LIEBESLIEDER WALTZES FOR VOCAL QUARTET AND PIANO DUET,
OP. 52
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 http://www.lieder.net.
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 segment.
The 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.
IMSLP
WORK PAGE
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.
Leimruten-Arglist
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
auszudeuten.
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]
END OF CYCLE
BRAHMS LISTENING GUIDES HOME