Recording: North German Radio Chorus, conducted by Günter Jena [DG 449 646-2]
Published 1874.

This set of unaccompanied part songs represents the only publication in this genre from the period of “high maturity,” and while Nos. 3-6 most likely date around the time of publication, Nos. 1-2 and almost certainly No. 7 were likely composed earlier.  Stylistically, they differ from the more specialized secular sets that had gone before, including the female choruses with horns and harp (Op. 17), the “sacred folk” settings of the Marienlieder (Op. 22), the “military” male choruses (Op. 41), and the somewhat extended six-voice settings (Op. 42).  They have a certain affinity to the twelve songs and romances for female chorus with optional piano (Op. 44), but they really seem to set the pattern for the two later sets (Op. 93a and Op. 104).  All of them except No. 7 employ imitative/canonic part writing to some extent, and all are in strophic form, with skillful modifications in Nos. 2, 4, and 6.  The first two songs are to folk texts from Des Knaben Wunderhorn.  The wistful No. 1 is brief and in simple strophic form, but it does have an interesting change of meter.  No. 2 is more extended, and despite its jovial mood, it has a high level of sophistication, including the occasional division of all four parts.  Nos. 3-6, the four songs from Paul Heyse’s Jungbrunnen (which also provided four straight texts in Op. 44) are the meat of the order.  No. 3, “Waldesnacht,” is one of the best and most evocative of all Brahms’s secular part songs.  It is highly atmospheric, with poignant dissonances derived from the imitation.  No. 4 begins innocently enough, but its verses expand into a rich texture of counterpoint, and its final stanza is beautifully extended.  No. 5 is the only one in six independent parts throughout, and its madrigal-like text setting is particularly full and rich.  No. 6 is the most formally complex.  Its two strophes approach a binary form.  Each is in two sections, the second changing from 4/4 to 3/4 meter.  Its second stanza extends the 3/4 section, which changes from minor to major.  This song is also notable for its drone-like divided basses, a clear nod to the Renaissance.  No. 7 stands apart from the others.  Not only was it probably composed earlier, but its setting of an “Old German” text inspires an archaic style with all chords in root position.  It is directly comparable to the text “Ich schwing mein Horn ins Jammertal” that was set for male chorus in Op. 41 (and arranged for solo voice with piano in Op. 43).  The same compositional techniques are used, but this song explicitly uses an old church mode, the Dorian, in its melody.  Like the “Jammertal” setting, this one was also arranged for solo voice and piano.  Although that version was published earlier (as No. 6 of Op. 48), the choral setting very probably predates it.

Note: Links to English translations of the texts are from Emily Ezust’s site at  For the most part, the translations are line-by-line, except where the difference between German and English syntax requires slight alterations to the contents of certain lines.  The German texts (included here) are also visible in the translation links.

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck
ONLINE SCORE FROM IMSLP (First Edition [monochrome] from Bavarian State Library
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke)
No. 1: Rosmarin
No. 2: Von alten Liebesliedern
No. 3: Waldesnacht
No. 4: Dein Herzlein mild
No. 5: All meine Herzgedanken
No. 6: Es geht ein Wehen
No. 7: Vergangen ist mir Glück und Heil

1. Rosmarin (Rosemary).  Text from the German folk collection Des Knaben Wunderhorn.  Gehend (Moving).  Simple strophic form.  G MINOR, 3/4 and 4/4 time.

German Text:
Es wollt die Jungfrau früh aufstehn,
Wollt in des Vaters Garten gehn,
Rot Röslein wollt sie brechen ab,
Davon wollt sie sich machen,
Ein Kränzelein wohl schön.

Es sollt ihr Hochzeitskränzlein sein:
“Dem feinen Knab, dem Knaben mein,
Ihr Röslein rot, ich brech euch ab,
Davon will ich mir winden,
Ein Kränzelein so schön.”

Sie ging im Grünen her und hin,
Statt Röslein fand sie Rosmarin:
“So bist du, mein Getreuer hin!
Kein Röslein ist zu finden,
Kein Kränzelein so schön.”

Sie ging im Garten her und hin,
Statt Röslein brach sie Rosmarin:
“Das nimm du, mein Getreuer, hin!
Lieg bei dir unter Linden,
Mein Totenkränzlein schön.”

