FOUR BALLADS AND ROMANCES (BALLADEN UND ROMANZEN) FOR
TWO VOICES AND PIANO, OP. 75
Recording: Edith Mathis, soprano (Nos. 2-4); Brigitte
Fassbaender, alto (Nos. 1-2) and soprano 2 (No. 4); Peter
Schreier, tenor (Nos. 1, 3); Karl Engel, piano [DG 449 641-2]
Published
1878. Dedicated to “his friend” Julius Allgeyer.
This is by far the greatest set of Brahms duets, but
because all four of them are for different vocal combinations, at
least two of them have become very difficult to find in later
publications. Nos. 2 and 4 are often published with the
soprano/alto duets of Opp. 20, 61, and 66.
The other two, which feature a tenor (a voice not otherwise
utilized in the duets) have become orphans, virtually impossible
to find outside the old complete edition and its out-of-print
reprints. This is a sorry situation, as No. 1 is, again by
far, the greatest Brahms duet of all and No. 3 is his only true
love duet. Despite the different vocal types, the set has
some unity. All four songs are dialogues, which is not the
case with any set other than the “optional” duets, Op. 84 (which are usually included with
the solo songs). There are also some parallels to the
alto/baritone set, Op. 28. There
is a long and dramatic opening number, a cheerful, teasing second
duet, a lyrical third one, and a closer that is brief and
exciting, but highly complex. The first duet, Brahms’s only
mother/son dialogue, is absolutely riveting and bone-chilling in
its effect. It sets a German translation of the grisly
Scottish balled “Edward,” the poem that was the inspiration for
the piano ballade, Op. 10, No. 1 (the
two pieces are musically unrelated, however). The exchanges
of the dialogue gradually and inexorably reveal a terrible, but
inescapable truth. This is also true of the last duet in the
set, the thrilling mother/daughter exchange that reveals the
mother as a witch who has celebrated a Faustian Walpurgis
Night. The duet is indicated for two sopranos rather than
the expected soprano/alto. The mother’s lowest and highest
notes are both more extreme than the daughter’s. In this
recording, the mother is sung by a true alto, making her final
high notes strained and frightening, as they should be. The
middle duets are more lyrical and relaxed. The second is
another mother/daughter dialogue, but it is similar to those that
will be found in the “optional” duets of the Op. 84 set, with the mother protesting
the daughter’s feelings for a potential suitor. The genuine
love duet of No. 3 is different from those of tragic regret and
unrequited teasing found in Op. 28.
The only real parallel is another of the “optional” duets, Op. 84, No. 5. It is extremely
serene and satisfying, and was unjustly criticized by Brahms’s
female friends, Clara Schumann and Elisabeth von
Hezogenberg. It is the only one of the four where the two
voices sing together at length.
Note: Links to English translations of the
texts are from Emily Ezust’s site at http://www.lieder.net.
For
the
most part, the translations are line-by-line, except where the
difference between German and English syntax requires slight
alterations to the contents of certain lines. The German
texts (included here) are also visible in the translation
links. A link to the original Scots English text as well as
a translation of Herder’s German into modern English is included
for No. 1.
IMSLP
WORK PAGE
ONLINE
SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck)
ONLINE
SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche
Werke)
1. Edward. Text by Johann Gottfried Herder,
adapted from a Scottish-English ballad collected by Thomas Percy.
Allegro. Varied double strophic form. F MINOR, 4/4 time.
Alto/Tenor.
German Text:
Dein Schwert, wie ist’s von Blut so rot?
Edward, Edward!
Dein Schwert, wie ist’s von Blut so rot?
Und gehst so traurig her? O!
O, ich hab geschlagen meinen Geier tot,
Mutter, Mutter!
O, ich hab geschlagen meinen Geier tot,
Und keinen hab ich wie er. O!
Deines Geiers Blut ist nicht so rot,
Edward, Edward!
Deines Geiers Blut ist nicht so rot,
Mein Sohn, bekenn mir frei! O!
O, ich hab geschlagen mein Rotroß tot,
Mutter, Mutter!
O, ich hab geschlagen mein Rotroß tot,
Und’s war so stolz und treu. O!
Dein Roß war alt und hast’s nicht not,
Edward, Edward!
Dein Roß war alt und hast’s nicht not,
Dich drückt ein andrer Schmerz. O!
O, ich hab geschlagen meinen Vater tot!
Mutter, Mutter!
O, ich hab geschlagen meinen Vater tot,
Und weh, weh ist mein Herz! O!
Und was für Buße willt du nun tun,
Edward, Edward?
Und was für Buße willt du nun tun?
