 mm.]
** [Op. 52a: 0:42]
*Note: Some scores, including the “Sämtliche Werke,” indicate that the bass is not to sing the intonation on the repetition of Part 2, instead joining the other voices in the two full statements of “will ich schließen” and leaving the piano parts alone in their transition back.  In this recording, Fischer-Dieskau sings the intonation here (which is the fourth time it is heard).
**In the “Sämtliche Werke” printing of Op. 52a, the initial part-measure with two upbeats is (correctly) not counted.  In the printing of Op. 52 with voices, it is (incorrectly) counted.  With this consideration, I have subtracted one measure from the previous counts above--the correct measure count is 18.  The ambiguity stems from the full-measure first ending of Part 2, which is m. 18a and corresponds to m. 8 for the repetition.  The second ending is printed with just one beat in both Op. 52 and Op. 52a, confirming that it completes the part-measure at the beginning.

13. “Vögelein durchrauscht die Luft” (“Little bird rushes through the air”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  A-FLAT MAJOR, 3/4 time.  SA duet.

German Text:
Vögelein durchrauscht die Luft,
sucht nach einem Aste;
und das Herz, ein Herz begehrt’s,
wo es selig raste.

English Translation

0:00 [m. 1]--Part 1.  The primo represents the fluttering bird with fast two-note groups, all thirds and fourths until the end of the second line, where the groups expand to fifths and sixths and also contract to whole-steps.  The left hand always plays its groups on the second beat of the bar, and only the right-hand downbeat groups are descending until the last bar of the second line.  The two female vocalists leap up and down in harmonies of mostly thirds and fourths, repeating “durchrauscht die Luft.”  They, along with the right hand of the secondo, are in a broad cross-rhythm, or hemiola, for the first line.  The secondo bass joins the primo in regular groupings against this.  Normal 3/4 motion is restored for the second line with its half-cadence. [Op. 52a: 0:00]
0:13 [m. 1]--Part 1 repeated. [Op. 52a: 0:08]
0:22 [m. 9]--Part 2.  All parts remain in normal motion for the third line.  The primo introduces a smooth flowing line.  The two singers swell and recede on the line, moving to colorful harmonies suggesting C-flat major.  In the last line, the smooth flowing line is passed to the secondo.  The singers are in normal 3/4 motion, but now the primo, which did not play the cross-rhythm before, recalls the opening vocal harmonies in that cross-rhythm as the voices themselves settle to a gentle cadence. [Op. 52a: 0:17]
0:33 [m. 9]--Part 2 repeated.  At the end of the second line, a second ending allows the primo to return to normal rhythmic grouping for the last two bars, and the secondo is also adjusted to make the cadence more final.  The vocal parts are unchanged in this second ending. [Op. 52a: 0:26]
0:47--END OF WALTZ-SONG [16 mm.] [Op. 52a: 0:40]

14. “Sieh, wie ist die Welle klar” (“See how clear the waves are”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  E-FLAT MAJOR, 3/4 time.  TB duet.

German Text:
Sieh, wie ist die Welle klar,
blickt der Mond hernieder!
Die du meine Liebe bist,
liebe du mich wieder!

