NINE SONGS (GESÄNGE), OP. 69
Recording: Dietrich Fischer-Dieskau, baritone (Nos. 3, 5, 7); Jessye Norman, soprano; Daniel Barenboim, piano [DG 449 633-2]

Published 1877.

The songs of Op. 69 initiate the four consecutive sets that occupy the opus numbers between the first two symphonies.  These four opus numbers, along with the slightly later Opp. 84-86, comprise the songs of the “high maturity.”  Because Op. 69 is about twice as long as the other three sets, it was published in two books.  Brahms submitted all four sets to Clara Schumann for individual comments and critiques, which are preserved in their letters.  Five of the songs from Op. 69 are folk-based.  The others, Nos. 5-8, are similar in tone.  Six of them have texts with a distinctly female perspective.  Brahms considered advertising the set as “Mädchenlieder” (“Girls’ Songs”), being clear that it was not to be published with that title, but he eventually gave up on the idea entirely, mainly due to the presence of No. 5, a drummer boy’s song.  The songs of the set consistently make use of distinctive recurring piano interludes that also function as introductions and postludes.  The first four songs are all adaptations of Czech and Slovak texts by Joseph Wenzig, all in strophic form.  Brahms’s settings reflect the conventions of Bohemian and Slovakian folk melodies.  The first two “Laments” (“Klage I” and “Klage II”) are quite sophisticated, while No. 3, “Abschied,” is simpler.  The fourth, “Des Liebsten Schwur,” is very beguiling, especially its varied final strophe.  The drummer’s song (“Tambourliedchen”) has illustrative “drum roll” effects in the accompaniment, an unusually “popular” style for Brahms.  The Eichendorff setting “Vom Strande” (No. 6) is unusually long, but repetitive in form.  The two lengthy strophes approximate a “Spanish” style, but the recurring refrain is even more distinctive.  No. 7, “Über die See,” is the simplest and subtlest of the set.  Its text seems to be a response to “Vom Strande,” and its stark accompaniment contrasts greatly with the activity of the preceding song.  No. 8 is also deceptive in its apparent artlessness.  The changing moods of the protagonist are clearly reflected in the changes to the accompaniment and the vocal line.  The title “Salome,” making reference to the biblical character connected to the beheading of John the Baptist, appears to come from Brahms, who was perhaps inspired by the metaphor comparing love to a sword.  The final song, “Mädchenfluch,” an adaptation from a Serbian text, is the most varied and complex, framing a fast strophic section in 2/4 with slower music in 3/4, then concluding with a final reference to the fast 2/4 music.  The major/minor key structure is also artful.  Brahms masterfully fits the poem’s 30 lines, underlying narrative, and rapturous “curse” into this scheme, creating a dramatic, exciting, and powerful song, a great showpiece for a female singer.  It provides a capstone to a brilliant, satisfying set.

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.

IMSLP WORK PAGE
ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck--original keys)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke--original keys--includes front matter of Sämtliche Werke, v. 25)
ONLINE SCORE FROM IMSLP (Edition Peters, edited by Max Friedländer):
No. 1: Klage I (in original key, D major)
No. 1: Klage I (in low key, C major)
No. 2: Klage II (in original key, A minor)
No. 2: Klage II (in high key, B minor)
No. 3: Abschied (in original key, E-flat major)
No. 3: Abschied (in high key, F major)
No. 4: Des Liebsten Schwur (in original [middle] key, F major)
No. 4: Des Liebsten Schwur (in high key, G major)
No. 4: Des Liebsten Schwur (in low key, E-flat major)
No. 5: Tambourliedchen (in original key, A major)
No. 5: Tambourliedchen (in middle key, F major)
No. 5: Tambourliedchen (in low key, E major)
No. 6: Vom Strande (in original key, A minor)
No. 6: Vom Strande (in low key, F minor)
No. 7: Über die See
(in original key, E minor)
No. 7: Über die See (in low key, C-sharp minor)
No. 8: Salome (in original key, C major)
No. 8: Salome (in low key, A major)
No. 9: Mädchenfluch (in original key, A minor/major)
No. 9: Mädchenfluch (in low key, F minor/major)


BOOK I:
1. Klage I (Lament I).  Text by Josef Wenzig, after a Bohemian folk text.  Unruhig (Restlessly)--voice; Poco Allegro e grazioso--piano.  Simple strophic form.  D MAJOR, 4/4 time (Low key C major).
(The title Klage is also used for Op. 105, No. 3.)

German Text:
Ach, mir fehlt, nicht ist da,
Was mich einst süß beglückt;
Ach, mir fehlt, nicht ist da,
Was mich erfreut!
Was mich einst süß beglückt,
Ist wie die Well’ entrückt.
Ach, mir fehlt, nicht ist da,
Was mich erfreut!

Sagt, wie man ackern kann
Ohne Pflug, ohne Roß?
Sagt, wie man ackern kann,
Wenn das Rad bricht?
Ach, wie solch Ackern ist,
So ist die Liebe auch,
So ist die Liebe auch,
Küßt man sich nicht!

Zwingen mir fort nur auf,
Was mit Qual mich erfüllt;
Zwingen mir fort nur auf,
Was meine Pein:
Geben den Witwer mir,
Der kein ganz Herze hat;
Halb ist’s der ersten Frau,
Halb nur wär’s mein!

