Recording: Dietrich Fischer-Dieskau, baritone; Daniel Barenboim, piano [DG 449 633-2]
Published 1868.

This is a very special and unusual song set.  Starting with Op. 46, Brahms published 21 songs in four consecutive opus groupings (through Op. 49).  Such “sets of sets” became the norm thereafter.  Op. 43, standing alone and surrounded by choral works, serves as a kind of “prelude” to Opp. 46-49.  Its grouping and publication are rather noteworthy.  The first two songs are sublime masterpieces, among the best of the entire song output.  Their curious pairing with the other two, which are of lesser quality and were written somewhat earlier, was the result of the publisher Rieter-Biedermann desperately wanting to claim them after hearing the response to a performance.  Brahms must have realized how great these two songs were, and he indicated to Rieter-Biedermann that he was probably going to group them with some others he was working on (presumably somewhere in Opp. 46-49).  “Die Mainacht” would have fit well in Op. 46, where the poet Hölty is represented twice, for example.  But not wanting to disappoint a publisher who particularly wanted these two songs and did not want to wait, he acquiesced.  His comments indicated that the two earlier songs (Nos. 3 and 4) were included so that a set could be made, but grumbled mildly that “the poets were thrown in disorder.”  The set still works well as a unit, the long No. 4 balancing the two masterpieces.  No. 3 is simply a solo arrangement of the first of the male choruses, Op. 41.  The choral version is more effective.  It is an “old German” song set in an appropriately archaic style, and is very similar to Op. 48, No. 6 (which also exists in a choral version).  “Von ewiger Liebe,” No. 1, is dramatic, intense, and extremely satisfying, while “Die Mainacht,” No. 2, is gorgeously lyrical.  No. 4 is probably the weakest.  It is one of Brahms’s few settings of a genuine ballad text, but in comparison to “Von ewiger Liebe,” its rather strained drama is much less convincing.

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

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck--original keys)

ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke----original keys--includes front matter of Sämtliche Werke, v. 24)
ONLINE SCORE FROM IMSLP (Edition Peters, edited by Max Friedländer):
No. 1: Von ewiger Liebe (in original key, B minor/major)
No. 1: Von ewiger Liebe (in high key, C-sharp minor/D-flat major)
No. 2: Die Mainacht (in original key, E-flat major)
No. 2: Die Mainacht (in high key, F-sharp major)
No. 3: Ich schell
mein Horn ins Jammertal (in original key, B-flat major)
No. 3: Ich schell
mein Horn ins Jammertal (in low key, G major)
No. 4: Das Lied vom Herrn von Falkenstein (in original key, C minor)
No. 4: Das Lied vom Herrn von Falkenstein (in high key, D minor)

Nos. 3-4 (high keys [No. 3 original key]--higher resolution)

1. Von ewiger Liebe (Of Eternal Love).  Text by August Heinrich Hoffmann von Fallersleben, after a Wendish folk text.  Mäßig (Moderately)--Ziemlich langsam (Rather slowly).  Three-part through-composed form with strophic elements.  B MINOR/MAJOR, 3/4 and 6/8 time (High key C-sharp minor/D-flat major).

German Text:
Dunkel, wie dunkel in Wald und in Feld!
Abend schon ist es, nun schweiget die Welt.
Nirgend noch Licht und nirgend noch Rauch,
Ja, und die Lerche sie schweiget nun auch.

Kommt aus dem Dorfe der Bursche heraus,
Gibt das Geleit der Geliebten nach Haus,
Führt sie am Weidengebüsche vorbei,
Redet so viel und so mancherlei:

»Leidest du Schmach und betrübest du dich,
Leidest du Schmach von andern um mich,
Werde die Liebe getrennt so geschwind,
Schnell wie wir früher vereiniget sind.
Scheide mit Regen und scheide mit Wind,
Schnell wie wir früher vereiniget sind.«

Spricht das Mägdelein, Mägdelein spricht:
»Unsere Liebe sie trennet sich nicht!
Fest ist der Stahl und das Eisen gar sehr,
Unsere Liebe ist fester noch mehr.

