EIGHT SONGS (LIEDER UND GESÄNGE) TO TEXTS BY G. F.
DAUMER OP. 57
Recording: Jessye Norman, soprano (No. 1); Dietrich Fischer-Dieskau,
baritone; Daniel Barenboim, piano [DG 449 633-2]
Other than the
“Magelone” cycle, this is the only set of solo songs to
texts by a single poet. Daumer was an eclectic writer whose
value as a poet is debated among Brahms devotees to this day.
Certainly the composer was fond of the poet, whose texts are used for
the famous “Liebeslieder” waltz-quartets. Daumer
specialized in erotic and sensual verse, both of his own creation and
in free translations or adaptations of Persian, Spanish, or Indian
sources. The great Persian poet Hafiz was one of his favorite
sources. The texts of this set are all of an unusual sensuality
for Brahms, and indeed, they seem to have been specifically chosen for
their subtle eroticism. All of the texts are essentially
variations on the same basic subject: that of an ardent yearning that
must somehow be suppressed without a certainty of fulfillment.
The set is not a formal “cycle,” as the poems themselves
were not originally grouped together, but because of their common
authorship, themes, and even musical style, they work very well when
performed as a set. Indeed, their first performance was as a
complete group, which was unusual. As in other sets of the
period, the final song is the largest, most elaborate, and most
varied. The first song is exceptionally exuberant and
bright. Its source was one of Daumer’s “women’s
songs,” but it is not gender-specific and can be sung by a
man. The second through fifth songs all have a greater sense of
desperation and despair, but each approaches those feelings through
contrasting musical means. The masterful third song extracts an
unusual amount of material from a very short poem. The sixth and
seventh songs are more gentle, but still filled with the same sense of
unfulfilled yearning. The final song, with its two highly
contrasting sections, serves as both a unification and a culmination of
the preceding seven, beginning in aching motionlessness and ending with
a return to the exuberance of the first song. The songs were
published without titles, and are referred to by their first
lines. Op. 57 is the first of three sets of eight songs
(continuing with Opp. 58 and 59) that, along with the nine of Op. 63,
help form a bridge from the “first maturity” to the
Note: Links to English translations of the texts are from Emily Ezust's
site at http://www.recmusic.org/lieder.
For the most part, the translations are line-by-line, except where the
difference between German and English syntax requires slight
alterations to the contents of certain lines. The German texts
(included here) are also visible in the translation links.
SCORE FROM IMSLP (First Edition from Brahms-Institut
ONLINE SCORE FROM IMSLP (Edition Peters, edited
1: Von waldbekränzter Höhe (original key)
2: Wenn du nur zuweilen lächelst (original key)
3: Es träumte mir (original key)
4: Ach, wende diesen Blick (original key)
5: In meiner Nächte sehnen (original key)
6: Strahlt zuweilen auch ein mildes Licht (original key)
7: Die Schnur, die Perl’ an Perle (original key)
8: Unbewegte laue Luft (original key)
waldbekränzter Höhe” (“From
heights”). Text by
Georg Friedrich Daumer. Lebhaft
(Lively). Four part form (ABB’A’). G MAJOR, 4/4
Von waldbekränzter Höhe
Werf’ ich den
Der liebefeuchten Sehe
Zur Flur, die dich umgrünt, zurück.
Ich senk’ ihn auf die
Vermöcht’ ich, ach,
Zu fließen eine Welle,
Zurück, o Freund, zu dir, zu dir!
Ich richt’ ihn auf die
Der Wolken über mir,
Ach, flög’ ich ihre
Zurück, o Freund, zu dir, zu dir!
Wie wollt’ ich dich
Mein Heil und meine Pein,
Mit Lippen und mit Blicken,
Mit Busen, Herz und Seele dein!
0:00 [m. 1]--Stanza 1 (A).
The exuberant, virtuosic piano part is an essential element of this
song’s breathless character. The right hand sets up a
perpetual motion in two bars before the vocal entry; its top notes form
a countermelody to the vocal line when it enters. The left hand
plays galloping syncopations. The vocal line itself joyously
arches upward and then settles back down. The end of the stanza
makes a strong tonal shift to the dominant key (D major). The
last line is repeated.
