THREE PARTSONGS (GESÄNGE) FOR SIX-VOICE MIXED CHORUS,
OP. 42
Recording: North German
Radio Chorus, conducted by Günter Jena; Gernot Kahl, piano (No.
2)
[DG 449 646-2]
Published 1868.
Op. 42 represents the earliest of Brahms’s secular partsongs for
mixed
chorus. They were preceded in publication by some sacred
works
for a capella chorus (notably the two motets, Op. 29), and two
other
secular choral works: the songs for women's chorus, 2 horns, and
harp,
Op. 17, and the contemporary songs for men's chorus, Op. 41.
Op.
42 begins a line of a capella secular choral works that would
continue
with Opp. 62, 93a, and 104. This set of three is further
distinguished by being written for six-voice chorus
throughout.
Brahms specifies divided altos and basses, as he always did when
writing for the six-voice ensemble, although the first alto part
can
almost certainly be taken by second sopranos in a standard
chorus. Choral writing in six parts lends a trademark
richness
that is absent from standard four-part writing. It also
allows
the composer to set off women against men in antiphonal
call-and-response, as he does in Nos. 1 and 3. This is much
more
effective with each group in three-part harmony. The first
song
employs antiphonal response growing toward the full texture at the
end
of each verse. The second, to a text by Müller (famous as
the writer of the poems set by Schubert in “Winterreise”), has the
six
voices moving together throughout, creating a particularly warm
effect. This song has an optional piano part that does not
merely
double the voices, and is used in this recording. The third,
most
substantial song also uses call-and-response techniques as well as
an
effectively contrasted middle section. The opus number is
deceptively high, as the three songs were written around 1859-60
and
are roughly contemporary with Op. 17.
A word about Ossian, the “author” of No. 3. Supposedly an
English
translation of ancient Celtic epic poetry, “Ossian” is a 1762
collection manufactured by the Scottish poet James
MacPherson.
MacPherson's work was given much credibility in German-speaking
lands
because it had been translated and admired by Herder, one of the
most
influential figures in German literature.
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. The link to the translation of No. 3 contains a
literal English rendering of Herder’s poetic translation. A
further link to the original Ossian/MacPherson English text is
also
included.
IMSLP
WORK PAGE
ONLINE
SCORE
FROM IMSLP (First Edition from Brahms-Institut
Lübeck--Note that the tenor clef is used. An extra scan of
No. 3 precedes the full edition)
ONLINE
SCORE FROM IMSLP
(From Breitkopf & Härtel Sämtliche Werke)
ONLINE SCORES FROM THE CHORAL PUBLIC DOMAIN LIBRARY (Choral Wiki):
Complete
No.
1: Abendständchen
No.
2: Vineta (does not include the optional piano part)
No.
3: Darthulas Grabesgesang
1. Abendständchen (Evening Serenade). Text
by
Clemens Maria Wenzeslaus von Brentano, from the German operetta
libretto “Die Musikanten.” Langsam (slowly). Strophic form
with
slight variation. G MINOR/MAJOR, Cut time [2/2], with two
isolated measures of 3/2 (one per strophe).
German Text:
Hör, es klagt die Flöte wieder
Und die kühlen Brunnen rauschen,
Golden wehn die Töne nieder,
Stille, stille, laß uns lauschen!
Holdes Bitten, mild Verlangen,
Wie es süß zum Herzen spricht!
Durch die Nacht die mich umfangen,
Blickt zu mir der Töne Licht.
English Translation
0:00 [m. 1]--First strophe
(stanza 1), beginning in G minor. The women are imitated
literally by the men for the first line, at a distance of one
beat. The men’s statement of the word “wieder” is half as
long. The halting echo effects and the minor key underscore
the
“lamenting” of the flute.
0:10 [m. 4]--The statement
of
the second line begins imitatively, as had the first, but the
voices
come together in a 3/2 measure with rocking motion in triplet
rhythm. The second basses initially lag behind the tenors
and
first basses. The men “catch up” with the text in this
measure.
0:21 [m. 8]--Third line of
text. The imitation is similar to line 1, but now both alto
parts
and the tenors lead, followed by the sopranos and basses.
The two
bass parts come together here, the imitation eliminating the top
harmony of the alto/tenor lead, among other slight
alterations.
The harmony moves to major.
0:30 [m. 11]--The last
line of
the stanza begins with the same imitation (sopranos/basses
following
altos/tenors) for two statements of the word “stille,” the basses
moving again into two parts. The notes of the imitating and
leading voices are now completely different. Slight
syncopation
brings the parts closer together.
0:41 [m. 15]--Tenors and
first
basses lead in another statement of the last line. The two
alto
parts provide inner motion as the verse reaches its cadence.