English Translation

0:00 [m. 1]--Stanza (strophe) 1, lines 1-2.  The voices harmonize a swaying, melancholy triple-time melody characterized by a held note on the second beat of each measure.  The first line is set to two identical melodic fragments beginning with eighth-note upbeats.  The second line reaches higher, descending to a full cadence.  The volume is hushed, and Brahms indicates a tender turn for the next three lines.
0:11 [m. 5]--Stanza (strophe) 1, lines 3-5.  The second half of the strophe changes to 4/4 time and is one measure longer.  Lines 3-4 are sung in imitation, with the tenors and basses following behind the sopranos and altos, who begin on another eighth-note upbeat.  The imitation starts out as a harmonized canon, but after two beats of the third line the tenors and basses deviate and move faster, ending with the sopranos and altos.  The fourth line follows the same pattern beginning a step higher.  The tenors and basses extend their last word of line 3 by a beat, and the women begin against it, setting up the imitation.  On the fifth line, the voices all come together, the lower three voices supporting the sopranos as they descend to a cadence.
0:26 [m. 1]--Stanza (strophe) 2, lines 1-2.  The stanzas are all set to the same music with repeat signs.  After the first stanza, the opening upbeat also functions as the last half-beat of the final measure (m. 9).
0:35 [m. 5]--Stanza (strophe) 2, lines 3-5, sung in imitation in 4/4 as in stanza 1 (0:11).
0:51 [m. 1]--Stanza (strophe) 3, lines 1-2, music as at 0:00 and 0:26.
1:00 [m. 5]--Stanza (strophe) 3, lines 3-5, music as at 0:11 and 0:35.
1:17 [m. 1]--Stanza (strophe) 4, lines 1-2, music as at 0:00, 0:26, and 0:51.  The text differs from Stanza 3 by a single word.
1:27 [m. 5]--Stanza (strophe) 4, lines 3-5, music as at 0:11, 0:35, and 1:00.  The text of line 5 is notably altered from its repetitions in the first three verses, bringing home the final message of the song.
1:45--END OF SONG [9 mm. (x4)]

2. Von alten Liebesliedern (Of Old Love Songs).  Text from the German folk collection Des Knaben Wunderhorn.  Lebhaft (Lively).  Modified strophic form.  D MAJOR, 4/4 time.

German Text:
Spazieren wollt ich reiten,
Der Liebsten vor die Tür,
Sie blickt nach mir von weitem,
Und sprach mit großer Freud’:
«Seht dort meins Herzens Zier,
Wie trabt er her zu mir.
Trab Rößlein trab,
Trab für und für.»

Den Zaum, den ließ ich schiessen,
Und sprengte hin zu ihr,
Ich tät sie freundlich grüssen,
Und sprach mit Worten süß:
«Mein Schatz, mein höchste Zier,
Was macht ihr vor der Tür?
Trab Rößlein trab,
Trab her zu ihr.»

Vom Rößlein mein ich sprange,
Und band es an die Tür,
Tät freundlich sie umfangen,
Die Zeit ward uns nicht lang,
In Garten gingen wir
Mit liebender Begier;
Trab Rößlein trab,
Trab leis herfür.

Wir sezten uns da nieder
Wohl in das grüne Gras,
Und sangen hin und wieder
Die alten Liebeslieder,
Bis uns die Äuglein naß,
Von weg’n der Kläffer Haß.
Trab Rößlein trab,
Trab, trab fürbaß.