English Translation

0:00 [m. 1]--Part 1.  This song is closely linked to the previous one, and retains its quiet, subdued mood.  The male singers are in gentle, pleasing harmonies.  The primo has a smooth flowing line similar to that heard at the end of No. 13, while the secondo plays standard waltz accompaniment.  In the second line, Brahms indicates even greater hesitancy and quietness.  The harmony makes a turn to C-flat (also present in the second part of No. 13).  The primo moves to winding octaves, the left hand displaced by syncopation.  The end of the second line arrives on a half-cadence in the home key of E-flat. [Op. 52a: 0:00--The right hand of the secondo is changed in the piano-only version from its previous off-beat chords in order to play the harmonies sung by the tenor and bass.  The melody would be totally absent without this change.  In the last two bars, it incorporates a note (F) heard in the piano accompaniment to the vocal version but not the voices themselves.  This note is necessary for the effect of the harmonic suspension, so Brahms took care to retain it when he changed the secondo right hand.  In the first four measures, to retain the off-beat waltz character, the broken octaves on E in the secondo left hand are moved from the first and second beats to the second and third beats.  The left hand returns to its original downbeat patterns in the last four measures.]
0:15 [m. 1]--Part 1 repeated. [Op. 52a: 0:14--Changes to the secondo, as noted above.]
0:26 [m. 9]--Part 2.  The two male singers swell gently in the third line, which briefly moves to A-flat (the key of Nos. 13 and 15, both of which are closely connected to this song).  They rise to their top pitches.  Both piano parts have the flowing line, which now introduces the long-short-short-short rhythm so common in these waltz-songs.  The last line settles down for an incomplete cadence in E-flat.  As in the second line, there is syncopation, as the right hands of both piano parts play harmonies after the beats.  At the end, the secondo has a bridging figure in the long-short-short-short rhythm. [Op. 52a: 0:28--The secondo is not changed in Part 2.]
0:39 [m. 9]--Part 2 repeated.  The bridging figure at the end is retained to lead directly into No. 15.  The incomplete cadence also helps the music flow smoothly into this next song. [Op. 52a: 0:43]
0:51--END OF WALTZ-SONG [16 mm.] [Op. 52a: 1:01]

15. “Nachtigall, sie singt so schön”  (“The nightingale, it sings so beautifully”).  Russian-Polish dance song source.  [Im Ländler-Tempo].  Binary form.  A-FLAT MAJOR, 3/4 time.  SATB

German Text:
Nachtigall, sie singt so schön,
wenn die Sterne funkeln.
Liebe mich, geliebtes Herz,
küsse mich im Dunkeln!

English Translation

0:00 [m. 1]--There is a two-bar piano introduction that flows directly from the end of No. 14.  It establishes the dotted (long-short) rhythm that will pervade much of the song, and remains anchored on the “dominant” note, E-flat, with the short note a step above that.  In the second bar, a harmony a step lower is added.  The primo has the actual rhythm while the secondo only has straight octaves. [Op. 52a: 0:00]
0:05 [m. 3]--Part 1.  When the voices enter, the two piano parts pass the dotted rhythm between them.  The secondo still remains anchored to the E-flat in line 1, while the primo ranges more freely in arching lines.  In the first line, the soprano and alto sing in unison, following the dotted rhythm of the secondo.  The tenor and bass provide static harmonies.  In the second line, the voices and the secondo break free of their anchor (and the women from each other) and soar higher.  The arching lines in the primo continue through an incomplete cadence. [Op. 52a: 0:06]