The
second altos move after the other parts to the final
syllable.
The cadence in G major achieves full closure.
0:59 [m. 21]--Second
strophe
(stanza 2). The first line is as at the beginning.
1:07 [m. 24]--The second
line
begins as at 0:10 [m. 4], but the melody pushes higher and new
harmonies are introduced in a slight variation before and during
the
3/2 measure.
1:19 [m. 28]--Third line
of
text. It is similar to 0:21 [m. 8], but now the three men’s
parts
are imitated by the women. The harmony remains in
minor.
Instead of the top note, the bottom note is initially left out of
the
imitation, but the women remain in three parts and it later
emerges. The imitation is again not exact.
1:27 [m. 31]--Last
line.
Altos and tenors resume the lead, as at 0:21 [m. 8] and 0:30 [m.
11]. The passage is mostly identical to that at 0:30 [m.
11], but
with a slight and clever alteration to accommodate the different
declamation of the text (“Blickt zu mir”--three syllables as
opposed to
“Stille, stille”--four syllables) in the two opening
statements.
Because the third line remained in minor, the sudden shift to
major
here creates a completely new effect that was not present at 0:30
[m.
11]. There is also a new crescendo,
an increase in volume not heard in stanza 1.
1:38 [m. 35]--Second
statement
of the last line of the stanza, as at 0:41 [m. 15], but now the
second
basses join in the lead (this is somewhat facilitated by the
one-syllable “Licht” instead of the two-syllable “lauschen” in the
second basses at the end of the previous statement). It is
otherwise similar to the first cadence, except the “moving” alto
parts
now are in triplets (groups of three instead of two notes to a
beat),
so that there is a sense of more motion toward the final
cadence.
Also, the second altos do not move after the cadence (another
function
of the “missing” syllable). Brahms also indicates full
volume (forte) here, as
opposed to 0:41 [m.
15], which was marked piano.
2:02--END OF SONG [40 mm.]
2. Vineta (Vineta). Text by
Wilhelm
Müller. Con moto. Ternary form (ABA’). B MAJOR,
3/8 time.
German Text:
Aus des Meeres tiefem, tiefem Grunde
klingen Abendglocken, dumpf und matt.
Uns zu geben wunderbare Kunde
von der schönen, alten Wunderstadt.
In der Fluten Schoß hinabgesunken,
blieben unten ihre Trümmer stehn.
Ihre Zinnen lassen goldne Funken
widerscheinend auf dem Spiegel sehn.
Und der Schiffer, der den Zauberschimmer
einmal sah im hellen Abendrot,
nach der selben Stelle schifft er immer,
ob auch ringsumher die Klippe droht.
Aus des Herzens tiefem, tiefem Grunde
klingt es mir wie Glocken, dumpf und matt.
Ach, sie geben wunderbare Kunde
von der Liebe, die geliebt es hat.
Eine schöne Welt ist da versunken,
ihre Trümmer blieben unten stehn,
lassen sich als goldne Himmelsfunken
oft im Spiegel meiner Träume sehn.
Und dann möcht ich tauchen in die Tiefen,
mich versenken in den Wunderschein,
und mir ist, als ob mich Engel riefen
in die alte Wunderstadt herein.
English Translation (with
brief
explanation of "Vineta")
Throughout the song, the pentameter of the poem is usually
translated
into distinctive five-bar phrases/lines, but four of them are
expanded
to six bars.
A section--Stanzas 1-3
0:00 [m. 1]--First
stanza. It is sung in a rocking, barcarolle-like
motion.
The six vocal parts move together. If certain parts add more
moving notes (such as first altos and tenors at the end of the
second
line), they stay on the same syllable of text as the other
parts.
The optional piano part adds to the rocking motion with the right
hand
responding to the bass downbeat. The third line (phrase)
moves
strikingly to B minor and D major. The last line begins in D
major, but is wrenched back to a B-major cadence in the last three
bars.
0:34 [m. 1]--Second
stanza. It is musically identical to the first.
1:08 [m. 21]--Third
stanza. The first line is presented by women alone in
another
minor-tinged passage that is much quieter. The piano part is
reduced to
long single notes. The men join at the second line, still at
a
quiet level, now including a full piano part and moving to a
half-cadence in the “dominant” key of F-sharp.
1:25 [m. 31]--The last two
lines return to the character of the first two stanzas, with some
intensification (such as higher pitches at “Stelle”). The
extension of the word “Klippe” through a syncopation before the
cadence
results in the first six-measure phrase. There is slight
text
shifting in the two bass parts at the end, as they repeat “auch
rings-”
instead of expanding “Klippe.” The cadence achieves full
closure.