0:30 [m. 15]--An interlude sets
up a new rhythmic motion, with
upward-arching broken chords in triplet rhythm instead of the faster
groups of four. D major. It also anticipates the melody of
the next stanza.
0:38 [m. 18]--Stanza 2 (B).
Marked “Ruhiger” (“More tranquilly”). The
vocal line is somewhat more subdued for this verse. It begins by
shifting to minor, then again making a strong key change to B-flat at
the end of the first line. The rest of the stanza remains in that
key. The piano continues its triplet rhythm, the left hand
resuming its galloping syncopations for the last two lines. The
top notes of the right again play a countermelody, this time suggesting
the melody of A. The
last line (“zurück, o Freund, zu dir, zu dir”) has a sense of
yearning and is repeated.
1:10 [m. 33]--Interlude as at
0:30 [m. 15], now in B-flat major.
1:18 [m. 36]--Stanza 3 (B’).
The music is very similar to that of stanza 2, but the declamation of
the lines is different, with the first two lines set to an expanded
version of the first musical line of the earlier stanza. In this
line, the key very subtly shifts down a half-step to B major, where the
rest of the stanza will remain. Over the last two lines, Brahms
marks “Allmählig lebhafter” (“Gradually more
lively”). The statement of “zurück, o Freund, zu
dir, zu dir” and its repetition are even more yearning and
excited than in stanza 2.
1:48 [m. 50]--The cadence of
stanza 3 is unexpectedly over a B minor
chord. The following interlude is similar to the preceding two,
but is more active and changes key, as the others did not. It
moves back to the home key of G. It also stops the triplet rhythm
and establishes the original exuberant accompaniment.
1:54 [m. 54]--Stanza 4 (A’).
Marked “Sehr lebhaft” (“Very lively”).
The first four musical lines are the same as in stanza 1, but are
performed at a faster speed. Also, the placement of the lines is
different, with the second line repeated to the music used for the
third line of stanza 1, and the third line sung to the music used for
the first statement of the fourth line in stanza 1.
2:08 [m. 62]--For the last line
of stanza 4, Brahms alters the music
from stanza 1, avoiding the motion to D major heard in the repetition
of that stanza’s last line. Instead, the line ecstatically
reaches to the song’s highest note. It is repeated to a
longer, broader musical line with joyful wide leaps. The piano
briefly concludes the song after the final vocal descent on the word
2:29--END OF SONG [68 mm.]
2. “Wenn du nur zuweilen
lächelst” (“If you would only smile now
and then”). Text by
Georg Friedrich Daumer, adapted from the
Persian by Hafis. Poco Andante. One-verse through-composed
form. E-FLAT MAJOR, 9/8 time.
Wenn du nur zuweilen lächelst,
Nur zuweilen Kühle fächelst
Dieser ungemeßnen Glut -
In Geduld will ich mich fassen
Und dich alles treiben lassen,
Was der Liebe wehe tut.
[m. 1]--The 9/8 meter sets up a gentle flow in its three-beat
groupings. The voice and piano begin together with no
introduction. They establish the lilting motion in the first line
of text, with warm chords and a solid, but comforting bass line.
0:08 [m. 3]--The piano suddenly
breaks into groups of two chords that
clash against the established three-beat grouping. The second
line of text then begins, with the vocal line coaxing the piano back to
the flowing rhythm. The end of this line brings the first
minor-key inflections of notes.
0:15 [m. 5]--The third line
makes a much darker turn. It is
repeated, moving to a cadence in the key of G minor. The gently
flowing 9/8 rhythm and rocking bass line persist, but are more agitated.
0:26 [m. 8]--The piano plays a
three-note gesture similar to the
opening notes of the song. The music moves back to the home major
for the fourth line, which enters tentatively after the piano gesture,
stammering the words “in Geduld” (“with
patience”) twice before completing the line.
0:37 [m. 12]--The fifth line
enters as the three-note piano gesture
continues to be repeated, but this line and the succeeding sixth line
become rapidly intensify, introducing many chromatic notes and mixing
major and minor. The climax comes on the word “Liebe”
(“love”), set to an inflected minor-key note and rich
0:55 [m. 18]--The sixth and
final line is repeated, entering on the
last beat of a bar and tied over to the next one, intensifying the
feelings of yearning desperation. The repetition is stretched out
over longer notes, including a biting minor inflection on the first
note of “wehe” (“pain” or
“injury”). The vocal line ends in a very tentative
and almost resigned manner.