0:19 [m. 3]--Part 1 repeated. [Op. 52a: 0:21]
0:33 [m. 11]--Part 2.  The third line makes a striking harmonic motion to B major (the same key, differently notated, to which the music moved in Nos. 13 and 14).  The voices sing in block harmonies, abandoning the dotted rhythm.  The piano parts, however, follow the alternating patterns from Part 1, still using the dotted rhythm.  The secondo even remains anchored to the new “dominant” note (now F-sharp) as in the first line. [Op. 52a: 0:35--The left hand bass of the secondo has slightly different rhythm from the vocal version in its first four bars.  It has downbeat rests on the second and fourth measures and follows the pattern it used in Part 1.  The vocal version has an octave on every downbeat in these first four bars of Part 2.  After these measures, the secondo returns to the patterns used in the vocal version.]
0:40 [m. 15]--The voices reach a small climax at the beginning of the last line, and work their way back home to A-flat.  The primo has a hemiola cross-rhythm grouping of three two-beat units on the dotted rhythm.  The voices recede as they reach the word “Dunkeln,” which is prolonged as the primo moves back to its arching lines in regular 3/4 grouping. [Op. 52a: 0:42]
0:46 [m. 19]--In the first ending, the words “im Dunkeln” are repeated to the same vocal harmonies.  The piano parts continue in an extended elaboration.  The primo meanders on the dotted rhythm, and the secondo has a more solid bass and chords.  They play two full bars beyond the vocal cadence, including one strong minor-key inflection in the dotted rhythm, and lead at the end back to the repeat of Part 2. [Op. 52a: 0:49]
0:54 [m. 11 (23)]--Part 2 repeated.  Third line moving to B major. [Op. 52a: 0:57--Slightly different rhythm in first four bars of secondo bass, as described above.]
1:00 [m. 15]--Fourth line working back to A-flat and including cross-rhythm. [Op. 52a: 1:04]
1:06 [m. 19 (23)]--In this second ending, the piano parts are the same as in the first ending until the end, where instead of leading back, they continue to a final cadence (and an extra bar for it).  The vocal parts, however, greatly extend their repetition of the word “Dunkeln,” following the harmonies of the piano with internal motion, and ending with the piano players, whereas they had dropped out early in the first ending. [Op. 52a: 1:11]
1:20--END OF WALTZ-SONG [23 (27) mm.]* [Op. 52a: 1:25]
*In the “Sämtliche Werke” score, with a break from usual practice, the second ending is labeled as m. 23 rather than repeating the numbering (19) of the first ending.  This is the rationale behind the parenthetical numbering of 23 at 0:54 and 1:06.  If the number 19 were repeated, the first ending would conclude with m. 22, the second with m. 23.  Beginning the second ending with m. 23 yields a concluding number of 27.  The first ending contains four bars, the second five.  In the score for Op. 52a, which has a line break in the middle of the first ending, the entire first ending is counted as
“m. 19.”  This implies a total count of 23.  Perhaps the numbering of the second ending as m. 23 in the vocal edition is meant to indicate the concluding measure number.