B section--Stanza 4
1:45 [m. 42]--All parts
sing in
quiet unison except sopranos and tenors for first
line/phrase.
The piano also plays octaves. The word “Grunde” is expanded
to
make a six-bar phrase. The sopranos and tenors join on the
second
line/phrase, the piano now playing chords and the voices
harmonizing. The first two phrases move to C major (through
E
minor) in a colorful half-step modulation.
2:05 [m. 53] --The texture
and
character of the main “barcarolle” rhythm return in the voices and
piano for the last two phrases. There is buildup during a
motion
through E major back home to B. The last word “hat” is
expanded
for another six-bar phrase that ends with a half-cadence.
A’ section--Stanzas 5-6
It is mostly musically identical to the A section, but the music of the
first (fifth) stanza is not repeated as it was for the second, and
there are dynamic changes in the sixth stanza.
2:23 [m. 64]--Fifth
stanza. Musically identical to the first and second stanzas
except for some slight alterations at the beginning in the second
alto,
tenor, and second bass parts.
2:57 [m. 84]--Sixth
stanza. Although essentially musically identical to the
third
stanza, it is sung strongly throughout, without the dramatically
quieter opening. Also, the altos join together on the
previous
first alto part in the first line, the tenors now taking the
previous
second alto part (the basses are still absent). The previous
part
layout is restored in the second line, with the men joining.
3:14 [m. 94]--As at 1:25
[m.
31]. “Wunderstadt” is expanded (as “Klippe” had been) for
the
last six-bar phrase at the cadence (with text shifting in the
vocal
bass parts).
3:38--END OF SONG [104 mm.]
3. Darthulas Grabesgesang
(Darthulas Grave Song).
Text
by Johann Gottfried Herder, adapted from an English text by Ossian
(James MacPherson). Moderato, ma non troppo. Ternary
form
(ABA’). G MINOR, Cut time [2/2] with several 3/2 insertions.
German Text:
Mädchen von Kola, du schläfst!
Um dich schweigen die blauen Ströme Selmas!
Sie trauren um dich, den letzten Zweig
von Thruthils Stamm!
Wann erstehst du wieder in deiner Schöne?
Schönste der Schönen in Erin!
Du schläfst im Grabe langen Schlaf,
dein Morgenrot ist ferne!
Nimmer, o nimmer kommt dir die Sonne
weckend an deine Ruhestätte: “Wach auf!
Wach auf, Darthula!
Frühling ist draußen!
“Die (lauen) Lüfte säuseln,
Auf grünen Hügeln, holdseliges Mädchen,
Weben die Blumen!
Im Hain wallt sprießendes Laub!”
Auf immer, auf immer, so weiche denn, Sonne,
Dem Mädchen von Kola, sie schläft!
Nie ersteht sie wieder in ihrer Schöne!
Nie siehst du sie lieblich wandeln mehr.
English Translation
Original
Ossian/MacPherson
English text
A Section (2½ stanzas,
5 musical 2-phrase “statements”)
0:00 [m. 1]--First musical
statement, corresponding to the first two lines of text. The
two
alto parts present the first line beginning in stark unison, then
dividing and ending on a bare fifth. The three male parts
answer
in harmony, moving to 3/2 for two bars at the soaring line on
“blauen
Ströme.”
0:20 [m. 8]--Second
musical
statement, corresponding to the third and fourth lines of text
(end of
the first stanza). Altos begin the statement as before, but
do
not complete the line of text (instead repeating “um dich.”)
A
new and longer response from tenors and basses incorporates both
lines
of text. There is one 3/2 bar at the second statement of
“letzten
Zweig.” The cadence is more full than that of the first
statement.
0:41 [m. 17] --Third
musical
statement, corresponding to the first line of the second
stanza. The altos begin their unison statement as before,
but are
quickly imitated by the tenors, then undivided basses at a
distance of
one measure, each voice finishing in succession. The end of
the
alto line is moved lower and remains undivided. The tenor
line
begins at a different pitch level, but ends as the original alto
line
had. The basses present their line exactly as the original
alto
line an octave lower, dividing and ending on a fifth.
0:55 [m. 23]--First
entrance of
the sopranos. The women’s parts present a response using the
music the men used in the first statement (with two 3/2
bars).
They are joined by the tenors, so the texture of the response is
in
four parts instead of three. The sopranos match the previous
tenor line, but the lower three parts redistribute and expand upon
the
previous bass parts (the first alto line nearly matching the
previous
first bass line). The new tenor line is more active at the
beginning, lagging slightly behind the female parts. The
text is
the same as at 0:41 [m. 17] (thus, the third musical “statement”
only
uses one line of text).