1:07 [m. 21]--The piano
postlude begins as the last word is sung.
It appears to reprise the opening of the song, but it skips the second
bar, moving to the clashing two-note groups of the third. These
are then interrupted by a chord with the same minor-key inflection just
heard on the word “wehe,” tied over the bar line and
falling into a “sigh” figure. The “sigh”
is repeated without the inflection, but with continued chromatic notes
in the bass. Finally, a third, lower sigh is in pure major and
gently ends the song.
1:37--END OF SONG [25 mm.]
träumte mir” (“I dreamed”). Text by Georg Friedrich Daumer,
adapted from a Spanish folk poem. Sehr langsam (Very
slowly). One-verse through-composed form. B MAJOR, 6/8 time.
Es träumte mir,
Ich sei dir teuer;
Doch zu erwachen
Bedurft’ ich kaum.
Denn schon [ach] im Traume
Bereits empfand ich,
Es sei ein Traum.
0:00 [m. 1]--A three-bar
introduction introduces the slow rising
arpeggios that will dominate the left hand for most of the
song. They accompany a series of expressive,
dissonant chords with many non-key (chromatic) notes. For much of
the song, the low note of the bass arpeggios remains the same (F-sharp,
the expectant “dominant” note). The whole song has a
sense of suspended time. No vocal phrase enters at the beginning
of a bar.
0:14 [m. 4]--The first two
lines are set to a single, melodious phrase,
lingering on the word “teuer” (“dear”).
This phrase is one of only two in the song where the constant bass
arpeggios break. They and the slow-moving chords
temporarily give way to more flowing chords that follow the vocal line.
0:28 [m. 8]--The arpeggios and
expressive chords of the opening return
immediately for the next phrase, which sets the third and fourth
lines. The expressive chords follow and double the vocal line
when it enters. This phrase makes an immediately darker turn,
moving to a minor key (C-sharp minor) and incorporating a dissonant
leap in the word “erwachen” (“to awake”).
0:48 [m. 12]--Unlike the
previous two phrases, which each set two lines
without a pause between them, the next phrase, setting the fifth and
sixth lines, adds some space between the lines, which are set to a
similar rising, questioning gesture. These gestures intensify and
reach the climax of the song. The last arpeggio under the sixth
line finally moves away (down) from the constant F-sharp as the bottom
note. The key of B returns, mixing its major and minor
versions. In line five, Brahms replaced the original word
“ach” (a simple interjection like “ah!”) with
“schon” (“already”). The last line
follows without a break:
1:01 [m. 16]--For the “extra”
seventh line, which clinches
the heartbreaking message of the poem, Brahms allocates as much music
as he did for his phrases setting two lines. This is done by
setting the line twice to a very slowly descending phrase. The
first of these includes striking notes borrowed from the minor key
(mode), which are also included in the now-constant arpeggios.
The bottom notes of these are now free, wandering about after losing
their F-sharp “anchor.” The minor-mode notes almost
wail in despair. The arpeggios continue for two more bars,
slowing, softening, and reaching a notated pause.
1:31 [m. 21]--The music of the
introduction is repeated, but the first
of the arpeggios is reduced from six notes to five to increase the
sense of gradual motion from the preceding pause. Also, the third
and fifth of the expressive chords are now quickly rolled, which they
were not before.
1:49 [m. 24]--The fifth and
sixth lines are repeated, but now to the
music originally used for the first two lines at 0:14 [m. 4]. As
there, the arpeggios break in the piano. The end of the phrase
deviates from the original, though, reaching higher and becoming more
intense. The rocking chords continue darkly after the vocal line
ends. Brahms restores the original word “ach” to the
fifth line to heighten the sense of despair.
2:05 [m. 28]--The arpeggios
again return in the bass, but are not
anchored to F-sharp. The seventh line is set twice more (for a
total of four times). As before, both settings are to a slow
descending phrase including minor-key borrowings. The second
phrase is now even more despairing, incorporating more dissonant
chromatic notes, extended a bar, and actually ending in the minor,
which the earlier second phrase did not.