English Translation

0:00 [m. 1]--The introduction sets the agitated, but strangely buoyant mood.  The first measure contains slurred two-note descents with chordal support in the right hand against wide arpeggios in the left on the first and third beats.  Then, descending arpeggios in triplet rhythm are passed from the right down to the left hand.  At first, the right hand dovetails with the left in an arching motion, then it adds a swinging melody above the triplet motion.  Colorful, but functional chromatic harmonies color the triplets  The last measure becomes slower and quieter, setting up the vocal entry with a half-close and a pause.
0:14 [m. 5]--Stanza 1, lines 1-4.  The first two lines set up the prevailing short-short-long rhythm in a gentle arch.  The accompaniment has an “instrumental” effect, evoking a central European folk-like sound.  Short leaps, almost like grace notes, are played against the strong beats of the vocal line, and the figures that follow are detached, resembling a plucked instrument.  The third line begins higher and, with the fourth line, works further upward rather than returning back down.  The fourth line necessarily abandons the short-short-long rhythm.  The phrase is closed by a descending piano line in thirds.
0:27 [m. 9]--Stanza 1, lines 5-6.  The vocal line moves back down in this phrase.  The short leaps on the strong beats move to the bass in the left hand.  At first, in the fifth line, the key seems to move to the “dominant,” A major, but the sixth line turns to that key’s “relative” minor key of F-sharp, where it comes to a gently melancholy close at the middle of the verse or musical strophe.  The word “Well’” is first stretched out in a widely leaping extension, then repeated with “die.”  At the cadence in F-sharp minor, the short grace-note-like figures move back to the right hand and are played on each beat.
0:36 [m. 12]--Stanza 1, lines 7-8.  The music suddenly becomes very agitated for the last two lines.  The vocal line takes on some of the character of the piano introduction, soaring up on “erfreut” before a repetition of the last line that comes to a cadence in the home key.  Under the two statements of this line, the accompaniment breaks into rapid sixteenth-note arpeggios that arch downward, back up, and down again.  The shape and harmony of these is reminiscent of the triplets in the introduction.  Under the last note of the vocal cadence, the piano plays the first measure of the introduction, leading into the interlude.
0:46 [m. 16]--Interlude.  The first measure dovetailed with the preceding vocal cadence and was unchanged from the introduction.  Now the triplets are replaced with the faster sixteenth notes heard under the last lines of the vocal stanza.  The harmony of the arpeggios is not changed, as notes from the chords are simply added, but the slightly faster motion provides a sense of even greater agitation.  The last measure still becomes slower and quieter with a half-close and pause, but it is also accompanied by the faster arpeggios. 
0:56 [m. 19]--Stanza 2, lines 1-4.  The setting uses the same music as stanza 1.  In line 4, the declamation is changed to reflect the accentuation of the text.  Two notes are used for “wenn das” that were previously used for “was,” and “Rad” is spread over two notes that had been used for “mich” and the first syllable of “erfreut.”
1:07 [m. 23]--Stanza 2, lines 5-6.  The repeated words are “die Liebe,” resulting in a very slight change of declamation from “die Well’” and its repetition.  Unlike stanza 1, line 5 is not a repetition of line 2.
1:16 [m. 26]--Stanza 2, lines 7-8.  The last line is repeated, as in stanza 1.  Note the pattern of repeated text in the stanza itself.  Instead of repeating lines 3-4, as in stanza 1, line 7 repeats line 6 and line 8 is new.  The declamation of line 7 is changed slightly from stanza 1.  At the cadence of the repeated line, the first measure of the introduction/interlude is again heard.  This time, a repeat sign leads back to the interlude and third stanza.
1:26 [m. 16]--Interlude with sixteenth-note arpeggios, as at 0:46.
1:35 [m. 19]--Stanza 3, lines 1-4.  The declamation of line 4 is as in stanza 1, not stanza 2.
1:46 [m. 23]--Stanza 3, lines 5-6.  The repeated words are now “kein ganz Herze,” which include an extra syllable.  To accommodate this, Brahms splits a note into two repeated notes, the last note (G-sharp) before the F-sharp-minor cadence note, for the word “Herze.”
1:54 [m. 26]--Stanza 3, lines 7-8.  The declamation is as in stanza 2, and the last line is again repeated.  This time, the text of the lines is completely new and reveals the true cause of the “lament.”  The first measure of the introduction/interlude again dovetails with the cadence.  Now it leads into the postlude.
2:05 [m. 30]--Postlude.  The first measure and a half are a repetition of the interlude from 0:46 and 1:26 [m. 16], but then melody shoots up an octave and builds in intensity while the left hand plays a new bass arpeggio on the same harmony.  The last measure, which had slowed and diminished on a half-close in preparation for the vocal entry, is replaced by an emphatic full cadence with rolled chords.
2:18--END OF SONG [32 mm.]


2. Klage II (Lament II).  Text by Josef Wenzig, after a Slovakian folk text.  Einfach (Simply)--voice; Comodo--piano.  Simple strophic form.  A MINOR, 2/4 time (High key B minor).
(The title Klage is also used for Op. 105, No. 3.)

German Text:
O Felsen, lieber Felsen,
Was stürztest du nicht ein,
Als ich mich trennen mußte
Von dem Geliebten mein?

[Here two stanzas not set by Brahms]

Laß dämmern, Gott, laß dämmern,
Daß bald der Abend wink’
Und daß auch bald mein Leben
In Dämmerung versink’!

O Nachtigall, du traute,
O sing’ im grünen Hain,
Erleichtere das Herz mir
Und meines Herzens Pein!

Mein Herz, das liegt erstarret
Zu Stein in meiner Brust,
Es findet hier auf Erden
An nichts, an nichts mehr Lust.

Ich frei’ wohl einen Andern
Und lieb’ ich ihn auch nicht;
Ich tue, was mein Vater
Und meine Mutter spricht.

Ich tue nach des Vaters
Und nach der Mutter Wort,
Doch heiße Tränen weinet
Mein Herz in einem fort.

English Translation
Full Text (including stanzas not set by Brahms)
 
0:00 [m. 1]--The introduction is characterized by rapidly upward sliding three-note figures on the upbeats.  It begins with such an upbeat.  These sliding figures are heavily accented and harmonized.  Most of the interest lies in these upbeats.  The remaining music consists of stepwise harmonies, mostly descending, that anticipate the vocal line.  At the end, the right hand moves down to the middle range in an extended motion to a half-close, preparing the vocal entry.  The more steady motion continues below in the left hand.
0:12 [m. 7]--Strope 1, Part 1 (Stanza 1).  The first part of the strophe sets the initial poetic stanza.  It begins with an upbeat.  The first two lines are a fairly straightforward phrase, echoing parts of the introduction with a steady accompaniment.  These lines slow down to a half-close in the “relative” major key.  The last two lines are quite different.  The vocal line shoots upward, moves immediately back to the home minor key, and becomes agitated.  The piano harmonies follow the voice, with active low bass octaves.  The stanza ends with a half-close in the home key and leads directly into the second stanza.  At this point, Brahms omitted two stanzas (the second and third) from the original poem.
0:29 [m. 15]--Strophe 1, Part 2 (Stanza 2).  The upward sliding upbeats return, now in the voice, supported by heavily accented chords in the piano that are held over the bar line.  These figures dominate the first phrase, which covers the first two lines.  The third line is sung over rapidly changing harmonies.  It is repeated a step higher, with chromatic harmonies suggesting other minor keys, to create its own phrase.  The last line is initially sung directly toward a cadence, but the final syllable is extended in a gentle upward-floating syncopation.  The line is then repeated to the original cadence, forming a five-bar phrase.
0:53 [m. 28]--The introduction is repeated, beginning on the upbeat of the preceding cadence measure.
1:05 [m. 34]--Strophe 2, Part 1 (Stanza 3).  The music is the same as that for stanza 1, with a similar rhyme.
1:22 [m. 42]--Strophe 2, Part 2 (Stanza 4).  The music is the same as that for stanza 2, including the repetitions and extensions.  The floating syncopation works particularly well for the word “Lust.”
1:47 [m. 28]--The third verse is indicated with a repeat sign.  The introduction is stated a third time.
2:00 [m. 34]--Strophe 3, Part 1 (Stanza 5).  The same music is repeated, but the rhyme is not similar.
2:19 [m. 42]--Strophe 3, Part 2 (Stanza 6).  The same music as stanzas 2 and 4, with the same repetitions.  The floating syncopation is set to the word “fort.”
2:43 [m. 55]--A very brief postlude is added, based on the heavily accented upward-sliding figures.  The first of these occupies the upbeat previously used for the repetitions of the introduction.  It adds a poignant major-key inflection to the upward-sliding figure.  This is eliminated in the second upbeat, which is lower.  It is closed off by two rolled bass chords forming a cadence under the held note E, the fifth of the chord.
2:59--END OF SONG [57 mm.]