English Translation
0:00 [m. 1]--Stanza 1, lines 1-4.  Beginning with an eighth-note upbeat, the choir sings with exuberant joy in rich harmony and motion.  The first two lines are sung to a three-bar phrase ending on a half-close.  The second phrase, which sets the third and fourth lines, begins in the same way, adding a new long-short rhythm, but it makes a full motion to A major.
0:12 [m. 7]--Stanza 1, lines 5-6.  Here the sopranos and altos sing without the male voices, with both parts dividing to maintain the four-voice harmony.  In the text, the young lady is speaking.  Line 5 is sung to a rising line swelling in volume.  This then turns downward for line 6.  That line is repeated in a continuing downward motion, extending the three-bar phrase to five.  The extended downward motion recedes in energy and comes to a quietly expectant pause.  The phrase introduces colorful harmonies and moves back to the home key, with the pause on the “dominant” chord.
0:22 [m. 12]--Stanza 1, lines 7-8.  The setting of these closing lines is extremely colorful, making use of the imperative “trab” (“trot”) to create a musical picture of the horse’s motion.  The altos and basses are divided, so there is a six-voice texture.  The lines are sung twice in succession, making use of the repeated “trab” and even adding some extra statements of the word.  For the first statement, the tenors and basses punctuate each half-measure with the word, but there is a clever imitation at two beats on the initial “Trab, Rößlein, trab,” which is passed down from the sopranos to the tenors to the second basses.  During the imitation, the sopranos reach high and leap down, rising and falling in pitch and volume.  The second statement is mostly sung together, with some variance in the tenors and basses to punctuate the cadence.
0:30 [m. 16]--Stanza 2, lines 1-4.  These lines are sung as in the first stanza to the new words.
0:41 [m. 22]--Stanza 2, lines 5-6.  The lines closely match the first stanza at 0:12 [m. 7], but they are now sung by the tenors and basses, similarly split into four-voice harmony in the lower octave.  This matches the text, where the young man is now speaking.  As in the first stanza, line 6 is repeated.
0:52 [m. 27]--Stanza 2, lines 7-8.  The setting is the same as in stanza 1 at 0:22 [m. 12], with only slightly altered text in line 8, as the repeated imperative “trab” is retained.
1:00 [m. 31]--Stanza 3, lines 1-4.  Sung as in the first two stanzas at 0:00 [m. 1] and 0:30 [m. 16].
1:11 [m. 37]--Stanza 3, lines 5-6.  Musically, this setting resembles those at 0:12 [m. 7] and 0:41 [m. 22], but the lines are now sung by the full choir with divided basses.  The soprano line follows the former first soprano and first tenor parts, but the remaining notes are redistributed among the parts, and some harmonies are enriched with new notes.  Nonetheless, it sounds essentially the same as before, simply expanded to mixed voices.  Line 6 is repeated, and the volume diminishes, as expected.
1:21 [m. 42]--Stanza 3, lines 7-8.  This setting is varied from those at 0:22 [m. 12] and 0:52 [m. 27], adding a new layer of complexity.  The imitation of the soprano line in the tenors and second basses is now moved back a beat, so that each voice begins a single beat behind the last.  This allows time for both the tenors and second basses to fully complete the melodic line with its high reach and downward leap.  The second basses complete their imitation as the second statement begins.  There is only slight adjustment to the voices in the second statement, and the cadence is punctuated as before.
1:29 [m. 31]--Stanza 4, lines 1-4.  This stanza is marked with repeat signs so that there is virtually no musical variation from stanza 3.  Here, the only difference from the other stanzas at 0:00 [m. 1], 0:30 [m. 16], and 1:00 is that the fourth line has an extra syllable, accommodated by adding a repeated note where there had previously been a rest before the next upbeat.
1:42 [m. 37]--Stanza 4, lines 5-6.  The setting for the full choir matches that at 1:11.
1:52 [m. 42]--Stanza 4, lines 7-8.  The lines are set with the more complex imitation, as at 1:21.  The final word of the stanza, “fürbaß,” is significantly different enough from the others as to draw attention to the turn of mood at the end of the narrative.
2:02--END OF SONG [45 mm. (30+[15x2])]

3. Waldesnacht (Woodland Night).  Text by Paul Heyse from the collection Der Jungbrunnen.  Etwas langsam (Rather slowly).  Strophic form.  D MAJOR, 4/4 time.

German Text:
Waldesnacht, du wunderkühle,
Die ich tausend Male grüß’,
Nach dem lauten Weltgewühle,
O wie ist dein Rauschen süß!
Träumerisch die müden Glieder
Berg’ ich weich ins Moos,
Und mir ist, als würd’ ich wieder
All der irren Qualen los.

Fernes Flötenlied, vertöne,
Das ein weites Sehnen rührt,
Die Gedanken in die schöne,
Ach! mißgönnte Ferne führt.
Laß die Waldesnacht mich wiegen,
Stillen jede Pein!
Und ein seliges Genügen
Saug’ ich mit den Düften ein.

In den heimlich engen Kreisen,
Wird dir wohl, du wildes Herz,
Und ein Friede schwebt mit leisen
Flügelschlägen niederwärts.
Singet, holde Vögellieder,
Mich in Schlummer sacht!
Irre Qualen, löst euch wieder;
Wildes Herz, nun gute Nacht!