16. “Ein dunkeler Schacht ist Liebe” (“Love is a dark shaft”).  Hungarian source.  Lebhaft (Lively).  Binary form.  F MINOR, 3/4 time.  SATB

German Text:
Ein dunkeler Schacht ist Liebe,
ein gar zu gefährlicher Bronnen;
da fiel ich hinein, ich Armer,
kann weder hören noch sehn,
nur denken an meine Wonnen,
nur stöhnen in meinen Wehn.

English Translation

0:00 [m. 1]--Part 1.  Beginning with an upbeat, the top three voices begin their line in unison.  It is an oscillating figure beginning with a downward motion.  The primo begins its agitated, constant motion underneath the voices, its lower notes following them.  As they move to “ist Liebe,” they break into harmony.  At that point, the bass enters in counterpoint.  He inverts the “oscillating” figure and begins with the upward motion.  The secondo also enters at that point, playing more agitated figures, including broken octaves.  The top three voices complete the phrase with the second line as the bass sings only the first line, repeating “ist Liebe” at the end.  The mood is extremely uneasy, and the primo motion ranges quite high. [Op. 52a: 0:00]
0:10 [m. 1]--Part 1 repeated.  Some scores, including the Sämtliche Werke, indicate that the bass should sing the second line in this repetition.  In this recording, Fischer-Dieskau retains the first line with its illustrative downward leap of an octave under the text representing the “dark shaft” of love. [Op. 52a: 0:07]
0:17 [m. 9]--Part 2.  The bass begins the third line with the oscillating figure in its original direction, albeit at a higher pitch.  The secondo underscores him, initially with broken octaves.  The top three voices enter in harmony as he sings “ich Armer” on long notes.  The primo enters with them, also beginning with broken octaves.  When they enter, the left hand of the secondo drops to low bass octaves.  The soprano now has the “inverted” version of the figure.  The same alternation occurs, in overlap, on the fourth line.  Here, the voices reach a half-cadence, and the bass repeats “noch sehn” in a downward motion as the upper voices complete their lines.  After they cut off, the volume suddenly drops as the secondo continues to oscillate. [Op. 52a: 0:14]
0:27 [m. 19]--With a turn to the major mode (F major), the soprano initiates a series of entries in counterpoint on the fifth line reflecting on happiness, all at the distance of two bars.  She sings the oscillation on the “inverted” version.  The tenor follows her with the original direction.  The primo doubles the soprano in octaves, with the right hand displaced by syncopation.  The left hand continues its faster oscillation in the left hand, with the right hand doubling the tenor when he enters. [Op. 52a: 0:23]
0:31 [m. 23]--As the tenor completes his line, the alto now enters with the “inverted” version.  The fast oscillation moves to the primo right hand, its left hand doubling the alto.  The secondo roughly follows the tenor’s completion in octaves using the slower “inverted” oscillation.  Here, the soprano repeats “an meine Wonnen” in long notes.  Finally, the bass enters with the original version.  At that point, the tenor has the first anticipation of the last line with an early statement of “nur stöhnen.”  The right hands of both piano parts now have the fast oscillation, their left hands moving in slower notes.  The bass has not yet completed the line as the primo right hand shoots upward, ending the phrase. [Op. 52a: 0:27]
0:35 [m. 27]--The top three voices come together on two repeated statements of the colorful text “nur stöhnen,” singing in harmony on a dissonant “diminished seventh” chord and “sighing” downward.  The primo follows them while the secondo has an upward arpeggio moving to octave oscillations.  The bass completes “Wonnen” under the first statement, and sings with them on the second statement.  The first statement has an arrival on the F major of the preceding music, and the second statement lands on F minor. [Op. 52a: 0:30]
0:39 [m. 31]--A final statement of “nur stöhnen” in all four parts completes the line.  The notes are longer in all voices but the alto, who has a final oscillation on the “inverted” version.  The primo follows the voices in long notes while the secondo continues its arpeggios and octave oscillations (doubling the alto’s oscillations).  The final F-minor cadence is tortured by the addition of dissonance.  In all, the soprano and alto state “nur stöhnen” three times, the tenor four times, and the bass twice.  After the cadence, secondo arpeggios lead to the complete repeat of Part 2. [Op. 52a: 0:34]
0:45 [m. 9]--Part 2 repeated.  Third and fourth lines, as at 0:17. [Op. 52a: 0:40]
0:55 [m. 19]--Soprano and tenor entries in counterpoint on the fifth line (F major), as at 0:27. [Op. 52a: 0:49]
0:59 [m. 23]--Tenor and bass entries in counterpoint, as at 0:31. [Op. 52a: 0:52]
1:03 [m. 27]--Two “sighing” statements of “nur stöhnen,” as at 0:35. [Op. 52a: 0:56]
1:07 [m. 31]--Final statement of last line and last cadence, as at 0:39.  The only variances are the addition of a final loud chord in the primo under the last word, the prolongation in the voices of that last word (“Wehn”), an upward leap of the soprano and upward motion of the alto on that last word, and a final punctuating short chord in the secondo on the last beat.  Brahms also indicates an extra accentuation of the word “meinen” at the beginning of the second ending (m. 33). [Op. 52a: 1:00]
1:16--END OF WALTZ-SONG [36 mm.] [Op. 52a: 1:08]

17. “Nicht wandle, mein Licht” (“Do not wander, my light”).  Hungarian source.  Mit Ausdruck (With expression).  Binary form.  D-FLAT MAJOR, 3/4 time.  Tenor solo.

German Text:
Nicht wandle, mein Licht, dort außen
im Flurbereich!
Die Füße würden dir, die zarten,
zu naß, zu weich.

All überströmt sind dort die Wege,
die Stege dir;
so überreichlich tränte dorten
das Auge mir.