Mein Sohn, bekenn’ mir mehr! O!
Auf Erden soll mein Fuß nicht ruhn!
Mutter, Mutter!
Auf Erden soll mein Fuß nicht ruhn!
Will gehn fern übers Meer! O!
Und was soll werden dein Hof und Hall,
Edward, Edward?
Und was soll werden dein Hof und Hall,
So herrlich sonst und schön? O!
Ich laß es stehn, bis es sink und fall!
Mutter, Mutter!
Ich laß es stehn, bis es sink und fall,
Mag nie es wiedersehn! O!
Und was soll werden dein Weib und Kind,
Edward, Edward?
Und was soll werden dein Weib und Kind,
Wann du gehst übers Meer? O!
Die Welt ist groß, laß sie betteln drin,
Mutter, Mutter!
Die Welt ist groß, laß sie betteln drin,
Ich seh sie nimmermehr! O!
Und was willt du lassen deiner Mutter teur,
Edward, Edward?
Und was willt du lassen deiner Mutter teur?
Mein Sohn, das sage mir! O!
Fluch will ich euch lassen und höllisch Feur,
Mutter, Mutter!
Fluch will ich euch lassen und höllisch Feur,
Denn Ihr, Ihr rietet’s mir! O!
Scottish-English
text, with a
slightly different version of the German translation (The text
version Brahms set, seen above, is actually closer to the
original Scottish poem than the version on the right in this
link.)
Modern
English translation of Herder’s German text
0:00 [m. 1]--Stanza
1. In the two bars before the alto’s (mother’s) entrance
with her first question, the piano left hand establishes a hushed,
low and persistent pedal point on C. The right hand plays
broken octaves. When she enters on an upbeat with her
arching melody, the right hand plays arpeggios that conceal a
doubling of the melody. The repeated name “Edward” is given
a characteristic falling third, and her melody ends with a
half-cadence, reiterated by the descending half-step on “O!” which
will become a “marker” for both the mother’s and son’s
stanzas. It is punctuated by an arching arpeggio on the
“dominant” chord.
0:21 [m. 12]--Stanza
2. The tenor’s (Edward’s) much narrower response heralds a
change in the accompaniment. The low pedal point moves to
the off-beats, and it moves with the harmonies, especially at
cadence points. He also uses the falling third for his
insistent “Mutter!” but it is a step lower than hers. The right
hand arpeggios no longer double the melody, instead lightly
harmonizing it. His “O!” is also set to a falling half-step,
a third higher than hers. For his “O!” the arpeggio begins
before he starts it, and it is extended for a full bar after he
ends. The harmony of the arpeggio, initially suggesting a
motion away from F minor, changes to a “diminished seventh” in
preparation for the mother’s next statement in the home key.
0:40 [m. 22]--Stanza
3. The mother’s melody is the same, but the accompaniment is
more dynamic. The hands are now doubled in octaves (two
octaves apart) on the short arpeggio figures, and they conceal
both a doubling of the melody and the seemingly abandoned pedal
point on C. After a hint at a return to the pedal point, the
short arpeggios continue under her “O!” replacing the long arching
one and using new harmonies.
0:56 [m. 31]--Stanza
4. Edward’s melody is also the same as it was in stanza 2,
but as in the mother’s previous verse, the accompaniment is much
more dynamic in both hands, the right hand arpeggios using more
colorful harmonies and the off-beat bass line abandoning any
semblance of a pedal point, moving almost constantly after the
first bar. The arpeggio under his “O!” is the same as it was
in stanza 2 until the very end, where it leads to a brief and
abrupt one-beat pause before the mother’s next entrance.
1:15 [m. 41]--Stanza
5. The hands are again doubled in octaves, but this time
they begin two beats before the alto’s entrance, and they initiate
a canon (direct
imitation) of the vocal melody, which she follows two beats
later. Despite the rapid arpeggios, the melody is clearly
heard within the piano’s texture. The canon breaks under the
cries of “Edward,” where the piano simply helps reiterate the
F-minor harmony. It begins again at the reiteration of the
text after the cries, but it now quickly breaks down in favor of
doubling. Despite the canon, the mother’s melody is as
before, but now Brahms directs a slow and steady buildup of volume
and intensity, punctuated at the end of the verse by the mother’s
octave leap to a much shorter “O!”