3. Abschied (Farewell).  Text by Josef Wenzig, after a Bohemian folk text.  Bewegt (With motion)--voice; Con moto--piano.  Simple strophic form.  E-FLAT MAJOR, 2/4 time (High key F major).

German Text:
Ach mich hält der Gram gefangen,
Meinem Herzen ist so weh,
Denn ich soll von hinnen ziehen
Über jenes Berges Höh.

Was einst mein war, ist verloren,
Alle, alle Hoffnung flieht;
Ja, ich fürchte, daß, o Mädchen,
Dich mein Aug’ nicht wieder sieht.

Dunkel wird mein Weg sich dehnen,
Wenn ich scheiden muß von hier:
Steh’ ich dann auf jenem Berge,
Seufz’ ich ein Mal noch nach dir.

English Translation

0:00 [m. 1]--The introduction begins with an upbeat, but it sounds like a downbeat.  The right hand pattern of a dotted (long-short) rhythm over a flowing inner voice, along with the left hand figures, which are slurred across the bar line, give that impression.  The upbeat notes are repeated on the downbeat before changing.  The left hand patterns anticipate the vocal line.  The second pair of dotted-rhythm figures introduces chromatic pitch lowering typical of this folk song style.  The volume has steadily built to this point.  After this second pair, a note is held over the bar line.  The top melody descends in preparation for the vocal entry, tenuously establishing the proper sense of downbeat.
0:08 [m. 5]--Stanza 1.  The verse begins on the upbeat, halfway through the bar, but although it is accented, it is now clear that it is an upbeat.  The melody works its way upward and back down in the first two lines.  The flowing accompaniment from the introduction continues without the dotted rhythms or the active left hand.  In the middle of the phrase, the top accompaniment notes harmonize the voice a third below.  An arpeggio leads to the second phrase setting the last two lines, which works up and back down, but is more active than the first phrase, partly due to a mildly syncopated piano bass.  The piano introduces another  flattened chromatic pitch before the last line is repeated.  The repetition leaps up to the highest vocal pitch, then descends to a full cadence.  An arpeggio in the flowing piano line leads back to the introduction.
0:26 [m. 15]--The introduction is played again, now more clearly on an upbeat because of the preceding vocal cadence on the downbeat.
0:34 [m. 19]--Stanza 2.  It is set to the same music as stanza 1, with the repetition of the last line.
0:52 [m. 15]--The introduction is played a third time.  This time, it and the following third stanza are indicated with a repeat sign in the music.
1:02 [m. 19]--Stanza 3.  The words are placed under those of stanza 2 in the same measures.
--Postlude.  It is a fourth statement of the introduction, but a final cadence chord is placed where the voice had entered in the three stanzas.  The song thus ends with a full measure.  In a piece beginning with an upbeat, this is unusual.  The upbeat at the beginning is thus an extra half-measure.
1:39--END OF SONG [32½ mm.]



4. Des Liebsten Schwur  (My Beloved’s Oath).  Text by Josef Wenzig, after a Bohemian folk text.  Sehr belebt und heimlich (Very lively and secretively).  Simple strophic form with varied final strophe. F MAJOR, 3/4 time (High key G major, low key E-flat major).

German Text:
Ei, schmollte mein Vater nicht wach und im Schlaf,
So sagt’ ich ihm, wen ich im Gärtelein traf.
Und schmolle nur, Vater, und schmolle nur fort,
Ich traf den Geliebten im Gärtelein dort.

Ei, zankte mein Vater nicht wieder sich ab,
So sagt’ ich ihm, was der Geliebte mir gab.
Und zanke nur, Vater, mein Väterchen du,
Er gab mir ein Küßchen und eines dazu.

Ei, klänge dem Vater nicht staunend das Ohr,
So sagt’ ich ihm, was der Geliebte mir schwor.
Und staune nur, Vater, und staune noch mehr,
Du gibst mir doch einmal mit Freuden noch her.

Mir schwor der Geliebte so fest und gewiß,
Bevor er aus meiner Umarmung sich riß:
Ich hätte am längsten zu Hause gesäumt,
Bis lustig im Felde die Weizensaat keimt.

