FIVE PARTSONGS (GESÄNGE) FOR MIXED CHORUS, OP. 104
Recording: North German Radio Chorus, conducted by Günter Jena [DG
449 646-2]
Published 1889
Brahms’s last set of secular songs for a cappella mixed chorus bears all
the marks of the late style. The previous set, Op. 93a, displayed
some of these aspects, but the songs of Op. 104 (the stern canon of Op.
93a, No. 6 notwithstanding) are more austere, more concise, and
certainly more “autumnal” in character. Indeed, the title of the
last song, “Im Herbst,” (“In Autumn”) is an apt metaphor for the entire
set. Except for the fourth song, the folk idiom is abandoned
here, and even that text, which deals with lost youth, has an aura of
resignation and regret that fits well with the subjects of the other
songs. Rückert and Groth were certainly poets who were known
for their more severe styles. Musically, the set is characterized
by antiphonal writing, where groups of voices (usually women and men)
are set in opposition to each other. The six-voice texture of the
first three songs helps to facilitate this sort of writing, most
notably in the first Rückert song, which is entirely built upon
this antiphonal concept. While the second Rückert setting (No. 2)
is brighter than the first, its rather archaic call-and-response
conceit is just as austere. No. 3 brings the antiphonal exchanges
even closer together, balancing them with a highly contrasting, much
warmer middle section. No. 4 uses an overlapping
call-and-response technique to great effect. It is in five,
rather than six voices. The major-key contrasting verses exude a
resigned sadness. The last song, “Im Herbst,” is often cited as
Brahms’s greatest secular part song. Using only the traditional
four voices, he constructed a piece of both deep melancholy and bright
hope, using colorful harmonies that are perfectly placed and never
overused. The motion to major in the third stanza is a cappella choral writing at its
absolute finest. This masterpiece stands at the end of Brahms’s
great contribution to secular choral song.
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.
ONLINE
SCORE FROM IMSLP (First Edition from Brahms-Institut
Lübeck)
ONLINE SCORES FROM THE CHORAL PUBLIC DOMAIN LIBRARY (Choral Wiki):
No.
1: Nachtwache I
No.
2: Nachtwache II
No.
3: Letztes Glück
No.
4: Verlorene Jugend
No.
5: Im Herbst
1. Nachtwache I (Night Vigil I). Text by
Friedrich Rückert. Langsam (Slowly). Two-part modified
strophic form. B MINOR, 4/4 time. Six voices (SAATBB)
(Note: Op. 113, No. 10 is a canon that also uses this text.)
German Text:
Leise Töne der Brust,
geweckt vom Odem der Liebe,
Hauchet zitternd hinaus,
ob sich euch öffnet ein Ohr,
Öffn' ein liebendes Herz,
und wenn sich keines euch öffnet,
Trag' ein Nachtwind euch
seufzend in meines zurück!
English
Translation
0:00 [m. 1]--Strophe 1.
Brahms treats the female and male voices as opposing groups in this
song. The women open with the first line. The sopranos very
quietly sing the narrow melody, which circles around the keynote.
The two alto parts provide solid harmonic and rhythmic support.
As the women sing “Brust,” the men enter in an imitation. The
tenors sing the melody exactly a step higher. The two bass parts
have the same rhythm and contour as the altos, but do not imitate them
precisely as the tenors do the sopranos.
0:11 [m. 3]--The same pattern
is followed for the second line. The women enter before the men
finish with their statement of the first line. This melody is
more wide and arching, and particularly the supporting alto parts are
moving, with rising three-note arpeggios on the second syllable of
“geweckt.” Again, the men make a dovetailing entry, the tenors
singing the arching melody a step higher than the sopranos. The
supporting bass parts have less motion than did the altos, with only
two notes on “geweckt.”