Eisen und Stahl, man schmiedet sie um,
Unsere Liebe, wer wandelt sie um?
Eisen und Stahl, sie können zergehn,
Unsere Liebe muß ewig bestehn!«

English Translation

0:00 [m. 1]--The 4-bar piano introduction sets the mood with a low bass melody and a very steady, quiet, strangely ominous 3/4 motion.  The right hand responds with off-beat arpeggios and isolated double notes or chords after the third beat of each bar.  The right hand remains in the low middle register as well.
0:08 [m. 5]--Stanza 1.  The singer begins in a low register, continuing the mood of the introduction.  The word “dunkel” is given isolation and emphasis.  The piano continues the rhythm pattern of the introduction.  The off-beat arpeggios move to the left hand.  The isolated notes after the third beat are now single notes.  The right hand moves to a higher level and plays chords that shadow the vocal melody.  The melody itself begins with the same ominous bass line heard in the introduction.  The second line begins higher and winds its way downward, including a plunging octave leap on “schweiget.”  There is a motion to D minor/major.
0:21 [m. 12]--The piano anticipates the vocal line at line 3, which includes some chromatic notes and half-steps.  It begins on D minor, but moves quickly back to B.  The word “ja” is attached to the third line rather than the fourth.  The third line builds slightly, but line 4 settles down to a surprising full cadence.  The piano pattern remains quite constant.  The singer’s range remains rather low throughout the stanza.  The introduction is repeated before the next stanza, beginning at the vocal cadence.
0:46 [m. 25]--Stanza 2.  Brahms sets the second stanza to exactly the same music as the first, in both the vocal line and the piano part.  This is striking, since the rest of the song is decidedly through-composed and non-strophic.  There are some alterations to rhythm and declamation to fit the text, notably the omission of the high note used for “ja” in stanza 1 and the addition of repeated notes for extra syllables.  There is also a buildup, rather than a settling, in line 4.  Only the last note of the vocal line is changed to avoid “full” closure and lead into the dramatic music of the next section, but the introduction is repeated as before.
1:22 [m. 45]--Stanza 3.  After the “narrative” character of the first two stanzas, Brahms suddenly intensifies the drama for the unusual six-line stanza containing the boy’s words to the girl.  The piano adopts a highly intense triplet rhythm in the high register it has avoided up to this point of the song.  The arpeggios are rather angular, with downward octave leaps and smaller upward leaps.  The vocal line also suddenly breaks into the high register against the triplet pattern of the piano’s right hand line.  The left hand plays two-note harmonies and, on vocal rests, low octaves in long-short rhythm.  Later octaves march up and leap down.
1:36 [m. 53]--After a half-cadence, lines 3 and 4 are set to the same music as the first two lines, with alterations to rhythm and declamation.  The volume has now reached a rather strong level.  The same half-cadence is reached.
1:50 [m. 61]--The last two lines of the stanza come to a marvelous climax, and are set to similar, but new and much higher music.  Brahms indicates a large crescendo and even a slight quickening of the “moderate” speed.  Under the last line, the low bass octaves steadily march up, including powerful dotted (long-short) rhythms.  The cadence is full and powerful.