English Translation

0:00 [m. 1]--The introduction, which returns as a refrain between verses, establishes the secretive, but joyous mood.  The right hand plays in active two-note harmonies, beginning on an upbeat.  These alternate between wider and narrower intervals, the wider ones on the beat and the narrower ones after it.  After four bars, they introduce excited upward leaps on the middle beats.  The left hand at first plays upbeats and downbeats, moving from fifths to octaves.  After four bars, it becomes more active, playing on all the beats and ranging over the keyboard.  The final two measures settle down and set up the vocal entry.
0:09 [m. 9]--Stanza 1, lines 1-2.  The vocal line is exuberant and breathless, leaping up in arpeggios and then leaping back down, all at a subdued level.  The piano chords are also light and active, those in the left hand gently rolled.  The second line becomes more steady, then makes a gently “warning” turn to A minor.  The last note on “traf” is held over a two-bar piano extension that diverts A minor to D minor and places unsettling accents on the third beat.  The extension and turn to minor signify the father’s disapproval.
0:21 [m. 19]--Stanza 1, lines 3-4.  The third line becomes very gentle and flattering, with lovely inner-voice motion in the piano.  At the stanza’s last line, the singer floats up, mezza voce, and the key makes a striking change to B-flat.  The vocal line adopts the motion of the first line, but more dreamily.  The last line,without its first word, is repeated to very colorful music.  It begins on a syncopated note held over the bar, then slows down toward a satisfying cadence.  The piano harmonies under the repeated line are very chromatic as they move back to the home key.  The bass voice of the left hand introduces a cross rhythm that implies a broader 3/2 meter.  This breaks before the cadence.
0:39 [m. 31]--The introduction returns as a refrain between verses.  Its energy provides an immediate and almost startling contrast to the subdued cadence of the verse.
0:48 [m. 39]--Stanza 2, lines 1-2.  The music is as in stanza 1.  The parallelism of the poetic verses makes the turn to minor and the piano extension appropriate in each stanza.
1:01 [m. 49]--Stanza 2, lines 3-4.  As in stanza 1, with syncopation and cross rhythm in repetition of line 4.
1:18 [m. 31]--This statement of the introduction, along with the following third stanza, is indicated with a repeat sign in the score.
1:28 [m. 39]--Stanza 3, lines 1-2.  As in stanzas 1 and 2.  The text of this stanza introduces the “oath” of the title.
1:41 [m. 49]--Stanza 3, lines 3-4.  As in stanzas 1 and 2.  The father apparently gives in at this point.  The omission of the first word in the repetition of line 4 creates an emphasis on “gibst” (“gives”), similar to “gab” (“gave,” referring to the beloved’s kisses) in stanza 2.
1:58 [m. 61]--Stanza 4, lines 1-2.  In an unexpected change, the introduction/refrain is now the accompaniment to a new vocal line for the first two poetic lines of this stanza.  Brahms finally increases the volume level and adds a marking of animato.  The vocal line of the first measures resembles the leaping last part of the introduction.  The introduction itself, under this vocal line, is subtly altered in that last portion to displace the exuberant leaps onto the downbeats.  The last measure of the introduction and new vocal line are replaced by the corresponding long vocal note from the other stanzas on the word “riß.”  The piano turns to its original accompaniment at this point, but with added bass arpeggios in this measure and in the two-bar extension, which follows here.  The change has emphasized the statement of the oath.  The last lines return to the original pattern in voice, then piano, so that the stanza ends like the other three.
2:09 [m. 71]--Stanza 4, lines 3-4.  The vocal line returns to the previous pattern in line 3, as does the piano right hand.  The volume also settles back down.  The left hand, however, replaces block chords with steadily running arpeggios, maintaining a bit of the character from the first two lines.  At the fourth line and its repetition, both hands play the pattern from the first three verses.
2:26 [m. 83]--The four-bar postlude begins like the introduction/refrain, but after one measure, it reaches upward, swells to the song’s only forte, and plunges to an emphatic conclusion.
2:35--END OF SONG [86 mm.]


5. Tambourliedchen  (The Drummer’s Little Song).  Text by Karl Candidus.  Sehr Lebhaft (Very Lively).  Two-part simple strophic form.  A MAJOR, Cut time [2/2] (Middle key F major, low key E major).

German Text:
Den Wirbel schlag’ ich gar so stark,
Daß euch erzittert Bein und Mark,
Drum denk’ ich ans schön Schätzelein,
Blaugrau,
Blau,
Blaugrau,
Blau
Ist seiner Augen Schein.

Und denk’ ich an den Schein so hell,
Von selber dämpft das Trommelfell,
Den wilden Ton, klingt hell und rein:
Blaugrau,
Blau,
Blaugrau,
Blau
Sind Liebchens Äugelein.

English Translation (This rhyming, metric translation gives a very good sense of each line, although the possessive pronoun at the end of the first stanza should clearly be “her.”  “Schätzelein” is a neutral diminutive form of a masculine noun, but one that is often used to describe a female love interest.  “Seiner” is a form of the corresponding masculine/neutral possessive pronoun.  This is a particularly confusing instance of German gendered nouns.)

0:00 [m. 1]--Introduction.  The piano immediately launches into the song’s distinctive “drum roll” effects.  These are provided by the left hand, which plays rising stepwise triplet figures against forceful right hand chords in the tenor register.  After two bars, the right hand moves up, the left hand “drum roll” triplets become chordal arpeggios, and the volume is suddenly hushed.  The fourth bar is reiterated in the fifth.  The sixth and seventh bars stretch out the figure with the right hand an octave lower.  The final chord in the seventh bar is a sudden, surprising, emphatic forte.
0:09 [m. 8]--Stanza 1, lines 1-2.  The singer enters confidently on an upbeat, leaping up and launching into the joyous melody, which is rich in emphatic dotted (long-short) rhythms.  The piano continues the “drum roll” triplets, which are first doubled, then played higher with supporting rolled chords.  The last words “Bein und Mark” are colored by a mildly dissonant harmony.  After the second line, the music of that line is repeated in an intriguing way.  The first measure, which begins with a high note, is echoed by the piano alone in a higher, richly harmonized octave with drum roll triplets in the bass.  Then the voice enters on the last words, “Bein und Mark,” for the second, mildly dissonant measure, adding the interjection “ja” for the upbeat.  These words are suddenly subdued, as is the piano, whose chords move back down.
0:16 [m. 14]--Stanza 1, line 3.  The drum rolls are abruptly abandoned, and the music takes on a sweeter, gentle character.  The key also moves to the “dominant” (E major).  The vocal line retains the prevailing dotted rhythm, however.  The piano plays light, detached arpeggios in “straight” rhythm.  After the line is sung, the piano begins to echo the voice.  The voice itself enters again after a bar, continuing the echo and repeating the words “ans schön Schätzelein.”  The voice leaps up and down, adding an extra repetition of the word “schön,” trailing away as the piano continues downward.  The piano repeats the rhythmic pattern over light bass arpeggios.  The voice and piano come to a breathless pause on a half-close.
0:24 [m. 20]--Stanza 1, lines 4-7 (refrain).  The key makes another abrupt shift, this time to C major.  The drum rolls return, but quietly, and the voice sings the percussive “Blaugrau, blau” in a manner reminiscent of the introduction, but gently.  As the voice completes the image of the beloved’s eyes, it soars up, the piano returns to the light, detached arpeggios, and the key moves back to A major.  The text is repeated, this time with “Blaugrau, blau” stated in D major.  The completing phrase is extended, soaring even higher as the piano moves through the circle of fifths (F-sharp, B, E, A).  It also swells in volume, the voice reaching  a forceful cadence as the piano lands on the home key and the return of the introduction/interlude.
0:35 [m. 29]--The introduction returns as an interlude, its first measure eliding and corresponding with the vocal cadence.  The only alteration from the introduction is that the right hand in the first two measures is played an octave higher.
0:43 [m. 36]--Stanza 2, lines 1-2.  The verse is sung to the same music as stanza 1, repeating the last words of the second line.  The declamation of this verse allows the complete repetition of “das Trommelfell” when the music becomes subdued, without an added interjection.
0:50 [m. 42]--Stanza 2, line 3.  The music is as in stanza 1, with the motion to the “dominant.”  The repeated words, “klingt hell und rein,” are only four syllables as opposed to the five of stanza 1, so “klingt hell” is repeated twice.
0:59 [m. 48]--Stanza 2, lines 4-7 (refrain).  Set as in stanza 1.  After the “Blaugrau, blau” repetitions, the closing words describing the beloved’s eyes are different, but have the same basic message.
1:10 [m. 57]--Return of introduction as a postlude, played as at 0:35 [m. 29], eliding with the vocal cadence and closing with the sudden forte chord.
1:23--END OF SONG [63 mm.]