0:22 [m. 5]--Halfway through
the fifth bar, the dovetailing breaks. The voices are still
antiphonal, but there is a different arrangement within each
group. For the third line, the second altos tentatively lead the
upper two voices, who together imitate the low altos at different
harmonies. The men enter as the upper voices are finishing the
line, this time with all three voices singing a step higher than the
women, the second basses leading. There is a third statement of
the line, from the women again, entering as the two upper male parts
finish. The top two parts are now a step lower than their first
statement (a third lower than the men), and the sopranos now
lead. The line of the second altos is actually a half-step higher than their previous line,
creating a close, dissonant harmony. While still hesitant, this
third statement builds slightly in volume.
0:35 [m. 8]--The men now lead
for the fourth line, taking over from the women’s second statement of
the third. They strongly resolve the harmonic tension of the
preceding passage. Tenors are again in the leading role. In
the pattern established by the song, the women make an overlapping
entry, this time a full fourth lower in the sopranos. The two
alto parts have a near inversion of the two bass lines just finished
and they sing together with the sopranos, hinting at, but never
fulfilling a key change to F-sharp minor.
0:45 [m. 11]--Strophe 2.
Line 5 is sung to the same melody as the opening, but now the
supporting parts anticipate and sing in front of the main top melody
line. This time, the men sing the line before the women, who
still overlap. The bass parts descend under the tenors, and the
alto parts ascend under sopranos.
0:55 [m. 13]--The sixth line is
very similar to the second, but with the voice groups reversed, the
sopranos imitating the men a step higher. Now the supporting bass
and alto parts are also similar to their counterparts in the first
strophe. The major difference is at the end, where the men join
with the women on “euch öffnet” in harmony, fully breaking the
chain of overlapping entries that has been going since 0:22 [m. 5].
1:07 [m. 16]--The setting of
the seventh line uses the same basic halting, tentative material as the
third, but attaches the first word of the last line (“seufzend” ) to
it, pushing back the overlapping entries to that word. All voices
sing in detached, hesitant harmony on the seventh line in the
surprising, suddenly bright major mode. Then the overlapping
begins with explicit word painting on “seufzend” (“sighing”). The
top four parts begin, and the basses follow. The tenors hold
over as the women end the word, joining the basses in closing it two
beats later. There is another overlapping statement of the word,
this time with the tenors firmly part of the lower group instead of
bridging the women and the basses. It moves back to minor.
1:20 [m. 19]--The groups are
briefly re-organized for the completion of the last line. This
time, the two altos and the tenors lead the sopranos and the two
basses. The tenors and first altos hold longer notes to complete
the phrase with the imitating group, leaving only the second altos to
end earlier. The move to F-sharp suggested at the similar point
in the first strophe is now fulfilled, wavering between minor and major.
1:29 [m. 21]--Back in B, the
last two lines are repeated. This time, the seventh line, still
in the brighter major mode, is sung in the predominant overlap, with
the women leading the men. The statement of the men, at a higher
pitch level, helps avoid the previous motion to F-sharp. The
following sighs on “seufzend” are similar to their previous settings,
but this time the sopranos and first altos are the trailing voices
instead of the basses, and the second altos are the “bridging” voice
instead of the tenors.
1:43 [m. 25]--The completion of
the last line (“in meines zurück”) is now elaborated for the
closing. There is no overlap with the preceding “seufzend,” but
the men now lead the women in very close imitation. The sopranos
imitate the tenors exactly, but the supporting bass and alto parts are
more free. All voices repeat the words a second time, swelling
rapidly to the song’s climax. The basses greatly lengthen their
notes on the second statement to come together with the women.
The tenors alone state them a third time as the soprano imitation
breaks. All voices then come together on “zurück,” rapidly
diminishing again.
1:58 [m. 28]--Two more
statements of “zurück” from all voices complete the cadence and
move, at the last minute, to a warm major chord, becoming even more
quiet. On the first statement, the outer two voices are static
and the other four have more motion, the two altos and the first basses
trailing. On the second statement, the men slightly trail the
women on the last major chords.
2:14--END OF SONG [29 mm.]
2. Nachtwache II (Night Vigil II). Text by
Friedrich Rückert. Feierlich bewegt (With solemn
motion). Two-part through-composed form. E-FLAT MAJOR, 3/2
time. Six voices (SAATBB)
German Text:
Ruh'n sie? rufet das Horn
des Wächters drüben aus Westen,
Und aus Osten das Horn
rufet entgegen: Sie ruh'n!