English Translation

0:00 [m. 1]--Stanza 1, lines 1-2.  The lines are sung mostly in block harmonies, but with some varied rhythm between the voices (typically a “straight” rhythm in one or two voices being sung against “dotted” long-short rhythm in the others).  The melody is wistful, the harmonic support rich and warm.  The first line features a distinctive downward leap in the soprano melodic line.  For the second line, the sopranos start a beat “early” with mild syncopation before the other voices enter.  They soar gently upward before descending to the close of the phrase.
0:18 [m. 5]--Stanza 1, lines 3-4.  The phrase begins halfway through the measure.  The descending melodic line rapidly turns toward the minor, supported by the harmonies.  All parts except the altos quickly finish both lines, making a motion to the “dominant” harmony, A major, and swelling in volume.  The altos repeat the words “o wie ist,” leaping an octave in slower syncopation as the other voices complete the line. 
0:31 [m. 9]--The altos finish line 4 “late” while the other three voices begin a repetition of the entire line, with the sopranos following the altos on the syncopated octave leap.  This is the climax of the swelling volume, and it now recedes.  After the altos finish the line, they “catch up” to the other voices by repeating “dein Rauschen süß,” matching the other voices on those words and basically “splitting” their repetition.  The close of the phrase has motion on the word “Rauschen” in the altos and tenors and ends on the “dominant” with the same minor-key inflection heard before.
0:44 [m. 12]--Stanza 1, lines 5-6.  Beginning halfway through the measure, and at a very hushed volume, the sopranos and altos begin line 5, harmonized in thirds with repeated notes in a “dotted” (long-short) rhythm.  They are immediately imitated by the tenors and basses one beat behind and singing a fifth below, also harmonized in thirds.  The direct canonic harmonized imitation is fully completed.  It is not continued through line 6, but the tenors and basses still follow behind the sopranos and altos.  The women sing the “dotted” rhythm while the men sing longer notes.  The line concludes with chromatic motion to an expectant “dominant” harmony, the women lengthening the word “Moos” to allow the men to catch up.

1:02 [m. 17]--Stanza 1, lines 7-8.  The phrase begins like the opening, although halfway through a measure after a rest, but it quickly swells upward in both pitch and volume.  The harmony is colorful, and the climactic volume and pitch are reached as line 8 begins.  This line then descends, diminishing in volume, and reaches a close on a very expectant “diminished seventh” chord.
1:16 [m. 21]--The sopranos begin a repetition of the last line, again using the now-familiar syncopation.  They descend, outlining the “diminished seventh,” which is completed by the altos when the other voices enter.  As they do, the sopranos lengthen the words “irren Qualen” with syncopation as the other voices move in chromatic harmonies.  The basses split into two parts for these last measures.  Escaping from the mildly dissonant harmonies, the line and the stanza are completed with a highly satisfying full cadence.  The ending comes with a held chord in the last measure (m. 25).
1:35 [m. 1]--Stanza 2, lines 1-2.  These first lines are sung and declaimed as in stanza 1. 
1:50 [m. 5]--Stanza 2, lines 3-4.  The music is as at 0:18, and the text setting is closely matched in all parts except for the altos, whose pattern of text repetition is changed to match the syntax.  They do not begin line 4 with the other parts, as they did in stanza 1.  Instead, they elongate the last word of line 3, “schöne,” then make their syncopated octave leap with a repetition of “in die schöne” from the end of line 3 instead of the first words of line 4.  The previous pattern would have broken the word “mißgönnte.” 
2:03 [m. 9]--The music is as at 0:31.  The sopranos make their syncopated octave leap with the repetition of line 4, and the tenors and basses also repeat the line.  The altos now complete their repetition of “in die schöne” from the end of line 3 against this.  They then move to line 4, which they sing once in its entirety with no repetition, quickly matching and finishing it with the repeated statement in the other voices.  The inner motion is on the word “Ferne.”
2:15 [m. 12]--Stanza 2, lines 5-6.  The harmonized canon on line 5 and the setting of line 6 are as at 0:44, with the sopranos and altos lengthening the word “Pein.”
2:32 [m. 17]--Stanza 2, lines 7-8.  The intensified motion and descent to a “diminished seventh” chord is sung as at 1:02.
2:45 [m. 21]--The repetition of the last line, chromatic harmonies, and cadence are sung as at 1:16.  The words lengthened in the sopranos with syncopation are “in den Düften.”
3:04 [m. 1]--Stanza 3, lines 1-2.  Sung as at the beginning and at 1:35.
3:19 [m. 5]--Stanza 3, lines 3-4.  Sung as at 0:18 and 1:50, with the alto text repetition matching the pattern from the second stanza at 1:50.  The word “leisen” is elongated, and then the words from the end of line 3, “schwebt mit leisen,” are repeated on the syncopated octave leap.  The stanza 1 pattern would break the word “Flügelschlägen.”
3:32 [m. 9]--Sung to music as at 0:31 and 2:03.  The altos follow the pattern from stanza 2 at 2:03, completing their repetition of “schwebt mit leisen” and then singing line 4 once without repetition.  The other parts are now changed from stanza 1 and 2, however.  Instead of repeating all of line 4, Brahms makes the repetition more syntactically pleasing by repeating “Friede schwebt” from line 3 (adding a syllable by changing “schwebt” to “schwebet”) and following it with “niederwärts,” omitting “Flügelschlägen.”  Thus, the sopranos now make their syncopated octave leap on “Friede” from line 3.
3:44 [m. 12]--Stanza 3, lines 5-6.  Harmonized canon on line 5 and line 6 are sung as at 0:44 and 2:15, with the sopranos and altos lengthening the word “sacht.”
4:01 [m. 17]--Stanza 3, lines 7-8.  Intensification and descent to “diminished seventh” as at 1:02 and 2:32.
4:14 [m. 21]--Repetition of last line, as at 1:16 and 2:45.  The sopranos lengthen the words “Herz nun gute” with syncopation.  The final held chord is appropriately on the word “Nacht.”
4:37--END OF SONG [25 mm. (x3)]