BOOK II:
6. Vom Strande  (From the Beach).  Text by Josef Karl Benedikt von Eichendorff, from the collection Aus dem Spanischen (From the Spanish).  Bewegt (With motion).  Two-part strophic form with threefold refrain.  A MINOR (Refrain begins in F major), 6/8 time (Low key F minor; refrain begins in D-flat major).

German Text:
Ich rufe vom Ufer
Verlorenes Glück,
Die Ruder nur schallen
Zum Strande zurück.

Vom Strande, lieb’ Mutter,
Wo der Wellenschlag geht,
Da fahren die Schiffe,
Mein Liebster drauf steht.
Je mehr ich sie rufe,
Je schneller der Lauf,
Wenn ein Hauch sie entführet,
Wer hielte sie auf?
Der Hauch meiner Klagen
Die Segel nur schwillt,
Je mehr mein Verlangen
Zurücke sie hält!
Verhielt’ ich die Klagen:
Es löst’ sie der Schmerz,
Und Klagen und Schweigen
Zersprengt mir das Herz.

Ich rufe vom Ufer
Verlorenes Glück,
Die Ruder nur schallen
Zum Strande zurück.

So flüchtige Schlösser,
Wer könnt’ ihn’n vertrau’n
Und Liebe, die bliebe,
Mit Freuden d’rauf bau’n?
Wie Vögel im Fluge,
Wo ruhen sie aus?
So eilige Wand’rer,
Sie finden kein Haus,
Zertrümmern der Wogen
Grünen Kristall,
Und was sie berühren,
Verwandelt sich all.
Es wandeln die Wellen
Und wandelt der Wind,
Meine Schmerzen im Herzen
Beständig nur sind.

Ich rufe vom Ufer
Verlorenes Glück,
Die Ruder nur schallen
Zum Strande zurück.

English Translation

0:00 [m. 1]--Refrain 1.  The singer begins on an upbeat and sings leaps between the “dominant” and “tonic” notes (C and F in F major) for the “calls” from the shore before descending by step and then exuberantly leaping up again.  The piano begins with sweeping arpeggios in a faster triplet grouping, although chords in the second half of each measure maintain the 6/8 flow.  In the third measure, with the vocal descent, the arpeggios break into distinct upward figures separated by brief rests, moving entirely to the left hand while the right hand plays swaying two-chord figures after rests on the strong beats.
0:08 [m. 5]--The piano and voice suddenly become quiet.  The arpeggios cease, and the piano right hand moves to undulating figures in the slower “straight” rhythm, harmonizing the lower notes.  The left hand introduces the rhythmic figure that will dominate the song, an off-beat short-long grouping, usually moving up a half-step, sometimes with a chord above the higher note, always leaning into the third and sixth beats of the 6/8 measure.  Meanwhile, the voice, still maintaining its previous rhythmic flow, moves the harmony down, first to B-flat minor and then, through a striking chromatic shift, to the preparatory “dominant” of the true home key, A minor.  The notes become longer with the word “Strande,” and the phrase is extended to six bars, becoming even quieter.  Under the last extended vocal note, approached by a soaring leap, the right hand undulations drop the lower harmonies and move upward in preparation for the verse.
0:19 [m.11]--Strophe (stanza) 1, lines 1-4.  The verse begins with an upbeat, and the melody is very “Spanish” in character.  It contains many dotted rhythms and two-note upbeats.  The right hand retains the steady flowing motion from the last part of the refrain, but it is now more free.  The motion is mostly stepwise, but changes to arching arpeggios at the cadence, which corresponds to the end of the sentence in line 4.  The key also moves toward E minor/major at this cadence point.  In the left hand, the off-beat long-short rhythmic pattern continues, but Brahms adds punctuating bass notes on the strong first and fourth beats of each measure.  The off-beat pattern itself consists of chords with one or two notes moving up, usually by half-step (and most often from the leading tone to the home keynote), on the long note.
0:27 [m. 15]--Strophe (stanza) 1, lines 5-8.  These lines are a repetition of lines 1-4, with one slight change at the beginning of the third (seventh) line, where an octave leap in the piano right hand is replaced by more stepwise motion.  The cadence in E minor/major is extended two bars by a repetition of “wer hielte,” then a full repetition of the eighth line, “Wer hielte sie auf?”  The left hand rhythm straightens to emphasize the cadence.
0:39 [m. 21]--Strophe (stanza) 1, lines 9-12.  The same pattern continues, but the material is new.  Line 9 begins with a descending scale that turns back up in line 10.  Then lines 11 and 12 follow the same basic shape, but they add skips and leaps, build in volume, and make another harmonic turn, this time to F major/minor.  The leaping figure used for line 12 is repeated by the piano in full harmony, the right hand departing from the constant steady motion.  The left hand takes over this motion, finally departing from the constant short-long figure, moving to rising arpeggios and chords.  The last line is repeated to slower notes with pauses, and the line is extended to seven bars.  At the last held word, “hält” (which means “holds”), the piano harmony turns back to A minor over a wide arpeggio.  The voice slides down to the next line.
0:53 [m. 28]--Strophe (stanza) 1, lines 13-16.  The prevailing pattern returns for lines 13-14, with the short-long figure in the left hand and the steady running notes in the right, but the vocal melody, though again hushed, is more intense and breathless.  At line 15, the piano departs from the 6/8 flow.  Alternating measures of the left hand break into a clear 3/4 grouping of bass notes and higher chords while the right hand hints at this change of grouping, but remains ambiguous.  The voice reaches a clear cadence, then soars upward.  The last two lines, including the cadence, are repeated in full and the voice comes to a stop.
1:04 [m. 34]--Interlude.  The piano becomes very agitated.  The left hand chords lean into the strong beats, but low bass notes are added on weak beats.  The right hand changes to brief off-beat arching arpeggios, still remaining in the 6/8 flow.  From the last two eighth notes of the second measure, both hands move clearly to a 3/4 grouping of chords and arpeggios.  The volume diminishes, and in the last bar, two bare octaves on the home keynote re-establish the strong 6/8 meter.
1:12 [m. 38]--Refrain 2.  First part in F major, as at the opening.
1:19 [m. 42]--Second part with changing rhythm and motion to A minor, as at 0:08 [m. 5].
1:31 [m. 48]--Strophe (stanza) 2, lines 1-4.  As in the first stanza at 0:19 [m. 11], with a couple of very minor changes in declamation.
1:39 [m. 52]--Strophe (stanza) 2, lines 5-8.  Repetition with extension and repeated text (“sie finden,” then the entire line), as at 0:27 [m. 15].
1:50 [m. 58]--Strophe (stanza) 2, lines 9-12.  New material with motion to F major/minor, piano pattern change, and repetition of the last line, as at 0:39 [m. 21].  The held word at the end is “all.”
2:04 [m. 65]--Strophe (stanza) 2, lines 13-16.  As at 0:53 [m. 28], with piano departure from 6/8 grouping, cadence, and repetition of the last two lines.
2:16 [m. 71]--Interlude, as at 1:04 [m. 34].
2:24 [m. 75]--Refrain 3.  First part in F major, as at the opening and at 1:12 [m. 38].
2:32 [m. 79]--Second part with changing rhythm and motion to A minor, as at 0:08 [m. 5] and 1:19 [m. 42].  At the very end, the last vocal note on “zurück” is extended by a bar.  The last left hand figures are spaced out in the extension, skipping first one, then two expected points where they would be played, although the harmony in the “stretched out” version remains the same.  The right hand stalls and does not move up.  The last left hand figure leads to a full chord in the tenor range on the fourth beat of the measure.  This is repeated after an empty downbeat, then again on the last downbeat as the final held chord.
2:57--END OF SONG [87 mm.]