Hörst du, zagendes Herz,
die flüsternden Stimmen der Engel?
Lösche die Lampe getrost,
hülle in Frieden dich ein.
English
Translation
0:00 [m. 1]--Verse 1. The
sopranos call out with a falling gesture on the initial question “Ruh’n
sie?” The two alto parts and the tenors overlap with the question
in harmony. There is a brief pause. The opening call is then
taken by the first basses, and the harmonized response is now from all
of the other five voices.
0:11 [m. 3]--The top four
voices complete the first two lines in active harmony. The two
bass parts twice pass the “Ruh’n sie?” call between themselves (the
second basses an octave lower than the firsts) under this.
0:16 [m. 5]--The last two lines
of the verse are sung with overlapping entries. The second basses
are initially absent. The women begin, and the top two male parts
respond. As the voices arrive at “Sie ruh’n,” the low basses
enter between the women and the tenors, the first basses briefly
dropping out and postponing their entry until after the tenors,
creating a wonderful overlapping series of statements on these
confirming words. All voices except the first basses sing all the
words twice. The second altos add a trailing third statement, and
the male parts all repeat “ruh’n.” At the end, there is a rapid
diminishing in all parts.
0:36 [m. 10]--Verse 2.
Hushed, the voices enter in quick succession with the first two lines
in the order soprano, tenor, second bass, second alto, first bass,
first alto. After all voices have entered, there is a harmonic
shift toward the “subdominant,” A-flat. They come together on
“Stimmen der Engel.” The first altos and first basses, the last
to enter, omit “zagendes Herz.” The tenors, singing longer notes,
omit “zagendes.”
0:47 [m. 13]--For the third
line, there is another sudden harmonic shift to C-flat major, a
striking sound. There are several repeated chords. The
three women’s parts begin, followed by the tenors, then the first
basses. The two alto parts, having finished their first statement
of the line, begin again together. The first altos repeat
“lösche” and omit “getrost.” Finally, the second basses come
in, along with a second statement from the tenors. The sopranos,
having paused, make a second statement, and as they enter, the key
shifts suddenly back home to E-flat. This rich counterpoint
gradually swells and marks the climax of the song.
0:56 [m. 16]--The altos begin
the last line as the sopranos and tenors are completing their second
statements of the third. The second altos begin first. Both
parts have flowing lines beginning with a descent. Then the outer
voices, sopranos and second basses, come in on a downbeat. The
second basses establish a solid bass line, and the sopranos, after a
long note, follow the flowing alto lines. The tenors, and finally
the first basses make their entrances on a rising figure (a sixth)
first heard from the second basses. The counterpoint continues,
with repetitions of “hülle” and “in Frieden,” the latter heard
three times each from the women’s parts and the second basses.
The first basses omit “hülle” entirely. All parts come
together on “dich ein” for an exceptionally warm and emphatic final
cadence.
1:28--END OF SONG [21 mm.]
3. Letztes Glück (Last Happiness). Text by Max Kalbeck.
Ziemlich langsam (Rather slowly). Ternary form. F MINOR,
2/4 time. Six voices (SAATBB)
German Text:
Leblos gleitet Blatt um Blatt
Still und traurig von den Bäumen;
Seines Hoffens nimmer satt,
Lebt das Herz in Frühlingsträumen.
Noch verweilt ein Sonnenblick
Bei den späten Hagerosen,
Wie bei einem letzten Glück,
Einem süßen, hoffnungslosen.
English
Translation
0:00 [m. 1]--Stanza 1, lines
1-2 (A). The first line
is set to repeated chords with very little motion. The men follow
the women at the distance of only one beat. The terse groups of
two create a sense of restrained urgency. The men sing a faster
dotted (long-short) rhythm on “Blatt um Blatt” to catch up with the
women.
