ein jeder jung or alt,

daß das Himmelreich

leidet Gewalt!

English Translation

0:00 [m. 1]--Stanza (strophe) 1. The music, like the first two songs, begins on

an rising upbeat. It flows gently, but not without a sense of pathos. The first

two lines vacillate between C minor and E-flat major. The first line arches in
block

harmony with internal motion, and the second line descends. The second line is
then

repeated with a longer upbeat on a rising, swelling line that seems to move to B-
flat

major. Finally, after a strong emphasis on the second word, the last line descends

again and diminishes, making a clear motion to a fourth key center, G minor, where

it reaches a cadence (albeit on a G-major chord).

0:26 [m. 1]--Stanza (strophe) 2. The music is repeated. The two syllables “vor

des” are sung to two notes (or split repeated notes) previously used for the single

syllable “fern” in both statements of the second line.

0:51 [m. 9]--Stanza (strophe) 3. Stanzas 3 and 4 are given new notation in the
score,

primarily because their last lines are a syllable shorter, allowing for even
greater

emphasis on the second words of those lines. In stanza 3, the second line is two

syllables longer than in stanza 1 and one syllable longer than in stanza 2. In
addition

to the previous declamation in stanza 2 (for the second and third syllables of
“Jerusalem”),

another “split” is necessary for “nach” and the first syllable of “Jerusalem.”
Only

in the alto and tenor parts of the second statement were there previously two
different

notes for the corresponding single syllable. In the third line, the emphasized
second

word is stretched to two notes in all parts, crossing the bar line. In this verse

and the next, the last line does not diminish, emphasizing the torture and the
cross.

1:17 [m. 9]--Stanza (strophe) 4. In this stanza, the first line has an extra
syllable

for the only time. A note is split for the words “er auf.” In contrast, the
second

line has the same declamation as in stanza 1 in both statements, contrasting

greatly

with the longer line in stanza 3. As in stanza 3, the last line has two notes and

a bar line crossing on the second word (significantly “Kreuz”--“cross”), and does

not diminish.
1:45 [m. 17]--Stanza 5, lines 1-2. The final stanza, one line longer, is given
completely

new and contrasting music, emphasizing its stern and aphoristic nature. It shifts

to a mixed compound meter. In the first two lines, a 9/4 bar is followed by a 6/4

bar. The soprano part is the same in both lines, but there is some variation in

the lower parts, both through exchange of notes in the middle parts and a higher

octave in the basses. The word “alt” in the second line is given to the two notes

heard for the last two syllables of “bedenken” in the first line. There is a
clear,

strong return to C minor, confirming it as the home key.

2:04 [m. 21]--Stanza 5, lines 3-4 (one line in original folk poem). The shorter

third line is sung to a rising melody in a single 9/4 bar. This line makes a
strong

move to the home major key (C major) which as yet has been unheard. Then the last

four-syllable line is sung to three 6/4 bars. Here, the major key continues, but

on the last syllable, the middle voices (alto and tenor) trail on a moving line
that

mixes major- and minor-key notes. The last chord is a major chord with the basses

splitting into two notes an octave apart.

2:26--END OF SONG [24 mm.]

BOOK II:
4. Der Jäger (The Hunter). Folksong text. Allegro, ma non troppo. Combination

of strophic and ternary forms. G MAJOR, 4/4 time.

(The title Der Jäger is also used for the solo song Op. 95, No. 4)

German Text:
Es wollt’ gut Jäger jagen,
wollt’ jagen von Himmelshöhn;
was begegn’t ihm auf der Heiden?
Maria, die Jungfrau schön.
Der Jäger, den ich meine,
der ist uns wohlbekannt,
er jagt mit einem Engel,
Gabriel ist er genannt.

Der Engel blies sein Hörnlein,

das laut’ sich also wohl:
“Gegrüßt seist du, Maria,
du bist aller Gnaden voll!