2:02 [m. 68]--An unusually large piano interlude follows this first climax.  At first, it continues the drama of the last two lines.  The piano continues its angular triplet rhythm, at first with a steady upper note (B).  Against this, the left hand plays a melodic line with two-note harmonies (mostly sixths).  This is punctuated with low bass octaves that also later become melodic.  The music gradually quiets down to a very hushed, almost motionless point for the girl’s response.  The right-hand triplets work their way downward to the middle register, and the left hand slows down to longer and lower harmonies.
2:25 [m. 79]--Stanza 4.  The music completely changes for the girl’s response.  The time signature changes to 6/8, which is a smooth transition from the triplet rhythm of the preceding music.  Brahms also marks a tempo change from “moderately” to “rather slowly” (“Ziemlich langsam”).  Finally, the mode shifts from B minor to B major.  The narrative introduction and her first words are extremely quiet and subdued.  The music is now very sweet and comforting, in stark contrast to what has gone before.  The piano introduces a rocking figure on the first half of each bar.  This turning figure will pervade the entire final section.
2:53 [m. 87]--The last two lines of the stanza increase somewhat in speed, volume, and intensity, but the rhythmic pattern continues in the piano.  Already in the bar bridging to the third line, the piano has introduced the “rocking” figure at a lower level on the second half of the bar.  The harmony is quite unstable, first suggesting E major and then, on the other side of the home key, F-sharp major before becoming highly chromatic in the fourth line.  The music settles down after “unsere Liebe.”
3:11 [m. 94]--Another, briefer interlude slows the music down again and brings it back to the soft level of the section’s opening.  This already begins at the fourth stanza’s final half-cadence.  The rocking figure continues over harmonies and the established bass pattern, but now the patterns on the second beat move out of the middle range.  At first, they are higher than those on the first beat, but then they settle together on a steady trill-like motion that is played close below a long held note as the music slows.  All of this is over  steady bass octaves on the preparatory “dominant” note.  A distinct upbeat leads into stanza 5.
3:27 [m. 99]--Stanza 5.  The first two lines are a nearly strophic repetition of those in stanza 4.  The first words (“Eisen und Stahl”) swing down lower, but then “man schmiedet sie um” remains at a high, questioning level rather than descending, as had the narrative words in stanza 4.  The long top right hand notes are also now syncopated.  Other than this, the second line, with a similar opening (“unsere Liebe”) is set in the same way as in stanza 4.
3:52 [m. 107]--The increase in speed and volume begins as at 2:53 [m. 87], but rather than settling down, the intensification continues to a warm, full-hearted, and very satisfying climax.  The point of departure is after “unsere Liebe.”  These words are repeated for emphasis, and at that climactic point, where the voice reaches its highest pitch, the piano introduces a “cross rhythm” grouping that suggests 3/4 meter.  This cross rhythm gradually moves back to regular 6/8 motion.  A lengthened, syncopated repetition of the key word “ewig” creates a final vocal phrase that is an irregular five bars.
4:16 [m. 117]--The piano postlude begins with the vocal cadence and overlaps with it, creating another five-bar phrase.  It moves back to the cross-rhythm and implied 3/4 motion, which remains in force until the end.  The plunging broken chords descend quickly from the excited cadence to the slow, quiet, and serene ending of a truly great song.
4:41--END OF SONG [121 mm.]

