FOUR SONGS (GESÄNGE), OP. 43
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
Recording: Dietrich Fischer-Dieskau, baritone; Daniel Barenboim,
piano [DG 449 633-2]
Note: Links to English translations of the
texts are from Emily Ezust’s site at http://www.recmusic.org/lieder.
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.
SCORE FROM IMSLP (First Edition from Brahms-Institut
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
1: Von ewiger Liebe (original key)
Von ewiger Liebe (in high key, C-sharp minor/D-flat major)
2: Die Mainacht (original key)
Die Mainacht (in high key, F-sharp major)
Ich schell’ mein
Horn ins Jammertal (original key)
3: Ich schell’ mein Horn ins Jammertal (in low key, G
4: Das Lied vom Herrn von Falkenstein (original key)
Das Lied vom Herrn von Falkenstein (in high key, D minor)
3-4 (high keys [No. 3 original key]--higher
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
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!«
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
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
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
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
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
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).
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!
Translation (including Stanza 2 of the poem, not set by
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
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
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).
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.
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
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
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).
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.«
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
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.]
END OF SET
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