1:29 [m. 50]--Stanza
6. The song’s first climax culminates the first of two large
waves of increasing intensity and complexity. Abandoning his
former narrow range, the tenor takes Edward’s shockingly
revelatory words to a pitch level a fourth higher, and sings at
full volume. The harmony now emphasizes the related keys of
D-flat major and B-flat minor, already hinted at during Stanza
4. The accompaniment is completely new, with strong bass
notes and solid block chords coming after the beats. The
final “O!” is notable both for using the pitches previously
associated with the mother and for being stated twice, the second
statement receding in volume and settling down. The
arpeggios under the statements of “O!” use the “diminished
seventh” and continue to establish the F-minor key.
1:51 [m. 62]--Stanza
7. The alto begins the second “wave” at a quiet level on her
familiar melody. The piano pedal point begins again, but it
is now on the home keynote of F. The right hand plays a
triplet rhythm in groupings of six notes, which undulate.
The voice has one new chromatic inflection on the words “du
nun.” The piano adds accented notes to its texture under the
reiterated cries of “Edward!” From that point, the low bass
moves away from the pedal point, but the upper octave persists on
it, only moving away at the half-cadence. The “O!” is back
on its usual pitches, but the arpeggio under it is now in
triplets.
2:07 [m. 71]--Stanza
8. The tenor’s response is on his original melody and pitch
level. It is varied by continuing the triplet rhythm heard
under the mother’s previous question in the right hand, now adding
some two-note harmonies to the undulations. The left hand
bass off-beat punctuations typical of the son’s previous responses
are again present, and while dynamic, they emphasize the pitches C
and F, as they have done before. His “O!” is also on the
familiar pitches, with the arpeggio used in stanzas 2 and 4.
2:25 [m. 81]--Stanza
9. The mother now ratchets up the tension by gradually
rising in pitch on successive queries. Here, the melody is
set a step higher than in stanza 8. The pedal point begins
on B-flat (the “subdominant” note), and when it moves, it does so
by descending half-steps and whole steps. It ends on C at
the close of the stanza. The cries of “Edward!” are expanded
from thirds to the highly unstable tritone (diminished
fifth). The arpeggio under “O!” (on new higher pitches) is
again in triplets, but it now begins before she sings it, and it
is in smaller groups instead of a larger arch. The key veers
toward D-flat major and minor at the end.
2:40 [m. 90]--Stanza
10. Edward’s response stays on his old pitch level for now,
but the accompaniment carries over from the triplets under the
mother’s last “O!” The off-beat punctuations are now in the
right hand, and they only break the triplets twice, once before
the repeated cries of “Mutter,” and again in the emphatic last
line. The triplets are freely passed between the hands and
include several chromatic notes, but a doubling of the vocal line
is concealed within. The “O!” rises in pitch
though, to notes suggesting a move to B-flat minor, and the
arpeggio under it also shifts up. For the first time, there
is not a bar of separation between this “O!” and the mother’s next
entry.
2:55 [m. 99]--Stanza
11. The mother’s pitch level rises yet another step from her
previous stanza. The piano pedal point is on C, but it
underlies highly unstable diminished harmony. The tension is
now at an almost unbearable level, and Brahms marks that the speed
and the volume should steadily increase from this point. The
cries of “Edward!” are again on the uneasy tritone
intervals. The bass line is more active than in stanza
9. The last vocal descent hints at E-flat minor, and a
rising arpeggio in that key now underlies the “O!” This is
on the same pitches as in stanza 9. The rising, sweeping
arpeggios under the “O!” are new.
3:10 [m. 108]--Stanza
12. Other than the outburst in stanza 6, all of Edward’s
statements have been at the same pitch level. Now, in the
buildup to the last climax, he sings his normal melody, but it is
a third higher, in the key of A-flat minor. Under this
statement, the piano resumes the triplet motion, which was absent
in stanza 11, even under the mother’s “O!” The triplets are
now constant throughout the verse, and the vestiges of the
off-beat punctuations are gone. Triplet groups are passed
between the hands, and are often harmonized. Approaching the
“O!” the piano moves to the sweeping, rising arpeggios heard in
stanza 11 for the mother. For the first and only time, the
tenor sings the “O!” on a descending third instead of a half-step,
and at the highest pitch level of any stanza-ending “O!” thus
far. Again, the mother enters directly.
3:25 [m. 117]--Stanza
13. The mother’s climactic statement completes the gradual
ascent and is in the key of B-flat minor. It is her highest
statement, and lies at top of the alto range, creating the effect
of a strained voice. The opening line is altered, with
faster notes to accommodate the text and with a more emphatic
cadence. The cries of “Edward!” are now on perfect fifths
for the only time. The last two lines are as in other
verses, but the “O!” is an octave leap, as in stanza 5, landing on
her highest obligatory pitch. The piano arpeggios are as
usual, with some shadowing of the voice, but the bass is very
active, with low octaves and fifths.