2. Die Mainacht (The May Night).  Text by Ludwig Heinrich Christoph Hölty.  Sehr langsam und ausdrucksvoll (Very slowly and full of expression).  Ternary form (with A’ fusing A and B).  E-FLAT MAJOR, 4/4 time (High key F-sharp major).

German Text:
Wann der silberne Mond durch die Gesträuche blinkt,
Und sein schlummerndes Licht über den Rasen streut,
Und die Nachtigall flötet,
Wandl’ ich traurig von Busch zu Busch.

[ Here a stanza not set by Brahms]

Überhüllet von Laub girret ein Taubenpaar
Sein Entzücken mir vor; aber ich wende mich,
Suche dunklere Schatten,
Und die einsame Träne rinnt.

Wann, o lächelndes Bild, welches wie Morgenrot
Durch die Seele mir strahlt, find ich auf Erden dich?
Und die einsame Träne
Bebt mir heißer die Wang herab!

English Translation (including Stanza 2 of the poem, not set by Brahms)
0:00 [m. 1]--A two-bar piano introduction sets up the slow, lullaby-like accompaniment pattern.  Steadily rising bass notes and chords elicit undulating three-note responses from the right hand.
0:11 [m. 3]--Stanza 1 (A).  The warm melody begins in a low register and moves at a slow pace against the continuing “lullaby” accompaniment.  The first two lines gently rise and fall, the second with slightly more intensity and adding some chromatic notes.
0:42 [m. 9]--The last two lines change keys suddenly, ending up in the minor version of E-flat, which continues through the brief bridge to the next stanza.  The “lullaby” continues in the right hand, but the bass pattern breaks, introducing slow syncopations held across bar lines.  The vocal phrase in the third line rises to the stanza’s highest pitch in the related key of G-flat major, while the last line makes a very slow descent to the minor-key cadence.  The bridge passage is essentially a minor-key version of the introduction.
1:12 [m. 15]--Stanza 2 (B).  Perhaps Brahms skipped Hölty’s second verse so that he could write this highly imaginative ternary form.  The second musical verse begins suddenly in yet another new key, the rather distant B major (although the minor version of E-flat helped to get there).  Musically, it is quite different, being set in a higher register, and with gentle repeated chords and double notes replacing the slow lullaby rhythm in the piano part, the right hand slowly leaping up and down.  The shift in tone color is striking, including the atmospheric chromatic notes.  The first half of the second line suddenly swells in volume from the quiet that has thus far dominated.
1:34 [m. 21]--The piano begins a sudden motion back toward E-flat, which is continued by the voice with the second half of line two.  This unstable passage is rather disturbing and disruptive.  The piano begins the shift at the top of the preceding buildup, introducing arpeggios in the left hand played in triplet rhythm.  The remainder of line two (in A-flat minor) remains strong, ending with a distinctive downward leap in the voice, while the third line settles suddenly back down, both in volume and pitch, in E-flat minor.  The piano motion goes back to the pulsations without the arpeggios, then slows down to isolated syncopations and finally off-beat chords.
2:05 [m. 27]--For the last line, Brahms quickly shifts back to major and an accompaniment resembling the opening (but with the right hand beginning its figures on the beats).  The music magically becomes very warm and full at the climactic word “Träne.”  This word is stretched out with a long note and a descending arpeggio.  The verse ends inconclusively, however.  The piano becomes quiet and slower in the brief interlude resembling the introduction, and comes to an expectant pause.  This vocal line is strangely similar to that of the third line of stanza 3, a relationship that will become more clear at line 3 of the last verse.
2:35 [m. 33]--Stanza 3 (A’).  The first two lines of the verse in the vocal line are musically the same as in the first stanza (with the exception of a syncopated emphasis and lengthening on “find”).  The accompaniment, however, shifts from the slow lullaby rhythm to a more rocking and active, yet still gentle triplet rhythm derived from the lullaby motion.
2:58 [m. 39]--The surprise moment of the song!  At line 3 of the last stanza, the music no longer follows that of the first verse, and suddenly the singer presents the music of the last line of the second stanza, as at 2:05 [m. 27].  The texts of the lines are obviously the same, with the first word of the final line, “bebt,” replacing the earlier “rinnt.”  This is a wonderful example of allowing textual response to override musical form.  What Brahms has essentially done here is to combine the material of the first two musical verses in the last one.  The continuing triplet motion (including chords and double notes) makes the climax  at “Träne” more intense than that at 2:05 [m. 27], however, and where that moment had become inconclusive and abortive, Brahms uses his remaining “extra” line to bring it to a fine resolution.
3:19 [m. 45]--The word “heißer” is repeated on a descending arpeggio, and at that point there is a brief harmonic shift down to E (notated as F-flat) to increase the drama just a bit before the close.  From here, the music settles down.  The word “Wang,” which quickly shifts back down to E-flat, is drawn out with syncopation to accomplish this “settling” to the cadence on E-flat.  The triplet motion continues in the piano until it stops on a chord under the end of “Wang” and the first syllable of “herab.”
3:34 [m. 48]--The piano postlude is similar to the introduction, but with more harmonic “color” notes (mostly D-flats) that indicate the path this incredible song has taken.  It is extended upward for two bars toward a final chord, doubling the length of the introduction and interludes.  The close, after such a fulfilling climax, is soft and slow (and ever slower), as at the song’s hushed beginning.
4:15--END OF SONG [51 mm.]