7. Über die See  (Across the Sea).  Text by Karl von Lemcke.  Andante.  Simple strophic form.  E MINOR, 3/4 time (Low key C-sharp minor).

German Text:
Über die See,
Fern über die See,
Ist mein Schatz gezogen,
Ist ihm mein Herz
Voll Ach und Weh,
Bang ihm nachgeflogen.

Brauset das Meer,
Wild brauset das Meer,
Stürme dunkel jagen,
Sinket die Sonn’,
Die Welt wird leer,
Muß mein Herz verzagen.

Bin ich allein,
Ach, immer allein,
Meine Kräfte schwinden.
Muß ich zurück
In matter Pein,
Kann dich nimmer finden.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-3.  The setting is bare and desolate.  The first two lines are set simply, with an accompaniment in thirds over suspended left hand dissonances that resolve across bar lines.  In the voice, the first line moves upward, then leaps to a higher upbeat for the descending second line.  The third line makes a gentle shift down a step to D major, where it sweetly adopts a longer, swaying melody.  The accompaniment changes to two-note groups.  The right hand groups are harmonized in thirds on their first notes and occupy the first and third beats of each measure, moving up on the former and down on the latter.   On the middle beats, the left hand plays descending bass octaves on A and, after the line, a fifth, A—D.
0:14 [m. 9]--Stanza 1, lines 4-6.  The second half of the verse returns immediately to E minor.  Lines 4 and 5 are similar to lines 1 and 2, but both of them descend and are nearly identical, the only difference being the higher upbeat opening of line 5.  The accompaniment is even barer, using only the suspended dissonance, now in the right hand.  Line 6 is similar to line 3, but the direction of the right hand groups is reversed, and the left hand begins with rising octaves, reversing them on the third beat and playing against the now rising right hand.  Both the piano and the vocal line are slightly chromatic, but they reach a full cadence and never leave the home key.  As the line builds, the right hand intervals expand, including a fourth and a fifth.  The hands begin to omit their rests, playing against each other on all beats at the end.
0:28 [m. 17]--Interlude.  It continues from the piano motion under line 6, reverting to the pattern at the beginning of the line and dying down.  The penultimate measure again removes the right hand rest as it approaches the full final cadence, which has a feeling of resigned melancholy.
0:36 [m. 21]--Stanza 2, lines 1-3.  The music is as in stanza 1 at the beginning.
0:49 [m. 29]--Stanza 2, lines 4-6.  As in stanza 1 from 0:14 [m. 9].
1:04 [m. 37]--Interlude, as at 0:28 [m. 17].
1:12 [m. 21]--Stanza 3, lines 1-2.  Indicated with repeat signs under stanza 2.
1:27 [m. 29]--Stanza 3, lines 4-6.
1:42 [m. 37]--Interlude, now serving as postlude.
1:55--END OF SONG [40 mm.]



8. Salome.  Text by Gottfried Keller.  Sehr belebt (Very lively).  Strophic form, joining two poetic verses in each of two musical strophes.  C MAJOR, 4/4 time (Low key A major).

German Text:
Singt mein Schatz wie ein Fink,
Sing ich Nachtigallensang;
Ist mein Liebster ein Luchs,
O so bin ich eine Schlang!

O ihr Jungfraun im Land,
Von dem Berg und über See,
Überlaßt mir den Schönsten,
Sonst tut ihr mir weh!

Er soll sich unterwerfen
Zum Ruhm uns und Preis!
Und er soll sich nicht rühren,
Nicht laut und nicht leis!

O ihr teuren Gespielen,
Überlaßt mir den teuren Mann!
Er soll sehn, wie die Liebe
Ein feurig Schwert werden kann!