2:28 [m. 32]--The extended
postlude enters with the last vocal note on
“Traum” (“dream”). It continues the slow
rising arpeggios, whose bottom notes now hold on the home note of B,
and more expressive, bitingly dissonant chords. Although the
major mode is re-established with the beginning of the postlude, the
dissonances undermine it. After four arpeggios, the bottom note
moves to a low F-sharp, and the notes are reduced to five, then four,
and finally three (with B again in the bottom) under the last chords,
assisting the gradual slowing to motionlessness. This postlude is
the first definite arrival on the home key, and even then, the tension
between minor and major is not resolved until the very end.
3:22--END OF SONG [38 mm.]
wende diesen Blick”
(“Ah, turn away this gaze”). Text by
Georg Friedrich Daumer. Ziemlich langsam (Rather slowly).
Ternary form (ABA). F MINOR, 3/4 time.
Ach, wende diesen Blick, wende dies Angesicht!
Das Inn’re mir mit ewig
Mit ewig neuem Harm erfülle nicht!
Wenn einmal die gequälte Seele ruht,
Und mit so fieberischer Wilde nicht
In meinen Adern rollt das heiße Blut -
Ein Strahl, ein flüchtiger, von deinem Licht,
Er wecket auf des Wehs gesamte Wut,
Das schlangengleich mich in das Herze sticht.
0:00 [m. 1]--Stanza 1 (A).
The voice and piano begin together in an expressive, lightly harmonized
melody. For the first line, the top of the piano part doubles the
voice. The character is that of a lament.
0:12 [m. 5]--For the second and
third lines, the accompaniment changes
to a steady, solid, and very wide-ranging triplet rhythm. This
accompaniment cascades downward for the second line. At the
arrival of the third, it arches up and down across a wide swath of the
keyboard. This is also the arrival of the climax in the vocal
line, with strong accents and biting dissonances in the piano.
The third line is repeated and quickly subsides at the end. A
very brief transition leads to the second stanza.
0:38 [m. 15]--Stanza 2 (B).
The beginning of the stanza is expressive and warm. The first
line is set in a closely-related major key, D-flat. The piano
accompaniment doubles the voice, but also adds another, more active
line in octaves as well as a separate bass line. The vocal line
is somewhat hesitant.
0:51 [m. 20]--As the second
line of the stanza arrives, Brahms keeps
the established accompaniment texture, but marks that the music should
intensify and become more agitated. The key also moves strongly
back to the minor. The words “in meinen Adern”
(“in my veins”) are repeated, and this repetition yields
the song’s largest climax, punctuated by a sudden rich chord,
followed by an even richer one on “rollt das heisse Blut”
(“courses [my] hot blood”). The wide-ranging
triplets return at the climax. Under “Blut”
(“blood”) a third, dissonant chord (a “diminished
seventh”) helps to pivot back to the “A”
1:12 [m. 29]--Stanza 3 (A).
The expressive A melody
returns, but only in the piano. The voice enters on the last beat
of the first bar, creating a dissonance. The second bar begins
with a dotted (long-short) rhythm to accommodate the text, but from
that point, the music is identical to that of stanza 1.
1:25 [m. 33]--For the second
and third lines, the wide-ranging triplets
enter, as in stanza 1. The accents and dissonances are especially
appropriate as they fall under the words about the serpent’s
sting to the heart. The third line is repeated as in stanza
1. The music remains identical until the moment of transition,
which is replaced by a solid downward-plunging line and a loud F-minor
chord to end the song.
2:00--END OF SONG [42 mm.]
5. “In meiner
Nächte Sehnen” (“In my night-time longing”). Text by
Georg Friedrich Daumer. Agitato. Ternary form
(ABA’). E MINOR, 6/8 time.
In meiner Nächte Sehnen,
So tief allein,
Mit tausend, tausend Tränen,
Gedenk’ ich dein.
Ach, wer dein Antlitz schaute,
Wem dein Gemüt
Die schöne Glut vertraute,
Die es durchglüt,
Wem deine Küsse brannten,
Wem je vor Lust
All seine Sinne schwanden
An deiner Brust -
Wie rasteten in Frieden
Ihm Seel’ und Leib,
Wenn er von dir geschieden,
Du göttlich Weib!