3. Ich schell’ mein Horn ins Jammertal (I Blow my Horn into the Vale of Tears).  Anonymous Old German text from the famed collection Des Knaben Wunderhorn.  Durchaus nicht zu langsam und ziemlich frei vorzutragen (Not too slowly throughout, and to be presented rather freely).  Simple strophic form.  B-FLAT MAJOR, Cut time [2/2] (Low key G major).

German Text:
Ich schell’ mein Horn ins Jammertal,
Mein Freud’ ist mir verschwunden,
Ich hab’ gejagt, muß abelahn,
Das Wild läuft vor den Hunden.
Ein edel Tier in diesem Feld
Hätt’ ich mir auserkoren,
Das schied von mir, als ich wohl spür’,
Mein Jagen ist verloren.

Fahr hin, Gewild, in Waldeslust!
Ich will dir nimmer schrecken
Mit Jagen dein’ schneeweiße Brust,
Ein ander muß dich wecken
Mit Jägers Schrei und Hundebiß,
Daß du nit magst entrinnen;
Halt dich in Hut, mein Tierlein gut!
Mit Leid scheid’ ich von hinnen.

Kein Hochgewild ich fahen kann,
Das muß ich oft entgelten,
Noch halt ich stät’ auf Jägers Bahn,
Wie wohl mir Glück kommt selten.
Mag mir nit g’bürn ein Hochwild schön,
So laß ich mich begnügen
An Hasenfleisch, nit mehr ich heisch,
Das mag mich nit betrügen.

English Translation

Each eight-line stanza corresponds to four musical lines in each verse.  It is a simple strophic form with all verses under the same staff.  The musical style is very archaic.  The piano simply follows the four-part harmony of the male a cappella choral setting in Op. 41, No. 1, and even the top line, sung by the voice, is in the piano part.  The entire piano part is notated in the bass clef; the treble staff is empty.  The archaic and austere-sounding harmony stems from the fact that the chords are all in “root position” (meaning the keynote of the chord is always in the bass--a B-flat chord will have B-flat in the bass).
0:00 [m. 1]--Stanza 1.  No introduction.  The first musical line (two lines of text) is exactly the same as the second (at 0:12, m. 12).  The rhythm of the poetry leads to unusual 11-measure phrases.  The musical lines rise and fall in B-flat major until suddenly being diverted to a half-cadence in the related G minor (with a hollow fifth serving as the “dominant” chord--without the chord’s third, or middle note) at the phrase’s end.
0:24 [m. 23]--Line 3 (5 and 6 of the poem) provides contrast, with new harmonies and a more insistent melodic line.  The first half of the line suggests C minor.  The second half moves hesitantly back to B-flat major.  The volume swells slightly at the end (louder, then softer).  The phrase is again 11 bars.
0:35 [m. 34]--Line 4 (7 and 8 of the poem) begins as the first two, but what had been the last two notes (at the “-lo-” syllable of “verloren”) are expanded into a very effective melisma, with seven notes on the syllable.  No other syllable in each verse has more than one note.  The melisma includes another loud-soft swell, but is responsible for avoiding the sudden half-cadence in G minor heard in the first two lines.  The music finally settles on the last syllable, “-ren.”  The melisma lengthens the phrase to 14 bars.
0:53 [m. 1]--Stanza 2.  Exact strophic repetition with new text.
1:15 [m. 23]--Line 3.  Notice the singer swell a bit early on the colorful word “Hundebiß” (“dog’s bite”).
1:25 [m. 34]--Line 4.  The melisma is on the syllable “hin-” of “hinnen.”
1:43 [m. 1]--Stanza 3.  Strophic repetition with new text.  The verse is the “lament” and “acceptance” of the singer’s sad hunting story.
2:06 [m. 23]--Line 3.  The grammar of the line break before line 4 (7) suggests carrying the line through.
2:17 [m. 34]--Line 4.  Melisma on the syllable “-trü-” of “betrügen.”  The singer puts emphasis on the final closure.
2:37--END OF SONG [47 mm. (x3)]