3:38 [m. 125]--Stanza
14. The tenor sings his final verse at the same pitch level
as the other climactic statement in stanza 6. This time,
though, the mother was already in the B-flat-minor key, so he can
already enter on the high pitch rather than shooting up and
changing key. The accompaniment is much more emphatic than
in stanza 6. The chords are full and strong, entering on the
beats as opposed to the previous off-beats. There are
sweeping arpeggios under the cries of “Mutter!” At the last
line, the tenor halts on the revelatory word “Ihr” and allows the
piano chords to complete the melodic line. He then repeats
the fateful, accusatory word, wrenching his voice to the highest
pitch of the song, A-flat. He then strongly completes the
line and moves back to F minor at the cadence.
3:53 [m. 133]--After the
cadence, the tenor’s final statements of “O!” and the piano
arpeggios underneath them are as they were in stanza 6, except
that the first arpeggio before the vocal entry is already on a
solid F minor. This means that the “O!” is repeated, it is
symbolically on the mother’s typical pitches, and the second one
recedes. The first bar after the second “O!” continues the
piano arpeggios as after stanza 6, but it suddenly reverses
dynamic course and intensifies. An extra bar of F-minor
descents is added, building to the last decisive chord.
4:10--END OF DUET [139 mm.]
2. Guter
Rat (Good Advice). Text from the German folk
collection Des Knaben Wunderhorn, edited by Clemens
Brentano and Achim von Arnim. Lebhaft und lustig (Lively and
merrily); Allegretto giocoso (piano part). Combination of ternary
and varied double strophic form. E MAJOR, 2/4 (and 6/8) time.
Soprano/Alto.
German Text:
Ach Mutter, liebe Mutter,
Ach, gebt mir einen Rat!
Es reitet mir alle Frühmorgen
Ein hurtiger Reuter nach.
“Ach Tochter, liebe Tochter!
Den Rat, den geb’ ich dir:
Laß du den Reuter fahren,
Bleib noch ein Jahr bei mir!”
Ach Mutter, liebe Mutter,
Der Rat der ist nicht gut;
Der Reuter, der ist mir lieber
Als alle dein Hab und Gut.
“Ist dir der Reuter lieber
Als alle mein Hab und Gut,
So bind dein’ Kleider zusammen
Und lauf dem Reuter nach!”
Ach Mutter, liebe Mutter,
Der Kleider hab’ ich nicht viel;
Gib mir nur hundert Taler,
So kauf’ ich, was ich will.
“Ach Tochter, liebe Tochter!
Der Taler hab’ ich nicht viel;
Dein Vater hat alles verrauschet
In Würfel- und Kartenspiel.”
Hat mein Vater alles verrauschet
In Würfel- und Kartenspiel,
so sei es Gott geklaget,
Daß ich sein’ Tochter bin.
Wär’ ich ein Knab’ geboren,
Ich wollte ziehn über Feld,
Ich wollte die Trommel rühren
Dem Kaiser wohl um sein Geld.
English
Translation
0:00 [m. 1]--Stanza
1. An extended two-bar cadence with after-beat bass notes
serves as an introduction. The daughter (soprano) presents
her jaunty melody for the first two lines as the piano moves to a
steady bass and off-beat rolled chords in the right hand. At
the third line, both the voice and piano switch to a triplet
rhythm. The piano introduces a lightly “galloping” figure in
this triplet rhythm at the mention of the rider. The vocal
line mixes triplets and straight rhythm. The daughter
repeats the last line, coming to a cadence as the piano settles
down. A two-bar bridge to the next stanza mixes triplet
chords with a strong “straight” bass line. The entire verse
is light in character.
0:16 [m. 14]--Stanza
2. The mother (alto) presents her verse in the “dominant”
key of B major. Her melody for the first two lines is
essentially an inversion of the daughter’s, turning it upside
down. The accompaniment here again consists of the steady
bass and off-beat right hand chords. In the third line, she
sweeps down, and the piano follows her with detached descending
triplets in two-note harmonies, creating a cross rhythm (again in
connection to the rider). The old straight pattern is
restored for the last line and its repetition, the latter coming
to a cadence in B. The bridge re-introduces the cross rhythm
with right hand triplets, again off the beat. The left hand
harmonies arch up and back down, moving back home to E.
0:29 [m. 25]--Stanza
3. The daughter’s vocal line, aside from some slight
rhythmic variance, is the same as in stanza 1. The
accompaniment is varied. In the first two lines, the right
hand now plays steadily rather than only off the beat under the
first two lines, and it arches in the opposite direction from the
left hand. The third line again introduces triplet rhythms
in connection to the rider, but now only in the right hand, off
the beat as in the preceding bridge. The left hand continues
its steady, detached, arching lines. The repetition of the
last line and the following bridge are as in stanza 1.