1:06 [m. 27]--Fourth
musical
statement, corresponding to lines 2-4 of the second stanza.
The
basses present the opening phrase, just as the altos had done in
the
first two statements (and they themselves had done while imitating
in
the third statement). The response uses the music of the
second
statement, but it is sung by the women, again with the added tenor
line, with similar redistribution to that heard at 0:55 [m.
23].
As in the second statement, there are two lines of text in the
response, but the text of the opening bass phrase is not repeated,
so
the statement contains three lines of text.
1:27 [m. 36]--Fifth
musical
statement (transition), corresponding to the third stanza (with
some
text repetition) up to (not including) the imperative “Wach
auf!”
The basses begin the familiar statement, but women, then tenors
quickly
enter. The women then take the lead at “kommt dir die Sonne”
for
two imitative phrases and the first real intensification of the
song. The phrases hint at B minor. All voices then
come
together, moving back to G minor and settling down for the
unresolved
cadence.
B Section (1½
stanzas)--Poco animato, G Major
1:54 [m. 48]--The opening
of
the B section
immediately
resolves the tension of the previous cadence, but the musical
idiom is
entirely different. The voices begin together, at a quicker
speed, in the major key, and no longer in the archaic style of the
A section. Two
triplets
(three-note groups in the space of two) are introduced. All
six
voices present the imperative to Darthula to “Wake up!” and
continue in
the same vein through the end of the third stanza and the first
two
lines of the fourth. The musical style is almost “pastoral,”
indicative of Darthula being told that “spring is outside,” but
the
quiet dynamic level reminds us that this is still a funeral hymn,
as do
minor-key tinges at the end of the passage.
2:14 [m. 59]--The women
continue with the last two lines of the fourth stanza, set to
similar
music. The men imitate the musical line, but restate the
previous
text to almost the same music as before. Almost
imperceptibly,
Brahms inserts the word “lauen” (“tepid”) into the tenor line
before
“Lüfte,” resulting in “tepid breezes” whispering. The top
two female parts repeat “sprießendes” to a lilting triplet
rhythm. This passage is polytextual
(different parts present different texts at the same time).
2:24 [m. 65]--The women
drop
out, and the men continue their statement with the second line of
the
fourth stanza, to the same music as before, but with an obviously
thinner texture than when all six voices sang it.
2:34 [m. 70]--The men
begin a
series of three antiphonal exchanges with the women. The men
first state the third line of stanza four (“weben die Blumen”),
but the
women then state (in exact musical imitation), the imperative
“Wach
auf, Darthula!” Two more exchanges follow on the imperative.
Then
the pattern is broken in a series of rising interjections of "Wach
auf!" passed from the tenors to the two alto parts. These
three
parts provide a harmonic backdrop to an echo from the first
basses. The music gradually settles, moves back to minor,
and
seamlessly transitions to the A’
section (varied and abbreviated reprise).
A’ Section (1 stanza, 2
musical 2-phrase “statements”)--Tempo I
The word “auf,” heard repeatedly in “Wach auf!” at the end of the
B section, is also the
first word
of the last stanza, obscuring the boundary between sections.
The
two statements use the same elements as those of the A section, but rearranged.
2:54 [m. 80]--First
musical
statement, corresponding to the first two lines of the last
stanza. Basses present the opening phrase (as in the fourth
statement in A at 1:06
[m.
27]). Women and tenors respond as in the third statement and by
extension,
the first (0:55 [m. 23]). Also, the two 3/2 bars are changed
to
three 2/2 bars to reflect the different accentuation of the text.
3:16 [m. 89]--Second
musical
statement, corresponding to the last two lines of the last
stanza. There is an “imitative” opening statement, as in the
third statement above (0:41 [m. 17]). Women and tenors
respond as
in the fourth
statement. So the two statements of A’ combine and rearrange the
call/response structures of the third and fourth statements of A.
3:43 [m. 100]--Coda. The first line of
the
poem is used as a coda, with several dovetailing vocal entries and
a
major/minor mixture. The opening itself dovetails with the
completion of the previous statement, the second altos “sliding”
into
it. The second altos and both bass parts call “Mädchen von
Kola,” and the sopranos and first altos respond with “sie
schläft.” Tenors and second basses then call, and both alto
parts respond as the first basses state “Mädchen von Kola” one
more time in longer notes. Tenors and second basses present
a
final “sie schläft,” and hold the last note. Both alto parts
then simply state “schläft,” and finally the sopranos join the
altos for a last repetition of the word as the first basses finish
their phrase. The final held chord is major (the so-called
“picardy third“). Over the course of this coda, the voices
seem
to actually “fall asleep.”
4:17--END OF SONG [107 mm.]
END OF SET
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