English Translation


0:00 [m. 1]--Strophe 1, stanza 1, lines 1-2.  The accompaniment is essential to the song’s character.  It begins with an exuberant syncopated leap up an octave on open fifths, a drone pattern that continues through the first two lines.  The right hand, meanwhile, enters halfway through the first bar with the voice and combines its chords with distinctive short-long figures on the beat.  The singer joyously leaps down, up, and back down on broken chords from the key.  The piano echoes the second vocal line in full chords. 
0:09 [m. 8]--Strophe 1, stanza 1, lines 3-4.  These lines, beginning halfway through the seventh bar, introduce more cajoling stepwise and chromatic motion in the voice, and the piano left hand moves away from the drone, although it keeps the same rhythm, introducing octaves and chords.  The right hand retains the snapping short-long figures and its leaping chords.  The voice and piano both move the key to the “dominant,” G major.  Line 4, without the “O,” is repeated, landing on a cadence in G.  A brief interlude of one and a half bars introduces the dotted rhythm that will be used in the next stanza, played over a chromatic left hand.  It also begins the motion back home to C major.
0:18 [m. 15]--Strophe 1, stanza 2, lines 1-2.  The singer takes up the coaxing long-short dotted rhythm from the interlude, swinging down and back up in slurred two-note groups.  A drop to the piano level is indicated in the accompaniment, whose left hand introduces a rising chromatic line in octaves.  When the line reverses direction, it changes to single notes, including a downward octave shift.  The right hand chords are very colorful, and their motion partially reflects that of the chromatic bass line, although neither adopts the dotted rhythm of the voice.  At the end of the line, on the word “See,” everything comes to a pause on the suspenseful “dominant” chord, slowly rolled upward by the left hand, with the voice delaying a resolution.
0:30 [m. 22]--Strophe 1, stanza 2, lines 3-4.  This phrase also begins halfway through the bar (m. 21).  The vocal line works upward with long downbeats on dissonances that lean into their resolutions.  The volume grows, as does the passion and intensity, and the words “sonst tut ihr” are repeated.  The piano establishes a solid “pedal point” on the “dominant” note, G.  While the left hand does add harmonies above the G, the right hand introduces rising broken octaves on the note in long triplet rhythms, with a rest on the first parts of the triplets.  This rhythm clashes uneasily with the increasingly passionate vocal line.  As the line approaches a half-close, the bass moves away from the pedal and the triplets abandon the rests, introducing other notes and an arching motion.
0:36 [m. 26]--At the line’s last note, the piano triplets begin to echo the “leaning” resolutions of the vocal line.  The left hand begins to play the solid rhythm from the beginning, with the syncopated upward leap on chords, but not on the original drone.  This interlude occupies the last part of one bar and the first part of another.  Lines 3 and 4 of the stanza are then repeated in full, with the voice beginning as it had before, but deviating by omitting the repetition of “sonst tut ihr” and instead building to an extended cadence with a long syncopated note on “ihr.”  Under this, the piano triplets continue to follow the leaning resolutions.  The cadence is strongly supported with thick chords and preceded by a descending arpeggio in the same triplet rhythm, on the chord of D minor, underneath the long note on “ihr.
0:43 [m. 32]--Coinciding with the cadence, the piano begins a joyous interlude that returns to the mood of the beginning and even re-introduces the original left hand drone in the syncopated leaps.  The right hand chords leap downward twice with a sense of rapturous delight. 
0:48 [m. 36]--Strophe 2, stanza 3, lines 1-2.  The end of the interlude coincides with the beginning of the next verse, closing on the first half of the bar before the voice enters halfway through.  When the voice comes in, it sings the lines to the same music as the opening, with the “snapping” rhythms, the drone, and the piano echo of the second line.  “Ruhm” is sung to two notes previously used for two syllables to accommodate this stanza’s deviations in declamation from the first stanza.
0:57 [m. 43]--Strophe 2, stanza 3, lines 3-4.  Music is as at 0:09 [m. 8].  A long note on “laut” replaces a dotted rhythm previously used for “bin ich.”  The whole fourth line, which is two syllables shorter than the one in stanza 1, is repeated at the motion to G major.  The interlude with dotted rhythms follows.
1:06 [m. 50]--Strophe 2, stanza 4, lines 1-2.  Music is as at 0:18 [m. 15].  Since each line has an additional syllable, two short notes that previously extended a syllable are now given their own.  The pause on the “dominant” chord comes on the word “Mann.”
1:18 [m. 57]--Strophe 2, stanza 4, lines 3-4.  Music is as at 0:30 [m. 22].  The last line is two syllables longer than its earlier counterpart, so the three-syllable word repetition is dispensed with, and two short repeated notes are combined into a single longer note (on the second syllable of “feurig”), causing the declamation to neatly fit the existing music.
1:25 [m. 61]--Brief piano interlude and repetition, as at 0:36 [m. 26].  The first three syllables, “er soll sehn,” are omitted, and the same “combined” note (on the second syllable of “feurig”) is retained to accommodate the declamation.  The long syncopated note approaching the cadence is on the first syllable of “werden.”
1:31 [m. 67]--The piano interlude at the cadence from 0:43 [m. 32] is extended three bars to create an emphatic postlude.  The extension reverses the direction of the chords in the measure replacing the one where the second strophe began.  The drone continues in this measure, as it did before.  These new ascending chords lead to series of three final cadence chords, which also emerge from the drone.  The last chord forcefully leaps downward.
1:45--END OF SONG [73 mm.]


9. Mädchenfluch  (A Maiden’s Curse).  Text by Siegfried Kapper, after a Serbian folk text.  Belebt (Lively); Schnell und sehr lebhaft (Fast and very lively); Wenig langsamer (A little slower); Schnell (Fast).  Combination of strophic and ternary form.  A MINOR/MAJOR, 3/4 and 2/4 time (Low key F minor/major).

German Text:
Ruft die Mutter, ruft der Tochter
Über drei Gebirge:
“Ist, o Mara, liebe Tochter,
Ist gebleicht das Linnen?”
Ihr zurück die junge Tochter
Über neun Gebirge:
“Nichts in’s Wasser, liebe Mutter,
Taucht’ ich noch das Linnen,
Denn, o sieh’, es hat das Wasser
Jawo mir getrübet. -
Wie dann erst, o liebe Mutter,
Hätt’ ich es gebleicht schon!
Fluch’ ihm, Mutter, liebe Mutter!
Ich auch will ihm fluchen.
Gäbe Gott im hellen Himmel,
Daß er sich erhänge -
An ein böses Bäumchen hänge,
An den weißen Hals mir!
Gäbe Gott im hellen Himmel,
Daß er lieg’ gefangen -
Lieg’ gefangen tief im Kerker,
An der weißen Brust mir!
Gäbe Gott, der Herr im Himmel,
Daß er Ketten trage -
Ketten trage, festgeschlungen,
Meine weißen Arme!
Gäbe Gott im hellen Himmel,
Daß ihn nähm’ das Wasser -
Daß ihn nähm’ das wilde Wasser,
Mir in’s Haus ihn bringe!”