0:41 [m. 36]--Stanza
4. The mother’s melody, again in B major, is as in stanza
2. For the first three lines, the accompaniment is the same
as well, including the detached descending triplet harmonies under
the third line. Vocal notes are split into shorter
repetitions for “alle” and “Kleider.” The last line and its
repetition reverse the direction of the left hand’s arching
motion, and the right hand now adds emphasis to the cadence in a
harmonized descent. The bridge is the same as that after
stanza 2, with off-beat right hand triplets.
0:53 [m. 47]--Stanza
5. The next three stanzas form a sort of middle section with
harmonic and melodic digressions. Here, the daughter turns
to G major. Her melody is similar, but its direction is
closer to the mother’s previous lines. The accompaniment is
also much smoother, with longer lines of right hand harmonies that
still mostly begin off the beat. At the third line, the
daughter moves to triplet rhythm as usual, and the piano stays in
straight rhythm, but the piano introduces a descending chromatic
(half-step) line under the daughter’s plea for money. The
repetition of the last line reiterates “so kauf ich” in a strong
manner before continuing the line, this time without leading to a
full cadence. The usual bridge is omitted.
1:07 [m. 58]--Stanza
6. The unpleasant revelation of the father’s gambling
prompts a motion to the minor--E minor, related to the previous G
major. The first two lines of the mother here have the same
direction as the daughter’s in stanza 5, and the accompaniment is
even more flowing than it was there, incorporating the left hand
in the smooth motion. At the motion to triplets in the third
line, the mother’s direction reverses that of the daughter’s, and
the chromatic half-step line is also reversed to an ascent.
The left hand introduces mild syncopation. The last line and
its repetition, including a reiteration of “in Würfel,” follow the
previous direction of the daughter in stanza 5. Here, unlike
in stanza 5, the right hand moves back to triplets, clashing with
the left hand syncopation. Again there is no full cadence
and no bridge.
1:20 [m. 69]--Stanza
7. The end of stanza 6 has moved to B minor, where stanza 7
will be set. Breaking the pattern somewhat, the daughter’s
first two lines represent a transposed version of the mother’s
LAST two lines in stanza 6, without the repetition, and with
greater intensity. The accompaniment under this is the same
ascending chromatic line, but it is enhanced by rolled chords and
a more active left hand. The last two lines represent the
climax of the duet, and consist of completely new material.
The daughter reaches her highest notes in the lamenting line, and
both hands of the piano are heavy, with rolled chords, contrary
motion, and the return of the after-beat chords. The entire
two lines are repeated and intensified, and the last line is
stretched out through longer notes to twice its length.
There is a full cadence in B minor.
1:35 [m. 81]--Stanza
8. The meter shifts to 6/8 time, with triple division of the
beat, but Brahms retains a parenthetical 2/4 because of the many
cross rhythms at the end of the verse. He also places a new
marking of “Lebhaft” (“Lively”). The bridge at the cadence
shifts B minor to B major, leading back to the home key of
E. It introduces tremolo
figures suggesting drum rolls. The daughter’s melody is a
6/8 version of the one used for stanzas 1 and 3, and the piano
passes two-note figures between the hands, which move in opposite
directions, also in the 6/8 meter. This pattern persists for
the first two lines.
1:43 [m. 87]--The piano
“drum rolls” return with the third line, and here also begin the
cross rhythms. The vocal melody still matches stanzas 1 and
3, but both the voice and piano sing and play more and more duple
groupings from the previous 2/4 meter, usually one against
continuing 6/8 motion in the other. The piano is completely
in the duple groupings in the first statement of the last
line. Both piano and voice return to pure 6/8 for the
repetition of the last line, which is a joyous and exuberant
phrase with a vocal flourish and bright rolled piano chords.
1:50 [m. 93]--The
postlude, beginning with the last vocal cadence, introduces a new
cross grouping. Both hands of the piano are still in 6/8,
but the left hand groups its notes as if it were in 3/4 (not
2/4). The hands converge, the right hand descending and the
left ascending (in two waves) before coming together on the last
punctuating chords with their reiterated cadence. The
exuberant mood of the last vocal line carries through this
postlude.
2:00--END OF DUET [96 mm.]