0:10 [m. 5]--The next line
establishes three levels of counterpoint. First, the tenors and
first basses echo their previous dotted rhythm on “still und
traurig.” Before they finish, the women come in together with a
smooth, slightly dissonant rising line in the sopranos. One beat
later, both bass parts echo the dotted rhythm. The tenors follow,
and the first basses drop out. All voices except first basses
arrive together on “von den Bäumen.” The word is extended on
the “dominant” chord. All drop out except the first altos, who
lead directly into the next passage. The first basses do not sing
“von den Bäumen” here.
0:25 [m. 10]--Repetition of
line 1, with the men and women reversed and the music accordingly
shifted in register. The women now follow the men. The only
real alteration is at the end of the women’s line, where their dotted
rhythm on “blatt um blatt” reaches higher and displays more urgency in
the sopranos
0:34 [m. 14]--Repetition of
line 2, beginning with another reversal of men and women on the same
music. For the women, the second bass line is moved all the way
up to the soprano part, and the parts of the tenors and first basses
moved to the altos, thus inverting the parts. On “von den
Bäumen,” the parts come together again, with the sopranos now
dropping out. The tenors retain the original soprano melody, the
first altos sing the previous tenor line, and the second altos and
second basses go back to their original lines. The first basses
join the seconds, and the “bridging” original first alto part is
omitted. The voices thus stop on the “dominant” chord for an
incomplete close.
0:48 [m. 19]--Stanza 1, lines
3-4 (B). All voices come
together for the third line. It is sung warmly in the relative
major key of A-flat. The same two-note groups are present, with
descents in the sopranos, then a narrow half-step rise on
“nimmer.” Second altos and first basses have a lilting line in
gentle syncopation.
0:58 [m. 23]--The fourth line
continues with all voices together in a descending line. The word
“Herz” is held across the bar line. The second altos and first
basses continue to diverge, slowing down and cutting off
“Frühlings-” from the last word. “Träumen” is stretched
out, with flowing lines passed between the parts and syncopation across
the bar line in the women’s parts. The tenors and first basses
finish early and quietly begin the line again as the others
finish. The second altos and second basses join them after
“Herz.” “Frühlingsträumen” pivots the key back home to
F.
1:18 [m. 31]--Stanza 2, lines
1-2 (B continued). The
setting of the first line is very similar to the third line of stanza
1. It is in the other closely related major key based on the home
note (F major). The lilting syncopation is now on top of the
texture in the sopranos. The second altos and tenors, who have
completed the previous line as this one began, enter immediately
thereafter in syncopation on “noch.”
1:27 [m. 35]--The second line
is similar to the last line of stanza 1. It is thinner, though,
with first altos and second basses dropping out. It is also
shorter, as the second basses, along with the tenors, begin the
repetition before the last word is finished (the tenors omit the last
word from the first statement). The first basses simply hold out
the last two syllables on long notes. The sopranos and second
altos drop out after finishing the line the first time. The
overlapping repetition quiets down and moves back to the minor key.
1:42 [m. 41]--Stanza 2, lines
3-4 (A’). The first line
is set to the same music as the opening. The women begin as the
men are finishing the previous repetition. The men then enter
immediately, following at the same distance as they did at the
beginning. At the end of the line, the men replace their dotted
rhythm with a syncopation on “letzten.” Brahms indicates that
this should be much quieter than the opening.
1:51 [m. 45]--The first basses
lead into the last line, which is almost entirely new, but somewhat
related to the B
section. It is a very expressive, flowing setting with light
counterpoint and syncopation. All voices repeat the first two
syllables of “hoffnungslosen” except the first basses, whose lead-in on
“einem süßen” is repeated instead. They briefly drop
out, re-joining as all the other voices sing the last word in its
entirety together. The sopranos rise in another syncopation,
delaying their motion to the last two syllables, with a “hopeless”
descending drop against the last chord.
2:19--END OF SONG [52 mm.]
4. Verlorene Jugend (Lost Youth). Text by Josef
Wenzig, after a Slovak folk poem. Lebhaft, doch nicht zu schnell
(Lively, but not too fast)--Ein wenig gehalten (Slightly
restrained). Alternating strophic (ABA’B) form. D
MINOR/MAJOR, 3/4 time. Five voices (SATBB)
German Text:
Brausten alle Berge,
Sauste rings der Wald,
Meine jungen Tage,
Wo sind sie so bald?