4. Dein Herzlein mild (Your Tender Heart).  Text by Paul Heyse from the collection Der Jungbrunnen.  Andante grazioso.  Modified strophic form.  A MAJOR, 3/4 time.

German Text:
Dein Herzlein mild,
Du liebes Bild,
Das ist noch nicht erglommen,
Und drinnen ruht
Verträumte Glut,
Wird bald zu Tage kommen.

Es hat die Nacht
Einen Tau gebracht
Den Knospen all im Walde,
Und Morgens drauf
Da blüht’s zuhauf
Und duftet durch die Halde.

Die Liebe sacht
Hat über Nacht
Dir Tau ins Herz gegossen,
Und Morgens dann,
Man sieht dir’s an,
Das Knösplein ist erschlossen.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-5.  All these lines are sung to block harmonies.  The first three of them form a complete phrase.  The melody is gentle, but active.  Lines 1 and 2 are set to the same rhythm, beginning with an eighth-note upbeat.  A dotted (long-short) rhythm on the first beat is followed by a longer note on the second, then the upbeat follows on the third beat.  The longer line 3 is broader, arching downward before concluding with a light sighing gesture on the “dominant” harmony.  Lines 4 and 5 appear to begin another phrase.  Line 4 matches line 1, then line 5 intensifies things, moving up and building with a motion toward B minor before the extended line 6. 
0:15 [m. 7]--Stanza 1, line 6.  The concluding line is set to a more complex and extended imitative texture.  The sopranos and altos, in thirds, begin an arching motion like line 3, but after one beat, the tenors and basses imitate it an octave below.  The sopranos and altos extend the phrase with leaping motion, moving back to A and repeating the words “wird bald.”  The tenors and basses continue to imitate them a beat later.  The imitation then breaks, and the voices come together with varying repetition.  The sopranos and tenors simply sing the entire line again, the tenors lagging back while the sopranos hold a long note.  The altos add a third repetition of “wird bald” as they trail downward.  The basses reiterate “bald zu Tage.”  After the other parts trail under the held soprano note, the cadence unexpectedly floats away on the sighing gesture.
0:26 [m. 1]--Stanza 2, lines 1-5.  The music is unvaried, and the text is marked with repeat signs.  The first five lines are sung as in stanza 1
0:40 [m. 7]--Stanza 2, line 6.  The imitation and text repetition largely follows the pattern at 0:15 from stanza 1, but because the words used for multiple repetitions, “und duftet,” have one more syllable than the previous “wird bald,” some notes that did not have their own syllables now do.  The tenors omit “und” from their full line repetition, and the basses simply repeat the whole line like the sopranos.
0:52 [m. 12]--Stanza 3, lines 1-5.  Although these lines are set the same as in the first two stanzas, they are here written out without a repeat sign because line 6 will be varied and further extended to end the song.
1:07 [m. 18]--Stanza 3, line 6.  The first three measures of the line are set as in the first two stanzas at 0:15 and 0:40 [m. 7].  The repeated words “das Knösplein” initially match the repetition of “und duftet” in stanza 2.
1:14 [m. 21]--The line’s last two measures are lengthened to five.  These two measures had led to the cadence before.  Now the sopranos change their long-held note to three shorter reiterations of the swaying long-short motion before the cadence, creating an implied 3/2 measure over two 3/4 bars.  The other three parts do not create the metric ambiguity on their own, but they also employ the long-short motion, offset from the sopranos by a beat.  These three parts repeat the words “ist erschlossen.”  The sopranos do as well, but now in the third measure they soar up in a grand leap while the other parts move more quickly under them.  The lower parts repeat the entire line while the sopranos only repeat “ist erschlossen” again.  After the soaring soprano line and the lush extension, the cadence still simply floats off on the sighing gesture.
1:30--END OF SONG [25 mm. ([11x2]+14)]

5. All meine Herzgedanken (All the Thoughts of My Heart).  Text by Paul Heyse from the collection Der Jungbrunnen.  Con moto.  Strophic form.  F MAJOR, 4/4 time.  Six voices (SAATBB).