English Translation
Original Serbian Text with Kapper
s longer German adaptation to the right

First Section--A minor/major, Belebt, 3/4 time.
0:00 [m. 1]--Lines 1-4.  The piano provides a brief two-bar introduction.  The two hands play in octaves, winding downward in triplets, using some chromatic notes and establishing the A-minor key.  The voice enters with arching lines on a solid rhythm, a short dotted figure preceding a longer one in the 3/4 meter.  The piano accompanies with wide, harp-like rolled chords.  The second syllable of “Gebirge” in line 2 is held over a bar line.  The beginning of the third line, with the girl’s name, introduces new harmonies emphasizing F-sharp, a key center that plays a large role in the middle section.  The text and music of the fourth line, which presents the mother’s question, are repeated.
0:22 [m. 13]--Lines 5-6.  The opening introduction in octave triplets is repeated, changing only the first note, which is a step lower.  The music for lines 1-2 is then presented for the narrative introducing the daughter’s speech, which takes up the rest of the text.  The end of the line is altered so that the singer reaches up a step higher for the word “neun” (“nine”) than she did for “drei” (“three”).  The piano chords there are also changed somewhat, the harmony on “neun” and the orientation of chords around it.
0:32 [m. 19]--Lines 7-8.  The key signature changes to major at this point.  The music resembles the mother’s question, and the text is in fact the answer to that question, but it now moves toward the major key with chromatic harmonies and has wider vocal leaps upward.  The eighth line introduces yearning chromatic motion and a held note over the bar line on “Linnen.”  The line is repeated at a higher level, even more longingly.  The piano continues its rolled chords.  Brahms marks this entire passage più dolce sempre.
0:43 [m. 25]--Lines 9-12.  With the major key established, Brahms introduces new music.  The singer very gently invokes the name of the boy who troubles the water, Javo, still using a dotted rhythm and some arching lines, which are anticipated by the piano.  The colorful piano chords are no longer rolled.  After line 10, which contains Javo’s name, the piano echoes the long-short dotted rhythm as the singer pauses for one bar.  The daughter’s question/exclamation in lines 11-12 is very hushed and enraptured, with tender syncopation.  The piano anticipates the dotted leap in its tenor range.  The singer soars up to the end of the line, and the piano trails down with dotted rhythms.  These become syncopated, then slow to a brief pause, hinting at the minor key in the last chords.
1:13 [m. 39]--Lines 13-14.  Back in minor, the girl forcefully invokes the curse.  The music is very similar to that used for the expository lines 1-2 and 5-6, with rolled piano chords, but the vocal lines in dotted rhythm now move downward instead of arching.  The word “fluchen” is held across the bar line.  After this statement in minor, the two lines are repeated with altered harmonies.  Line 13 moves back to A major, then the repetition of line 14 changes to a new minor key, F-sharp minor, which is the “relative” key of A major.  Brahms indicates that the repetition should steadily build in speed and volume, leading directly into the passionate strophic middle section in 2/4 time.  The word “fluchen” is stretched out, ending as the new section begins.
Second Section (3 strophes)--F-sharp minor/A major, Schnell und sehr lebhaft, 2/4 time.
1:26 [m. 47]--The piano introduces the new section, breaking into the breathless tremolo that dominates much of it.  Upper thirds alternate with single lower notes, moving down to a half-close in F-sharp minor.  The left hand plays solid octaves, gradually speeding up.  This brief introduction, with some alteration, is used to close off each strophe and introduce the next one.
1:29 [m. 51]--Strophe 1.  Lines 15-16.  The passionate vocal line in F-sharp minor works down, then back up, ending with a chromatic approach to a half-close in A.  In the first line (line 15), the rhythm and some of the melody from the vocal line are mirrored in the low bass, harmonized in thirds and fifths.  The right hand tremolo is now in single notes, in the tenor range and mostly in thirds.  (Note that in the low key version, both hands are in a higher register here.)  At the second line (line 16), when the voice is introducing its chromatic line, the left hand changes to a leaping staccato pattern and the right to rapid arching arpeggios in a higher range.  The harmony moves to E, the “dominant” of A major.
1:35 [m. 59]--Lines 17-18.  Line 17 is set to similar music as line 15, but now in A minor and with the right hand tremolo in the treble range.  Line 18 is also similar to line 16 in the voice and the piano, but at the word “Hals,” instead of moving to a new key, the harmony simply changes to major over exciting upward piano arpeggios.  The line is repeated, soaring to a climactic high note on an extra statement of the word “weißen” over another arpeggio.  The voice then descends to a joyous cadence.  At the cadence, the introduction from 1:26 [m. 47] is repeated, but with a more active, bouncing left hand at the beginning.  The harmony of the opening is also different, beginning in A major instead of F-sharp minor, but quickly moving there.
1:47 [m. 76]--Strophe 2.  Lines 19-20.  The music is as in strophe 1, lines 15-16 from 1:29 [m. 51], except for the bass of the second line (line 20), where the leaping staccato notes are moved to a lower octave with slightly different orientation.  This line also has new, more forceful sforzando markings.  The bass leaps to the original octave in the last measure.  (In the low key version, the bass register does not change from strophe 1.)
1:53 [m. 84]--Lines 21-22.  Music as in strophe 1, lines 17-18 from 1:35 [m. 59].  The bass is in a lower octave at line 22 and its repetition, and there are added sforzando markings.  In a neat parallel, the repeated word is again “weißen.”  The interlude/introduction is repeated as it was before the strophe.  (In the low key version, the bass register only moves lower in the repetition, not in the first statement of the line.)
2:05 [m. 76]--Strophe 3.  Lines 23-24.  This time, the strophic repetition is indicated with repeat signs.  The music is as at 1:47, lines 19-20.
2:11 [m. 84]--Lines 25-26.  Music as at 1:53, lines 21-22.  The repeated word is once again “weißen.”  The interlude/introduction is repeated.  There is a second ending on the last measure, where the bass and harmony are subtly altered to stay in A instead of moving to F-sharp.
Third Section (Combination of elements from the two previous sections)--A minor/major, Wenig langsamser—Schnell, 3/4 and 2/4 time.
2:24 [m. 101]--Lines 27-28.  This final curse suddenly returns to music from the first section, specifically the first four A-minor bars of the invocation of the curse from 1:13 [m. 39].
2:32 [m. 105]--Lines 29-30.  These last lines are sung to the music of the girl’s answer about the linen from 0:32 [m. 19], complete with the repetition of the last line and the motion to major.  The seam between these two different areas from the first section is remarkably clean.  Unlike the previous dolce statement of this material, this time it builds inexorably toward the final flourish.
2:42 [m. 111]--The tempo changes to the rapid 2/4 motion.  The last two lines are sung to the music in A minor/major from the end of the strophe as heard for lines 17-18, 21-22, and 25-26, specifically as at 1:53 and 2:11 [m. 84].  To increase intensity, sforzando markings are added to the first measures.  The clinching final line is, of course, repeated, as this music demands, and is thus heard a total of four times (no other line is heard more than twice).  The repeated syllables at the climax are the significant “ins Haus,” replacing the “weißen” of the three strophes.  The introduction/interlude is played as a postlude, diverted after its first three measures into a final and emphatic cadence in A major.
3:03--END OF SONG [128 mm.]
END OF SET


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