Jugend, teure Jugend,
Flohest mir dahin;
O du holde Jugend,
Achtlos war mein Sinn!
Ich verlor dich leider,
Wie wenn einen Stein
Jemand von sich schleudert
In die Flut hinein.
Wendet sich der Stein auch
Um in tiefer Flut,
Weiss ich, dass die Jugend
Doch kein Gleiches tut.
English
Translation
0:00 [m. 1]--Stanza 1 (A). In a severe minor key, the
altos lead a call and response on a leaping melody that is buoyant, yet
unsettling. The other voices respond to the altos at the distance
of a bar. The sopranos imitate them exactly on the same
pitches. The lower three (male) parts harmonize with the
sopranos.
0:08 [m. 5]--At this point, the
lower (male) parts break with the sopranos and continue with their text
slightly behind the altos. Because they sing slower notes, the
sopranos “catch up” to them by the fourth line. The third line
rises in pitch and intensity, and the last line introduces
syncopation. This last line is repeated in all parts at a lower
level reaching a cadence. The altos further repeat “so bald” on
the keynote to participate in the cadence. The male parts are
slightly offset rhythmically from the sopranos.
0:21 [m. 12]--Stanza 2 (B). The tempo is marked as a
bit slower, and the key changes to the major mode. The five
voices sing in block harmonies, the two bass parts combining before the
high point. A prominent dotted rhythm marks the buildup to the
high point at the third line. For two bars, it is on the third
beat, then it moves to the second beat in the last bar before the
top. In the bar (m. 15) of the climax, the dotted rhythm moves to
the first beat. It is then abandoned. The music diminishes
after the top is reached.
0:33 [m. 17]--The last line
further diminishes and descends, making a sudden dark turn toward E
minor. The male parts are slightly offset from the sopranos and
altos on “achtlos.” The line is repeated to the same basic music,
but it makes a very beautiful turn back to D major for a wistful rising
cadence.
0:47 [m. 23]--Stanza 3 (A’). The material is
essentially the same as stanza 1, but the leading voice is now the
first basses instead of the altos. The sopranos are still the
imitating voice. The low second basses remain the same. The
tenors and altos redistribute the previous tenor and first bass parts.
0:54 [m. 27]--The third and
fourth lines continue the same patterns, but there are some slight
alterations to the material. The second basses change their
accentuation and declamation slightly from stanza 1. The tenors
and altos make some deviations in their transfers of the previous tenor
and first bass parts. The cadence at the end is the same as in
stanza 1.
1:08 [m. 34]--Stanza 4 (B). Lines 1-3, as at 0:21 [m.
12], stanza 2, with matching declamation.
1:19 [m. 39]--Line 4 and its
repetition, as at 0:33 [m. 17], stanza 2. Male parts are offset
on “doch kein.”
1:38--END OF SONG [44 mm.]
5. Im Herbst (In Autumn). Text by Klaus
Groth. Andante. Varied strophic form. C MINOR/MAJOR,
6/4 time. Four voices (SATB)
German Text:
Ernst ist der Herbst.
Und wenn die Blätter fallen,
sinkt auch das Herz
zu trübem Weh herab.
Still ist die Flur,
und nach dem Süden wallen
die Sänger, stumm,
wie nach dem Grab.
Bleich ist der Tag,
und blasse Nebel schleiern
die Sonne wie die Herzen, ein.
Früh kommt die Nacht:
denn alle Kräfte feiern,
und tief verschlossen ruht das Sein.
Sanft wird der Mensch.
Er sieht die Sonne sinken,
er ahnt des Lebens
wie des Jahres Schluß.
Feucht wird das Aug',
doch in der Träne Blinken,
entströmt des Herzens
seligster Erguß.