4. Das Lied vom Herrn von Falkenstein  (The Song of the Lord of Falkenstein).  Text from Des Knaben Wunderhorn and also included in Johann Ludwig Uhland’s collection of folksongs, as indicated by Brahms.  Allegro.  Sehr kräftig (Very strong/powerful).  Modified strophic/ternary form.  C MINOR, 4/4 time (High key D minor).

German Text:
Es reit’ der Herr von Falkenstein
Wohl über ein’ breite Heide.
Was sieht er an dem Wege stehn?
Ein Mädel mit weißem Kleide.

»Gott grüße euch, Herrn von Falkenstein!
Seid ihr des Lands ein Herre,
Ei so gebt mir wieder den Gefangenen mein
Um aller Jungfrauen Ehre!«

Den Gefangenen mein, den geb’ ich nicht,
Im Turm muß er verfaulen!
Zu Falkenstein steht ein tiefer Turm,
Wohl zwischen zwei hohen Mauren.

»Steht zu Falkenstein ein tiefer Turm
Wohl zwischen zwei hohen Mauren,
So will ich an die Mauren stehn,
Und will ihm helfen trauren.«

Sie ging den Turm wohl um und wieder um:
»Feinslieb, bist du darinnen?
Und wenn ich dich nicht sehen kann,
So komm’ ich von meinen Sinnen.«

Sie ging den Turm wohl um und wieder um,
Den Turm wollt’ sie aufschließen:
»Und wenn die Nacht ein Jahr lang wär’,
Kein Stund’ tät’ mich verdrießen!

Ei, dörft ich scharfe Messer trag’n,
Wie unser’s Herrn sein’ Knechte,
So tät’ ich mit Dem von Falkenstein
Um meinen Herzliebsten fechten!«

Mit einer Jungfrau fecht’ ich nicht,
Das wär’ mir eine Schande!
Ich will dir deinen Gefang’nen geb’n,
Zieh mit ihm aus dem Lande.

»Wohl aus dem Land da zieh’ ich nicht,
Hab’ niemand was gestohlen;
Und wenn ich was hab’ liegen lahn,
So darf ich’s wieder holen.«