3. So laß
uns wandern (So let us wander). Text by Josef Wenzig,
after a Czech folk poem. Anmutig bewegt und sehr innig (With
graceful motion and very heartfelt); Andante grazioso e molto
espressivo (piano part). Combination of ternary and varied
strophic form. D MAJOR, 4/4 time. Soprano/Tenor.
German Text:
Ach Mädchen, liebes Mädchen,
Wie schwarz dein Auge ist!
Fast fürcht’ ich, es verzaubert
Mich einst voll arger List.
“Und wär’ mein Auge schwärzer,
Um vieles schwärzer noch,
Dich, Liebster mein, verzaubern,
Ich tät’ es niemals doch.”
Die Kräh’ auf jener Eiche,
Sieh, wie sie Eicheln pickt!
Wer weiß, wen einst der Himmel
Zum Bräutigam dir schickt!
“Und sprich, wen soll er schicken?
Ich gab ja dir mein Wort,
Weißt, unterm grünen Baume,
Bei unsrer Hütte dort.”
Wohlan, so laß uns wandern,
Du wanderst frisch mit mir;
Ein Kleid von grüner Farbe,
Mein Mädchen, kauf’ ich dir.
“Ein Kleid von grüner Farbe,
Das auch nicht gar zu lang:
So kann ich mit dir wandern,
Nichts hindert mich im Gang.”
Ein Kleid von grüner Farbe,
Das auch nicht gar zu lang:
So kannst du mit mir wandern,
Nichts hindert dich im Gang.
Wir wollen lustig wandern,
Bergüber und talein;
Die großen, freien Wälder
Sind unser Kämmerlein.
English
Translation
0:00 [m. 1]--Stanza
1. The two-bar introduction anticipates the opening of the
vocal line in bright chords. The first gesture rises lower
than the voice will, the second higher. When the tenor
enters with the same gesture, the three top notes form the chord
of the home key, D major. The vocal line itself arches
gracefully. The flowing accompaniment contains some rolled
chords in the left hand. The second and third lines include
a gently anxious turn to E minor A repetition of the last
two lines leads back home. Its last notes are lengthened,
extending the phrase. The cadence overlaps with the
soprano’s entry.
0:28 [m. 15]--Stanza
2. The soprano, overlapping with the tenor’s cadence, sings
the same vocal line that he did, but the accompaniment is changed
because of her higher register. The first part of the
flowing line is an octave lower, with the rolled chords moving
above it. The actual shape begins to change under the second
and third lines, but the flowing line generally remains lower than
in stanza 1. Under the repetition of the last two lines, the
piano closely matches stanza 1. Unlike the tenor, the
soprano does not lengthen her last notes, but the cadence is more
complete, without overlap. The one-bar bridge is syncopated.
0:50 [m. 27]--Stanza
3. The third and fourth stanzas form the middle
section. The tenor’s line here is more static, but it makes
a harmonic turn toward G major. The accompaniment continues
the syncopation of the bridge, then includes harmonized long-short
(dotted) rhythms. The tenor returns to the more arching
motion in the last two lines, which make another slightly aching,
anxious turn to a minor key, this time F-sharp, the note on which
the syncopated notes in the piano settle.
1:07 [m. 35]--Stanza
4. The soprano’s first two lines and her accompaniment match
the tenor’s in stanza 3. The last two lines make
a subtle, but highly effective and warm shift, moving to F major
instead of F-sharp minor. Both the accompaniment and the
vocal line are slightly embellished, the soprano reaching higher
on “unsrer” than the tenor did in his entire stanza. The end
of the stanza is the emotional crux of the duet.
1:24 [m. 43]--Stanza
5. The tension resolved, the tenor joyfully returns to the
opening melody for this stanza, which includes the duet’s
title. The accompaniment is much richer now, with full
harmonies and off-beat right hand chords. Where the
repetition of the last two lines is expected, the stanza breaks
off and merges with stanza 6, whose opening line is the same as
the closing line of this verse.
1:39 [m. 51]--Stanza
6. The text of this stanza is given twice above (appearing
as stanzas 6 and 7) to accommodate the fact that the the soprano’s
text is in first person and the tenor’s is in second person.
Otherwise, the sense of the words is exactly the same. The
voices finally join together in harmony. The first line
begins like the repetition of the text in stanzas 1 and 2 that was
omitted in stanza 5. It quickly deviates and builds,
however, reaching a small climax and again emphasizing G
major. The excited voices repeat the last line, reaching a
dramatic pause on the expectant “dominant” chord of D major.
The accompaniment continues in the character of stanza 5.