German Text:
All meine Herzgedanken
Sind immerdar bei dir;
Das ist das stille Kranken,
Das innen zehrt an mir.
Da du mich einst umfangen hast,
Ist mir gewichen Ruh und Rast.
All meine Herzgedanken
Sind immerdar bei dir.

Der Maßlieb und der Rosen
Begehr’ ich fürder nicht.
Wie kann ich Lust erlosen,
Wenn Liebe mir gebricht!
Seit du von mir geschieden bist,
Hab ich gelacht zu keiner Frist;
Der Maßlieb und der Rosen
Begehr’ ich fürder nicht.

Gott wolle Die vereinen,
Die für einander sind!
Von Grämen und von Weinen
Wird sonst das Auge blind.
Treuliebe steht in Himmelshut;
Es wird noch Alles, Alles gut.
Gott wolle die vereinen,
Die für einander sind!

English Translation

0:00 [m. 1]--Stanza 1, lines 1-4.  The six-voice texture gives this song a rich and warm sound.  The first four lines are a call and response between the male and female voices.  The three-voice men’s group sings the first two lines to a gently arching, melodious phrase with full harmony and internal motion.  As they finish, and with brief overlap, the three-voice women’s group responds with the third and fourth lines.  The melody for the response is the same, but the distribution of harmonies in the two alto voices is adjusted to move toward the “relative” minor key, D minor.  The conclusion overlaps with the next phrase.
0:24 [m. 10]--Stanza 1, lines 5-6.  The setting of these lines in canon is elegant.  Shifting to A major, the tenors sing an upward-reaching melody supported by bass harmony.  This melody is imitated a measure later by the second altos at the same pitch.  A measure after that, at the climax, the sopranos, harmonized by the first altos, take up the same imitation an octave higher.  The second alto imitation breaks after two measures, and the sopranos take it one measure longer.  The tenors and second basses drop out after the line, but the first basses lengthen their notes to continue providing a foundation for the women.  The second altos also continue as the sopranos and first altos finish the phrase, and they are the only part to repeat any text, the word “gewichen.”  The harmony smoothly darkens from bright A major back to D minor.
0:40 [m. 18]--Stanza 1, lines 7-8.  These lines are a refrain-like repetition of lines 1-2.  The music is like the phrases used for lines 1-4, but with more complex part writing and syncopation.  The tenors and basses begin as the women are completing the previous imitative line.  The women quickly join, the sopranos very briefly imitating the tenors, and the key moves home to F major.  The tenors and basses repeat the first two words to catch up.  The sopranos end up presenting the original melodic phrase from the call and response.  The tenors drop out for the first statement of line 8.  They rejoin for a repetition of the line to new music that provides a fuller conclusion.  All parts except the rejoining tenors omit the first word “sind.”
1:03 [m. 1]--Stanza 2, lines 1-4.  The setting matches that of stanza 1.
1:26 [m. 10]--Stanza 2, lines 5-6.  The imitative setting matches that of stanza 1 at 0:24. The second altos repeat “ich gelacht,” the repetition shifted back by one note.
1:42 [m. 18]--Stanza 2, lines 7-8.  The refrain is as in stanza 1 at 0:40, except in the repetition of the last line, the two-syllable first word is not omitted, requiring the sopranos and first basses to “split” a note.
2:05 [m. 1]--Stanza 3, lines 1-4.  Set as in the first two stanzas at 0:00 and 1:03.
2:29 [m. 10]--Stanza 3, lines 5-6.  Imitative setting as at 0:24 and 1:26. The second altos repeat “es wird noch,” shifting the repetition back yet another note from stanza 2.
2:45 [m. 18]--Stanza 3, lines 7-8.  Refrain as at 0:40 and 1:42. In the repetition of the last line, all voices except the tenors again omit the first word “die.”
3:12--END OF SONG [26 mm. (x3)]

6. Es geht ein Wehen (A Wind Sweeps [Through the Woods]).  Text by Paul Heyse from the collection Der Jungbrunnen.  Ziemlich langsam (Rather slowly).  Binary/modified strophic form.  E MINOR, 4/4 and 3/4 time.