English Translation

Each of the nine stanzas is set to one of three basic musical strophes.  Strophe #1=Stanzas 1, 2, 3, and 8.  Strophe #2=Stanzas 4, 7, and 9 (but the last line of Stanza 9 is that of Strophe #1).  Strophe #3=Stanzas 5 and 6.  Brahms thus adds variety to a long, basically strophic setting.  Strophes 1 and 2 are very similar.  Strophe 3 is quite different, and in a different key.  Its music is used for the “middle” stanzas, or the B section of a ternary form.  The same interlude, or bridge, is used between all stanzas except for 5-6 and 6-7.  In all stanzas except 5 and 6, the last word is repeated along with the word “ja” (not meaning “yes,” but adding emphasis.  The “basic strophes” are usually not exact repetitions--the accompaniment has several variations.  Strophes 1 and 2 are 11 measures, while strophe 3 is 10.
0:00 [m. 1]--Stanza 1.  There is no introduction.  The music of strophe #1 is introduced for this narrative verse.  The minor-key vocal line is “dramatic,” as fits the ballad text, and there are many leaps and skips.  The last line makes a slight hint at F minor.  The repetition of the last word (“Kleide”) brings the verse to a full close.  The accompaniment is bare and stark, completely in octaves doubling the vocal line.
0:16 [m. 12]--The “interlude,” which is repeated six times total, is introduced.  It features “sighing” chords and rapid octave skips in the bass.  It is six measures long.
0:25 [m. 18]--Stanza 2.  These are the first words of the woman.  The vocal line is as in stanza 1 (strophe #1), but the accompaniment is varied.  It is still largely octaves, but the hands are separated, the right hand playing off the beat.  Harmony is now introduced for the last line with rich full chords and a significant inner motion at the cadence.
0:40 [m. 12]--Second statement of the “interlude” (moving back with the repeat mentioned below).
0:48 [m. 18]--Stanza 3.  These are the first words of Lord Falkenstein.  Musically, it is the same as Stanza 2, with repeat signs in the score.  There are some variations in declamation and rhythm.
1:03 [m. 29]--Third statement of the “interlude,” outside the repeat sign and moving to the next verse.
1:10 [m. 35]--Stanza 4.  This is the second passage of the woman’s words.  It is the introduction of strophe #2.  The music is very similar to strophe #1 (used in the first three verses), but the “arching” vocal line is replaced with an up-down leaping motion.  The third line is very similar to that of strophe #1, but replaces some leaps with stepwise motion.  Line four is also similar, but only comes to an incomplete cadence instead of a full close.  The accompaniment is similar to that used in stanzas 2 and 3, but the right hand now plays full chords on the off-beats, including syncopation in part of the last line. Brahms indicates an increase in speed here.
1:24 [m. 46]--Fourth statement of the “interlude,” whose bass line is changed at the end to move to the new key (A-flat major) for the B section (stanzas 5 and 6).
1:32 [m. 52]--Stanza 5.  This introduces both the B section and strophe #3.  The new major key is not particularly soothing.  Brahms marks it “drängend” (“urgently”).  These two verses narrate the woman’s trip to the tower and her words to her beloved.  The setting is agitated, but quiet, and in a much higher register.  In contrast to the skips and leaps of the other verses, the vocal motion is mostly conjunct and smooth, with repeated notes.  It increases in volume and becomes even higher in the last two lines, which move to E-flat.  The right hand of the piano follows the vocal line in chords, while the left hand seems to imitate the leaping motion of the interludes.  The last word is not repeated.
1:45 [m. 62]--Stanza 6.  It is not separated by the “interlude.”  It is musically identical to Stanza 5 (strophe #3), with a slight increase in speed.  It again includes the woman’s words to her beloved.  Again, there is no repetition of the last word.
1:56 [m. 72]--Stanza 7.  It is not separated by the “interlude.”  The E-flat major ending of stanza 6 helps with the rather abrupt motion back to C minor.  The woman’s words following her address to the beloved are set here.  The music is that of strophe #2.  It is musically virtually identical to stanza 4, with very slight changes in line 3.  It is also faster, as Brahms marks it “sehr lebhaft” (“very lively”), a marking that is in effect for the rest of the song.  Line 4 comes to a half-close, as in stanza 4.  Stanzas 7-9 represent the A’ section.
2:09 [m. 83]--Fifth statement of the “interlude,” after its absence following verses 5 and 6.  It also moves at the “lebhaft” speed of stanza 7.
2:16 [m. 89]--Stanza 8.  This is a return to the music of strophe #1, absent since stanza 3.  It is the second and last response of Lord Falkenstein.  The accompaniment returns to the more bare pattern of stanzas 2 and 3, with the octaves and the right hand playing off the beat, and harmony in the last line.  This matches Lord Falkenstein’s other utterance, in stanza 3.
2:29 [m. 100]--Sixth and last statement of the “interlude.”
2:35 [m. 106]--Stanza 9.  This is the woman’s final response.  It is set mostly to the music of strophe #2.  The first three musical lines match stanza 7.  However, line 4 returns to the music of strophe #1 so that the song can end with a full close.  The music reaches its quickest pace and ends abruptly.  There is no piano postlude.
2:52--END OF SONG [116 mm.]