2:01 [m. 61]--Stanza 7
(given as stanza 8 above). The original music used for
stanzas 1, 2, and 5 returns, complete with the repetition of the
last two lines. The soprano sings her melody from stanza 2,
but lengthens the last notes of the repeated text, as the tenor
did in stanza 1. The tenor adds a highly elaborate harmonic
and contrapuntal line, bridging to the repeated text with a
soaring arch on an extra statement of “die großen.” He also
adds leaping notes in the lengthened cadence. The brief
postlude begins with a syncopated version of the introductory bars
from the very beginning, but then arches back down in rich
harmony.
2:40--END OF DUET [76 mm.]
4. Walpurgisnacht
(Walpurgis Night). Text by Willibald Alexis. Presto.
Through-composed form with regular phrases in dialogue. A MINOR,
2/4 time in vocal parts, 6/8 in piano. Soprano 1/Soprano 2.
German Text:
Lieb’ Mutter, heut’ Nacht heulte Regen und Wind.
»Ist heute der erste Mai, liebes Kind!«
Lieb’ Mutter, es donnerte auf dem Brocken oben.
»Lieb’ Kind, es waren die Hexen droben.«
Liebe Mutter, ich möcht’ keine Hexen sehn.
»Liebes Kind, es ist wohl schon oft geschehn.«
Liebe Mutter, ob im Dorf wohl Hexen sind?
»Sie sind dir wohl näher, mein liebes Kind.«
Ach, Mutter, worauf fliegen die Hexen zum Berg?
»Auf Nebel, auf Rauch, auf loderndem Werg.«
Ach, Mutter, worauf reiten die Hexen beim Spiel?
»Sie reiten, sie reiten den Besenstiel.«
Ach, Mutter, was fegten im Dorfe die Besen!
»Es sind auch viel Hexen auf’m Berge gewesen.«
Ach, Mutter, was hat es im Schornstein gekracht!
»Es flog auch wohl Eine hinaus über Nacht.«
Ach, Mutter, dein Besen war die Nacht nicht zu Haus!
»Lieb’s Kind, so war er zum Brocken hinaus.«
Ach, Mutter, dein Bett war leer in der Nacht!
»Deine Mutter hat oben auf dem Blocksberg gewacht.«
English
Translation NOTE: This translation is based on an
older version of Alexis’s poem. Brahms set a revised version (given
above). The most important differences in the translation
are as follows: In all couplets from the fifth, the daughter’s address “Dear” should be replaced with the interjection “O.”
The mother’s “Dear child” addresses are also absent except for the ninth
couplet. The mother’s response in the fifth couplet should be “On mist, on smoke, on burning
flax.” In the
sixth couplet, “at
their play” should
replace the directional “to their gatherings” in the daughter’s line. In the seventh couplet, the daughter’s statement should be “how the brooms were sweeping in
the village!”
instead of “I saw
many brooms in the village.” The eighth couplet should be “O mother, what a crash there was
in the chimney!”/“One perhaps flew out of it
overnight.” “Blocksberg” should be replaced with “Brocken”
in the ninth couplet.
0:00 [m. 1]--The introduction
is based on a rising chromatic figure that begins off the beat
against an oscillating left hand. This figure, here richly
harmonized, provides the basis for much of the succeeding
accompaniment. The piano part is in 6/8, where it will
remain throughout, clashing with the “straight” 2/4 meter of the
voices. The introduction is extended to six bars by a
half-cadence and a pause.
0:06 [m. 7]--First
couplet. The daughter’s line begins with a large leap and
then generally ascends, although it is characterized by
declamatory three-note descents before a final questioning
leap. The introductory figure is in the tenor range of the
piano left hand. The mother’s response is a straightforward
descent, under which the piano adds a more solid bass line that
doubles the voice three octaves lower, and the right hand has more
syncopation. She ends on a half-cadence that leads to the
next exchange.
0:12 [m. 15]--Second
couplet. The exchange is similar to the first, but
intensified slightly by a triplet rhythm in the daughter’s line
and a large closing downward leap on the downbeat from both
characters (in the daughter’s case, an octave leap). The
mother’s leap overlaps with the next exchange.
0:19 [m. 23]--Third
couplet. Although the basic lines are the same for both
characters, they are somewhat more dramatic. The daughter’s
upbeat adds another note to lengthen “Lieb’” to “Liebe.” She
also inverts the second three-note descent, leading to a change in
harmony. The mother confirms this by shifting to the related
major key of C. Her line is also less of a straightforward
descent.
0:25 [m. 31]--Fourth
couplet. The daughter’s line begins as in the third
exchange, but the three-note ascent becomes a two-note skip
because of declamation, and then she stretches the leap on “Hexen”
to an octave, leading to a new related key, E minor. The
mother’s line is similar to that in the first two exchanges, but
with a new downward leap. Also, the statement both begins
and ends in E minor (altering the line at the end), so the end
sounds like a full close instead of a half-cadence.