German Text:
Es geht ein Wehen durch den Wald,
Die Windsbraut hör’ ich singen.
Sie singt von einem Buhlen gut
Und bis sie dem in Armen ruht,
Muß sie noch weit in bangem Muth
Sich durch die Lande schwingen.

Der Sang der klingt so schauerlich,
Der klingt so wild, so trübe.
Das heiße Sehnen ist erwacht;
Mein Schatz, zu tausend gute Nacht!
Es kommt der Tag, eh du’s gedacht,
Der eint getreue Liebe!

English Translation

0:00 [m. 1]--Stanza 1 (A), lines 1-2.  The most distinctive element of this opening passage in 4/4 is the drone-like setting for the basses.  The song opens on an upbeat, but this upbeat is extended to a full half-measure by the early entry of the divided basses in octaves, singing on the note G-natural (which defines the E-minor key).  The other voices then enter on the actual upbeat, singing in gently swaying harmonies, mezza voce.  The basses sing only in half notes, creating an austere Renaissance-like sound, only moving from the G as they approach a half-close on the “dominant” harmony.  The basses only mange to complete line 1 while the other voices sing both lines.  They move from an octave to a fifth at the half-close.
0:13 [m. 5]--Stanza 1, lines 3-4.  The basses again begin their drone octave on the half-measure before the upbeat.  The upper voices continue their swaying harmonies in a similar manner, but stretch each line out to three measures, pausing after line 3.  The bases sing an abbreviated version of line 3, omitting “einem.”  Before line 4, the droning basses come together and move up a half-step.  They then end the “drone” and move with the other voices on the full line 4.  The sopranos, altos, and basses move to the cadence of the three-measure line, but the tenors, having abbreviated the line by cutting “dem in Armen,” have already sung the upbeat to the next lines in the new 3/4 meter.
0:30 [m. 10]--Stanza 1, lines 5-6.  These lines are set in a forward-moving, steadily building 3/4 meter.  The cadence of the previous phrase merges directly into this one.  The tenors have sung an upbeat to the upward-arching melody.  The other voices join on the last beat of the first 3/4 measure after completing their cadence.  The sopranos imitate the tenor line, but this is interrupted after just one measure.  The tenors, reaching high, stay “ahead” until they repeat “bangem,” allowing the other voices to catch up.  This is the climax, and the voices, now together, sing line 6 in an active descent toward a full E-minor cadence.  At the arrival point, the meter changes back to 4/4, and stanza 2 will begin halfway through this measure.
0:49 [m. 19]--Stanza 2 (A’), lines 1-2.  The setting matches that of stanza 1 in a strophic repetition.  The “droning” basses again sing only line 1 before the half-close.
0:47 [m. 23]--Stanza 2, lines 3-4.  Again, these lines match stanza 1 at 0:13 [m. 5].  The droning bases abbreviate line 3 by omitting “heiße,”  The tenors, who again sing the upbeat to the 3/4 meter, now cut “zu Tausend,” one syllable fewer than before, but the adjustment is straightforward.
1:20 [m. 28]--Stanza 2, line 5.  The 3/4 meter arrives as in stanza 1, but Brahms makes a significant alteration by shifting to E major, complete with a key signature change.  Other than that, the setting of line 5 resembles that at 0:30 [m. 10], complete with the brief soprano imitation of the tenors and the buildup to a climax.  The repetition in the tenors allowing the other voices to catch up is now the first two words of line 6, a bit later than before, but necessary due to the syntax. 
1:30 [m. 33]--Stanza 2, line 6.  The setting is significantly but subtly changed.  Most notably, the cadence is lengthened, with the sopranos holding a note over a bar line, superimposing an implied 3/2 bar across two measures of 3/4.  The altos divide during this stretched-out cadence.  The arrival is less conclusive, with the sopranos landing on the third, G-sharp, instead of the keynote E.  Meanwhile, the tenors have not participated in the extended cadence, ending where they would have without it.  This allows them to sing the upbeat leading into the repetition of the last two lines, another new addition to this second stanza.
1:39 [m. 37]--Stanza 2, lines 5-6 repeated.  Although unexpected, the repetition is straightforward, resolving the tensions from the end of the first statement.  The restatement of the major-key line 5 is essentially unchanged from that at 1:20 [m. 28].  Line 6, however, is now fully conclusive.  The extension of the cadence with its metric ambiguity is omitted.  The climax is now sustained to the end, not receding as it had before.  The tenors, then the sopranos, make a rapturous upward leap, leading into a complete and satisfying close in E major.  The divided altos at the cadence are retained.
2:04--END OF SONG [45 mm.]