English
Translation
0:00 [m. 1]--Stanza 1, lines
1-4. The slow 6/4 bars create an almost dreamlike flow. The
voices sing the “autumnal” minor-key harmonies. Chromatic
dissonant notes are isolated and strategically placed, as are accents
and syncopations. The middle voices (altos and tenors) are more
active than the outer parts. At the third line, the middle parts
begin slightly earlier than the outer parts. All voices except
the basses repeat the third line. The basses instead begin the
fourth line earlier and stretch it out. The repetition is the
high point, and all parts descend and diminish from there. There
is a strong half-close.
0:39 [m. 10]--Stanza 1, lines
5-8. The fifth line begins like the first, but the sixth diverges
from the second, adding a halting rising scale to the soprano part and
similar anticipatory activity (also rising) to the bass line. The
seventh line is again the high point, but Brahms indicates a softer
level. Set in contrary motion between women and men, the notes
are longer than in lines 3 and 4. The last line is repeated
quietly and starkly in all parts for a full and rather bleak close, the
basses splitting on the last two notes. The cadence is to an open
fifth rather than a full chord, creating a “hollow,” desolate, and
somewhat archaic effect.
1:18 [m. 1]--Stanza 2, lines
1-3. Brahms rather deftly adapts three lines of the shorter
stanza to four of the longer one using the same music. He does
this by repeating “die Sonne” where the last words of the third line
(“das Herz”) were set in stanza 1. The upper parts repeat the
last part of the third line, which is a deviation from stanza 1, where
the last words were not the ones repeated. The basses still
stretch these words out rather than repeating anything.
1:56 [m. 10]--Stanza 2, lines
4-6. The music is the same as at 0:39. The adaptation is
not as complicated here, since the number of syllables in the sixth
line is the same as in the last two of stanza 1. The repetition
at the end cuts off the first chord, however, as the last syllable of
“verschlossen” cannot be repeated, so the actual repetition, “ruht das
Sein,” loses a syllable. This abridgement makes the ending even
more stark.
2:37 [m. 20]--Stanza 3, lines
1-4. Brahms indicates a change to the major key here, but it does
not happen right away. The first chord is still in minor, but the
emergence of major on the second chord (“wird”) and especially on
“Mensch” is like a sudden daybreak. Still, the first two lines
are very similar to the other stanzas. The third and fourth lines
are also similar, but the harmonies are more chromatic. Only “er
ahnt” is repeated. At “des Lebens,” the high point, there is a
significant alteration. The previously active middle parts hold
their notes while the sopranos and basses sing a stark unison
descent. They hold “Jahres,” allowing the middle voices to catch
up. Then comes the familiar strong half-close.
3:16 [m. 30]--Stanza 3, lines
5-6. The second half of the stanza diverges significantly.
The fifth line is similar to stanza 1 at 0:39 [m. 10], but it begins in
F major, the first significant key change in the song. The sixth
line presses forward over a large crescendo, further moving the key up
the circle of fifths to B-flat. Then the line is repeated,
striving further upward in both pitch and key. Another level of
modulation, to E-flat, creates a huge surge of intensity as all parts
soar to their highest notes thus far.
3:40 [m. 36]--Stanza 3, lines
7-8. The seventh line descends, but the climax is
prolonged. The motion back to C major, using the relative
relation of E-flat to C minor,
is very artful and satisfying. The lower parts repeat
“entströmt” as the sopranos soar even higher in an extension of
“Herzens.” The voices come together in contrary motion (the men
moving upward, the women descending precipitously) at the end of the
last line, which delays resolution by a detour and pause on the chord
of A minor (relative to C major).
3:57 [m. 40]--The last line
(“seligster Erguß”) is repeated, as at the end of the other
stanzas. After the preceding climax, the repetition restores the
quiet, solemn character. Despite the poignant chromatic notes
borrowed from the minor, the resolution to the major key, the fuller
harmony, and moving inner parts make this repetition warm and consoling
where the corresponding endings to the other stanzas were stark and
bleak. The basses split on the last two notes, as they had done
before. The sopranos avoid a descent to the keynote, lending an
“open” character to the final cadence. The word “Erguß”
dies away.
4:19--END OF SONG [42 mm.]
END OF SET
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