0:00 [m. 1]--A brief
introduction sets up the rhythm and the
mood. Two short fragments and one longer one, all with a typical
0:06 [m. 5]--Stanza 1 (A).
The voice takes up the line whose rhythm and direction were anticipated
in the bass of the introduction. The accompaniment that enters
with the voice breaks into a trembling rhythm that persists through the
rest of the song. The bass line freely imitates the voice.
After two parallel phrases for each pair of lines, the last line is
repeated as a tag, with the word “gedenk” receiving an
extra repetition. The stanza moves to a cadence on the related
“dominant” key (B minor). A very brief bridge.
0:22 [m. 17]--Stanzas 2 and 3 (B).
The two middle stanzas are combined into one section. The second
stanza is very active, with four rising figures. The second line
makes a hopeful and warm move to major. The last two lines
restore the minor-key passion, wrenching upward to A minor.
Punctuating chords join the accompaniment texture for the last line.
0:32 [m. 25]--The beginning of
the third stanza marks the climax of the
song. The second and fourth lines are set to shorter figures
half-the length of those previously used for these short lines in the
first two stanzas. The bass line intermittently doubles the
voice. The last two lines are repeated as the music subsides,
with an extra repetition for the words “an deiner.” A
cadence on B minor/major precedes another brief bridge.
0:50 [m. 37]--Stanza 4 (A’).
The first two lines are as in stanza 1 (A).
The third line adds an extra sliding note to the word
“geschieden.” The fourth line reaches higher than in
stanza 1 in order both to close the song on a more emphatic note and to
end in the home key of E minor. The line is repeated, with the
“extra” repetition of the word “göttlich”
reaching even higher for the cadence.
1:03 [m. 47]--A postlude begins
with the last vocal cadence on the word
“Weib.” The “trembling” accompaniment
persists until the end. Some biting, accented dissonances are
heard. The passion does subside, but the ending is not completely
subdued, despite ending in major.
1:21--END OF SONG [53 mm.]
zuweilen auch ein mildes Licht” (“Although
occasionally a gentle
Text by Georg Friedrich Daumer. Sanft
bewegt (Gently moving). Ternary form (ABA’). E MAJOR,
Strahlt zuweilen auch ein mildes Licht
Auf mich hin aus diesem Angesicht -
Ach, es können auch wohl Huldgebärden
Machen, daß uns fast das Herze bricht.
Was die Liebe sucht, um froh zu werden,
Das verraten diese Blicke nicht.
The shared meter and key center, as well as the quiet, major-key
ending of the fifth song, make for a very smooth transition between the
fifth and sixth songs.
0:00 [m. 1]--A. A very
brief introduction with gently rising arpeggios anticipates the rising
vocal line. The first couplet is set to a leisurely rising and
falling line that quickly moves to a cadence on B major. The
accompaniment is a mostly continuous flow, with much doubling of the
vocal line. Many non-key, chromatic notes are included.
0:18 [m. 8]--B. The
second couplet is more agitated and chromatic, beginning with an upward
sliding vocal line. The left hand of the piano plays mostly
doubled notes in thirds. A cadence on the home minor key (E
minor) and the agitated mood convey the message of these lines, that
the kind glances are not those of love.
0:32 [m. 14]--A’.
The introductory measures enter with the preceding minor-key cadence,
gradually moving back to major. The fifth line is set as the
first was, but the sixth line, the second of the last couplet, is
altered, moving toward G major instead of B major, with a more
incomplete close. A one-bar interlude includes light syncopations.
0:50 [m. 21]--The last line is
repeated, re-establishing the home major
key. This final vocal line still ends rather inconclusively after
a brief swell. There is a short postlude that includes somewhat
disconcerting syncopated chords that intrude on the continuous
texture. The closing is, however, very gentle and mild.
Despite its rich harmony, this song is a bit of a respite from the
darker mood of the last two songs.
1:13--END OF SONG [26 mm.]
Schnur, die Perl’ an Perle” (“The string, on which pearl after
pearl”). Text by
Georg Friedrich Daumer, adapted from a Sanskrit
poem. Etwas langsam (Somewhat slowly). Two-part form
(AA’). B MAJOR, 3/4 time.