7. Vergangen ist mir Glück und Heil (Gone Is My Happiness and Well-Being).  Anonymous Old German text.  Andante.  Simple strophic form.  D MINOR (Dorian mode), Cut time or Alla breve [4/2].
(Note: Op. 48, No. 6 is a version of this song for solo voice and piano.)

German Text
Vergangen ist mir Glück und Heil
Und alle Freud’ auf Erden;
Elend bin ich verloren gar,
Mir mag nit besser werden.
Bis in den Tod
Leid’ ich groß Not,
So ich dich, Lieb, muß meiden,
Geschieht mir, ach,
O weh der Sach’!
Muß ich mich dein verjehen,
Groß Leid wird mir geschehen.

Erbarmen tu ich mich so hart,
Das kommt aus Buhlers Hulde,
Die mich in Angst und Not hat bracht,
Und williglich das dulde.
Um dich allein,
Herzliebste mein,
Ist mir kein Bürd’ zu schwere,
Wär’s noch so viel,
Ich dennoch will
In deinem Dienst ersterben,
Nach fremder Lieb’ nit werben.

Um Hülf’ ich ruf’, mein höchster Hort,
Erhör mein sehnlich Klagen!
Schaff mir, Herzlieb, dein’ Botschaft schier,
Ich muß sonst vor Leid verzagen!
Mein traurig’s Herz,
Leid’t großen Schmerz,
Wie soll ich’s überwinden?
Ich sorg’, daß schier
Der Tod mit mir
Will ringen um das Leben,
Tu mir dein Troste geben.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-4.  The sound is deliberately archaic, colored by the minor-like Dorian mode.  The melody largely adheres to this mode, avoiding the notes B-flat and (mostly) C-sharp, which define the tonal minor.  The harmony, however, does include C-sharps in regular cadences from the “dominant.”  All the harmonies are root-position triads, with the chord’s foundation in the bass.  Lines 1-2 and 3-4 are set to two identical five-measure phrases.  These begin on a half-measure (whole note).  The lower parts enter a beat (half note) after the sopranos at the beginning and halfway through each phrase.  In each, the first half arches up and back down, and the second actively descends to a cadence on a hollow, austere open fifth.
0:26 [m. 11]--Stanza 1, lines 5-10.  These lines are in two groups of three, with two shorter lines followed by a longer one.  The groups are again set to two identical phrases, this time of five and a half measures.  Thus, the first phrase begins on the half-measure while the second begins on the downbeat.  In each phrase, the two short lines move steadily upward, swelling toward a climax in pitch and volume.  The longer third line then recedes and descends to another full cadence on an open fifth.  As with the first four lines, the lower parts follow a half-note beat after the sopranos in each line.
0:54 [m. 22]--Stanza 1, line 11.  For this final line, a three-measure closing phrase is added to the two phrase pairs that make up the bulk of the musical stanza.  As with all the other lines, the sopranos begin a half-note beat ahead of the other parts.  The line again begins on the half-measure.  It descends to a lower cadence like the first two two-line phrases rather than the higher arrival point of the two three-line phrases.  Notably, the harmony on the second word includes the note B-flat for the only time in the stanza, undermining the modal character.  The final cadence, with low basses, is again on an open fifth.  The stanza closes with a half-measure of rest, which is completed by the half-measure opening of the next verse.
1:03 [m. 1]--Stanza 2, lines 1-4.  Two identical phrases for each pair of lines, as at the beginning.
1:28 [m. 11]--Stanza 2, lines 5-10.  Two identical phrases, each rising to a climax and setting three lines apiece, as at 0:26.
1:55 [m. 22]--Stanza 2, line 11.  Closing phrase, as at 0:54.
2:04 [m. 1]--Stanza 3, lines 1-4, music as at 0:00 and 1:03.  Line 4 has an extra syllable, which is accommodated by splitting a half note into two quarter notes.
2:30 [m. 11]--Stanza 3, lines 5-10, music as at 0:26 and 1:28.
2:58 [m. 22]--Stanza 3, line 11, as at 0:54 and 1:55.
3:11--END OF SONG [24 mm. (x3)]