0:31 [m. 39]--Fifth
couplet. As the daughter drops “Lieb’” and “Liebe” (“dear”)
from her addresses to the mother, who is emerging more clearly as
a witch, her line moves up a third, again suggesting C
major. The motive from the introduction moves lower, to the
bass register. The right hand loses its off-beat character,
moving higher and adding bell-like downbeats. The mother’s
response is completely changed. It has three large leaps
(two fourths and a fifth) in its descent, but is still partly
doubled in the bass line. It also has a new accompaniment in
the right hand that resembles the daughter’s main melody.
Her cadence moves decisively to C minor, ending with her lowest
note (lower than the daughter ever reaches).
0:38 [m. 47]--Sixth
couplet. With the building tension, the daughter shifts up a
half-step to D-flat major. Her line is somewhat altered
again, adding a downward leap and return of a fifth in the
middle. The accompaniment is similar to the fifth
exchange. The mother sings her line, with its accompaniment,
from the fifth exchange, but it is also shifted up a half-step, to
C-sharp (D-flat) minor.
0:44 [m. 55]--Seventh
couplet. There is a significant change in the vocal lines of
both characters. The daughter retains the internal leap and
return from the last exchange, but the three-note descents are
replaced by repeated notes on C-sharp. The piano also
changes, playing static broken octaves with accents. What
the mother sings is essentially an inversion of the daughter’s
line from the sixth couplet, with rising three-note groups and an
internal leap and return UP a fifth in the middle, but it adds
another upward leap at the end. The mother’s accompaniment
is very artful. It is the ORIGINAL form of the daughter’s
line from the sixth couplet, with the introduction motive in the
bass, the first time it has accompanied the mother. The key
seems to shift up another half-step, to D minor, but it is very
unstable and without a clear arrival.
0:51 [m. 63]--Eighth
couplet. Both voices, with their accompaniments, sing their
lines as in the seventh exchange, but again shifted up a half-step
and suggesting E-flat minor at the end.
0:57 [m. 71]--Ninth
couplet. The vocal lines and their accompaniments are
essentially as in the last two exchanges, but the tension and
drama is wrenched even tighter by faster upward shifts. The
daughter shifts up a half-step, as expected, but the second half
of her line shifts up ANOTHER half-step. As a result, the
mother begins a WHOLE step higher than in the eighth exchange, and
she also makes her own half-step shift halfway through her
line. She reaches her highest pitch at the last leap.
The harmonic result is a shift up three levels, ending with
F-sharp minor. The volume also dramatically builds.
1:03 [m. 79]--Tenth
couplet. For the last exchange, the daughter has nearly lost
her mind. She adds more downward leaps than in the previous
statements, and again shifts up two half-steps, up to
G-sharp. The accompaniment is similar to her last
statements, but it adds some double notes. Suddenly, there
is a dramatic pause, the first in the whole duet. The
daughter’s highest pitch is G-sharp, which is still lower than the
mother’s highest pitch of A. The harmony under the G-sharp
is the “dominant” chord of the home key, A minor, preparing the
decisive return that will come with the mother’s last frenzied
cries.
1:06 [m. 84]--The mother’s
final entrance is delayed a bar by the pause. She changes
her line, adding descending broken chords and emphasizing her
strained highest note. The last leap is extended by a bar,
making a five-measure phrase. The accompaniment here is
greatly changed. For the first time, the right hand actually
adopts the “straight” rhythm as well as the melody, originally
associated with the daughter, that has accompanied the mother
since the seventh exchange. The left hand, while retaining
vestiges of the introduction motive, also undermines the 6/8 flow
with groupings that are more like 3/4.
1:10 [m. 89]--The mother
repeats her last words, quite shockingly, to the daughter’s
original melody (as altered with the inner leap and return, as in
the sixth couplet, which has formed the mother’s accompaniment
since the seventh exchange), thus completely subsuming her.
She stretches the last words, “Blocksberg gewacht,” with longer
notes, bringing the phrase to six bars and ending with the
strained high A. The motive from the introduction moves to
the right hand, with full harmony, bringing the duet full
circle. The left hand plays arpeggios.
1:15 [m. 94]--The
accompaniment pattern continues in the postlude, which merges with
the mother’s last note and continues with three statements of the
motive until sharp chords in A major
(not minor), end the duet.
1:27--END OF DUET [99 mm.]
(runoff after 1:22)
END OF SET
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