Die Schnur, die Perl’ an
Um deinen Hals gereihte,
Wie wiegt sie sich so fröhlich
Auf deiner schönen Brust!
Mit Seel’ und Sinn
Mit Seligkeit berauschet
Sie, diese Götterlust.
Was müssen wir erst fühlen,
In welchen Herzen schlagen,
So heiße Menschenherzen,
Wofern es uns gestattet,
Uns traulich anzuschmiegen
An eine solche Brust?
0:00 [m. 1]--A brief two-bar
introduction sets up the underlying
inner motion of the accompaniment. The top voice, beginning on an
upbeat, leaps down and then mirrors the leap up.
0:06 [m. 3]--Stanza 1 (A).
The first two lines are set to a lovely and leisurely melody over the
undulating accompaniment with the top line doubling the voice.
The last four notes are echoed in a one-bar interlude.
0:20 [m. 9]--The third line is
set to two gestures that leap down to a
distinctive chromatic note and then slide upward to propel an opposite
ascent. The fourth line is stated twice, both times after
extremely artful changes of key, the first sliding down a half-step to
B-flat and the second regrouping on F-sharp, which is more close to
home. The first statement reaches upward, the second settles back
down toward a two-bar interlude.
0:50 [m. 21]--The last three
lines (5-7) of the stanza re-establish the
home key and move toward a gentle cadence. Nonetheless, there are
several distinctive chromatic notes. The sixth line reaches the
song’s highest pitch.
1:06 [m. 27]--The cadence of
stanza 1 merges with a four-bar
interlude. The first two bars have rich chords, while the second
anticipate the return of the opening melody.
1:16 [m. 31]--Stanza 2 (A').
The first two lines are set as at 0:06 [m. 3], except for a slight
alteration of the melody on the word “wir” in the first
line, which moves up instead of down. The echoing one-bar
interlude is also omitted.
1:28 [m. 36]--In contrast to
stanza 1 at 0:20 [m. 9], the third line
follows immediately without the intervening echo. It also begins
with the leap to a chromatic note and subsequent upward slide, but the
second gesture reaches farther upward. The second gesture adds
even more “sliding” chromatic notes and hints at a move to
D-sharp minor. The key changes and the music that accompanied the
fourth line and its repetition are completely omitted, accommodating
the fact that stanza 2 is one line shorter.
1:38 [m. 40]--The changes to
the second gesture of line 3 allow for a
quick return to the home key after the brief minor-mode
suggestion. Lines 4-6 are set to similar music as lines 5-7 of
stanza 1, but the last two lines are sung at a lower pitch level, still
reaching the gentle cadence in the home key. The first two bars
of the interlude from 1:06 [m. 27] follow this cadence.
1:58 [m. 48]--As a postlude,
the last line is sung again to a low
repeated note, under which the piano, also in a low register, plays the
opening melody. On the last word (“Brust”), the voice
leaps up to a note right above the final keynote. It is suspended
there for a full bar, with the delayed downward resolution bringing a
great sense of fulfillment. The steady piano accompaniment slows
to triplet groups for the only time under this suspension and delayed
resolution. The voice and piano end together.
2:17--END OF SONG [51 mm.]
laue Luft” (“Motionless, tepid
air”). Text by
Georg Friedrich Daumer. Langsam--Lebhaft
(Slow--Lively). Through composed form in two large sections with
contrasting tempo and meter. E MAJOR, 9/8 and 4/4 time.
Unbewegte laue Luft,
Tiefe Ruhe der Natur;
Durch die stille Gartennacht
Plätschert die Fontäne nur.
Aber im Gemüte schwillt
Heißere Begierde mir,
Aber in der Ader quillt
Leben und verlangt nach Leben.
Sollten nicht auch deine Brust
Sehnlichere Wünsche heben?
Sollte meiner Seele Ruf
Nicht dir deine tief durchbeben?
Leise mit dem Ätherfuß
Säume nicht, daherzuschweben!
Komm, o komm, damit wir uns
Himmlische Genüge geben!
SECTION 1 (Langsam--9/8).