English Translation

0:00 [m. 1]--The piano parts set up the initial rocking accompaniment in a two-bar introduction. [Op. 52a: 0:00]
0:04 [m. 3]--Part 1 (Stanza 1).  The tenor sings short, almost breathless, but still gently subdued figures for the first two phrases.  He leaps between lower and higher figures that also move in opposite directions.  The piano parts artfully reflect this when they alternate in doubling the vocal line.  They also pass the off-beat figures of the accompaniment between the primo left hand and the secondo right hand. [Op. 52a: 0:02]
0:17 [m. 11]--The third phrase becomes slightly darker through the use of a note (F-flat) borrowed from the minor key.  The phrase is also prolonged to a fifth bar by holding out the word “dir” before moving up to “die zarten” on the “dark” F-flat.  Here, the primo mostly plays counterpoint to the vocal line in octaves.  Approaching the last phrase, the primo moves to full chords, still following the tenor, who moves back to the short units on “zu naß” and “zu weich.”  The secondo continues the rocking accompaniment.  The last phrase moves to the “dominant” key, A-flat.  Flowing chords in the secondo right hand lead to the repeat. [Op. 52a: 0:14]
0:31 [m. 3]--Part 1 repeated.  The tenor’s opening upbeat is shorter than it was the first time. [Op. 52a: 0:28]
0:41 [m. 11]--The last two phrases are played and sung as before.  The flowing chords in the secondo at the end are slightly changed to lead into the second part. [Op. 52a: 0:40]
0:56 [m. 21]--Part 2 (Stanza 2).  The first half of the stanza is compressed into a forward-pressing six-bar phrase.  The singer works upward to his highest note.  The flowing chords from the lead-in continue now in both piano parts.  These smoothly and gradually build.  The end of the phrase moves to the new key of G-flat.  The primo echoes the rhythm and contour of the tenor’s last notes in a bridge to the last phrase. [Op. 52a: 0:56]
1:07 [m. 29]--The bridge has moved back to the home key of D-flat, but this phrase immediately suggests G-flat again.  Like the corresponding place in Part 1, a prolongation stretches the phrase to five bars, this time in syncopation on the word “tränte,” which also has a similar minor-key inflection  The secondo here moves to broken octaves.  The last phrase sets “das Auge mir” in tender two-note off-beat groups separated by rests, and the music moves back to D-flat for the cadence.  These are supported by chords in the primo.  Another flowing line, this time in both secondo right hand and primo left hand, leads to the repeat of Part 2. [Op. 52a: 1:08]
1:22 [m. 21 (39)]--Part 2 repeated.  Six-bar phrase, move to G-flat, and bridge. [Op. 52a: 1:27]
1:32 [m. 29]--Last two phrases.  The ending replaces the flowing lead-in with closing accompaniment figures and a final chord in the secondo.  The ending is extended a bar longer than the previous “lead-in.” [Op. 52a: 1:40]
1:58--END OF WALTZ-SONG [39 mm.]
[Op. 52a: 2:20]

18. “Es bebet das Gesträuche” (“The bushes are trembling”).  Hungarian source.  Lebhaft (Lively).  Binary form.  B-FLAT MINOR--D-FLAT/C-SHARP MAJOR, 3/4 time.  SATB

German Text:
Es bebet das Gesträuche,
gestreift hat es im Fluge
ein Vögelein.
In gleicher Art erbebet
die Seele mir, erschüttert
von Liebe, Lust und Leide,
gedenkt sie dein.

English Translation

0:00 [m. 1]--The secondo plays a very brief introduction with a pair of secretive upbeat two-chord figures.  They are in the key of B-flat minor, where the song will begin. [Op. 52a: 0:00]
0:04 [m. 3]--Part 1.  The voices sing the first two lines in block chords, still using the secretive detached, upbeat figures heard in the introduction.  There are longer, accented notes on the second syllable of “Gesträuche” and the first syllable of “Flüge.”  The secondo follows these vocal harmonies, but the primary interest is in the primo, which introduces a skittish perpetual motion of detached up-down motion and short left-hand notes.  The key is still B-flat minor.  The two phrases are musically identical. [Op. 52a: 0:02]
0:12 [m. 11]--For the words “ein Vögelein,” the voices and secondo suddenly become smooth, stretching out the first syllable, adding gently flowing motion in soprano and tenor, and prolonging the last syllable.  More importantly, the music here moves to the related major key (same key signature, five flats) of D-flat major, where No. 17 was set.  The words are repeated at lower pitch levels, with the flowing motion in alto and tenor.  The primo continues to play its skittish motion, and leads to the repeat with broken octaves. [Op. 52a: 0:07--There are some slight alterations to the secondo right hand to help bring out the melody more clearly.]
0:19 [m. 3]--Part 1 repeated.  First two lines in B-flat minor. [Op. 52a: 0:13]
0:26 [m. 11]--Two statements of “ein Vögelein” in D-flat major.  Broken octaves lead down to Part 2. [Op. 52a: 0:19--Alterations to secondo right hand to bring out the melody.]
0:34 [m. 19]--Part 2.  The music makes a sudden shift to E major (four sharps).  The fourth and fifth lines are sung in almost rapturous fashion with soaring lines from all four parts.  The fifth line reaches higher.  There are small chromatic inflections on “erbebet” and “erschüttert.”  The secondo now plays more sweeping lines, alternating with the detached upbeats, which are heard under the longer words.  The primo still has the perpetual motion, but it now has some longer upward lines. [Op. 52a: 0:24]
0:41 [m. 27]--The key makes yet another shift, to the related C-sharp minor (also in four sharps).  Note that C-sharp is the same note as D-flat, the major key where Part 1 ended.  The sixth line is now sung and played twice with very similar music to that used for the first two lines, but now a bit higher in the C-sharp minor key.  The second phrase is also not identical to the first, and reaches higher, increasing the tension. [Op. 52a: 0:30]
0:48 [m. 35]--The last line, the words “gedenkt sie dein,” is sung to the same music, and in the same key, as were the words “ein Vögelein” at 0:12 and 0:26 [m. 11].  The first note is different, since the music is approaching from a different location, and the tenor and alto lines are largely reversed, but it is otherwise virtually identical.  Visually, it does not appear that way, though, since Brahms notates it in C-sharp rather than D-flat.  Also, he continues to use the four-sharp signature of the previous C-sharp minor rather than the unwieldy seven sharps of C-sharp major, simply adding the other sharps in front of notes as needed.  Even the lead-in to the repeat at the first ending is like the previous second ending, leading to the same point. [Op. 52a: 0:36--There are similar alterations to the secondo right hand as in the analogous passage of Part 1 to help bring out the melody.]
0:56 [m. 19 (43)]--Part 2 repeated.  Fourth and fifth lines in E major, as at 0:34. [Op. 52a: 0:42]
1:04 [m. 27]--Two statements of the sixth line in C-sharp minor, as at 0:41. [Op. 52a: 0:47]
1:11 [m. 35]--Initial statement of “gedenkt sie dein” in C-sharp (D-flat) major, as at 0:48.  Only the first statement is an identical repeat, as the second one is changed somewhat in a second ending. [Op. 52a: 0:53--Alterations to secondo right hand to bring out the melody.]
1:15 [m. 39, second ending]--The second ending with the repetition of “gedenkt sie dein” has an altered accompaniment for the closing.  The perpetual motion in the primo finally breaks, cutting off the last beats of each bar, even adjusting pitches in the broken octaves of the fourth bar under the vocal cadence.  The secondo and the voice parts, however, are not changed.  This subtle “braking” of the motion carries into a two-bar extension, which has a two-note final “sighing” descent in the primo and a low C-sharp major chord in the secondo.  Perhaps Brahms retained the four sharp signature to visually match the E major of the first waltz-song in the cycle. [Op. 52a: 0:56]
1:33--END OF WALTZ-SONG [44 mm.] [Op. 52a: 1:10]