0:00 [m. 1]--Two-bar
introduction establishing the pattern of rising
arpeggios and the prominent dissonance (lowering of the second scale
degree) in the bass. It is in the piano’s bass and tenor
0:12 [m. 3]--The voice enters
in the languid tempo established by the
piano. While not quite “motionless,” there is a
static effect. The characteristic chromatic note on
“laue” (“tepid”), which lowers the sixth scale
degree, becomes a prominent “marker” for this opening
melody on its recurrences in the fast section. The second line
gradually moves downward after an initial leap. The line is
repeated with a turn to E minor and B minor. The slow rising
arpeggios, one per bar, continue in the piano, along with a solid bass
1:03 [m. 13]--As the repetition
of the second line ends, the piano
abandons its pattern of languid arpeggios for a more flowing motion
with trills, signifying the splashing in the fountain. The third
line enters against this motion, which is still slow, in warm B
major. The trills continue in the pattern as the fourth line is
sung. The fourth line is repeated, turning back home to E, but
also back to the minor mode.
1:33 [m. 20]--At the word “nur”
in the repetition of the
fourth line, the slow, low arpeggios begin again for an interlude that
serves as a transition to the faster second section. Despite this
function, the interlude actually becomes steadily slower and quieter,
ending in a bar marked “Adagio.” It is highly
SECTION 2 (Lebhaft--4/4).
2:08 [m. 25]--The tempo change
is sudden, but not jarring. Half
of one 4/4 bar should equal a third of one 9/8 bar. The piano
begins its rippling accompaniment one bar before the voice
enters. To transition out of the interlude, it begins quietly,
but quickly builds as the voice enters. The fifth and sixth lines
are joyous and in major, but still retain chromatic tinges, especially
as loud piano chords enter.
2:19 [m. 31]--The seventh line
begins with the same sweeping gesture as
the fifth, but going into the eighth line, the music is even more
joyous and fulfilling, and less chromatic. Some
“color” notes remain in the accompaniment at the high point
of line eight. There is a one-bar transition to the next passage.
2:31 [m. 37]--The accompaniment
becomes less active, using a triplet
rhythm (groups of six instead of groups of eight in the rippling
pattern). The music is also more subdued than the preceding
passage. While still in the “Lebhaft” tempo, the
ninth line is sung to the same music as the first line from the
“Langsam” tempo, complete with the characteristic chromatic
note and even rhythmic correspondence. Line ten is very
chromatic, with the piano bass sliding up in octaves. A loud
one-bar outburst leads to the next couplet.
2:42 [m. 43]--The eleventh and
twelfth lines are set in a similar
manner to the preceding two. Line eleven also echoes the first
line from the slow section. Line twelve begins as did line ten,
but it then erupts into even more chromatic notes, making a surprising
key change to F major, a half-step above the home key.
2:53 [m. 49]--The thirteenth
and fourteenth lines are completely set in
the key of F major. The preceding key change creates a rather
“remote” sound that is heightened by the quiet, delicate
setting of the lines. A two-bar interlude over a large crescendo
slides back to the home key and sets up the climax of the song.
3:04 [m. 55]--The climax
arrives with the penultimate fifteenth line
and the return of E major. The faster rippling accompaniment in
groups of eight notes returns. The voice soars in longer, higher
notes. The words “Komm, o komm” are stated twice
before the line continues. The last line arrives with the
song’s highest pitch (to music previously heard in line eight, at
a smaller climax). There are sharply accented off-beat chords
under the last word, “geben.” A one-bar bridge
suddenly quiets the music down.
3:19 [m. 63]--The last two
lines are repeated to quiet music. The
fifteenth line is now set to the music of the opening line from the
slow section, which has now made three appearances in the fast section,
all with its characteristic chromatic note. That note is retained
for the beginning of the last line, which finally slides up to a
gentle, if somewhat inconclusive ending. Under this, the rippling
piano reaches ever higher in the right hand and ever lower in the low
octaves of the left. This pattern continues for two bars after
the singer ends before a quiet chord, spaced very widely between the
hands, concludes the diverse, satisfying song. The three
recurrences of the opening melody in the fast portion are an effective
device to unify the two sections.
3:49--END OF SONG [70 mm.]
END OF SET
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