Gegrüßt seist du, Maria,

du edle Jungfrau fein!
Dein Schoß soll hegen und tragen
ein Kindlein zart und klein.

Dein Schoß soll hegen und tragen

Ein Kindlein zart und klein,
das Himmel und auch Erden
einsmals wird nehmen ein.”

Maria, die vielreine,

fiel nieder auf ihre Knie,
dann sie bat Gott vom Himmel,
sein Will’ geschehen soll.

Dein Will’, der soll geschehen

ohn sonder Pein und Schmerz.
Da empfing sie Jesum Christum
in ihr jungfräulich Herz.

English Translation

A Section--Stanzas 1-2, G major

0:00 [m. 1]--Stanza (strophe) 1. Like the previous three songs, it begins with an

upbeat on a rising gesture. The purely harmonized first line pair establishes the

joyous, almost lusty mood. The second line pair is more hesitant and adds some
chromatic

notes. The repeated word “Maria” has a strong emphasis on its second syllable and

creates a five-bar phrase. After the repeated name, the melody descends to a
cadence.

0:22 [m. 1]--Stanza (strophe) 2. It is set to the same music as stanza 1. The
word

“ist” in line 2 is set to the notes heard for “jagen” before, with the appropriate

slurs and held (instead of repeated) notes. Similarly, the word “er” at the
beginning

of line 3 is set to notes previously used for two syllables. The emphasis on the

second syllable of the repeated word “Gabriel” is an unusual declamation compared

to “Maria.”
B Section--Stanzas 3-5, C major
0:42 [m. 10]--Stanza (strophe) 3. The central section in C major is highly
evocative

of the hunting horn. The women quietly sing to the “horn fifth” harmony heard at

the beginning of the first two songs. The arching third line briefly moves to F

major and slightly builds. Anticipating this third line, the tenors and basses
enter

with alternating calls of “gegrüßt.” After leading the basses twice, the tenors

complete line 3 with “seist du, Maria,” and the basses follow suit, but unlike the

tenors they do note repeat “gegrüßt” a third time. This completion happens as the

women sing line 4 and move back to C major for the cadence, in which the men
participate.

1:01 [m. 18]--Stanza (strophe) 4. Now the women’s and men’s parts are reversed.

The men take over the “horn fifth” melody for the first two lines and continue
with

the arching third line, tenors matching sopranos and basses matching altos. The

women take the alternating calls of “gegrüßt” against this (sopranos matching
tenors

and altos matching basses). Since this line is now the first rather than the third

line of the stanza, there is more conflicting text between the parts than there was

in stanza 3. As the men had before, the women complete the line as the men move

to the C-major cadence on line 4. At the very end, there is some voice exchange

as the sopranos move to the trailing former alto part, and the altos to the former

tenor part. The tenors stay on the melody and the basses return to their original

final note.
1:18 [m. 26]--Stanza (strophe) 5. The sopranos and altos sing their original parts

from stanza 3. Note the text repetition from the end of stanza 4. Now, without

the line featuring “gegrüßt,” the tenors and basses are given new parts and sing

in block harmonies with the women throughout the verse. The opening of the verse

is much louder than the previous two, but the arching third line is suddenly quiet

before building slightly. The trailing parts at the end heard from altos and
tenors

in stanza 3 and sopranos and altos in stanza 4 are omitted, creating a solid
cadence
in C major.
A Section--Stanzas 6-7, G major
1:37 [m. 34]--Stanza (strophe) 6. In an abrupt motion back to G major, the
original

strophe returns for stanza 6. The declamation of the first two lines is as in
stanza

1. The third and fourth lines are similar to stanza 2 in declamation until the
end.

The repeated words are “sein Wille,” with an appropriate emphasis on “Wille.” The

repetition dispenses with the second syllable of that word and gives the first
syllable

of “geschehen” notes that were used for two syllables in stanzas 1 and 2.
2:00 [m. 34]--Stanza (strophe) 7. The declamation of the first line pair is as in

stanza 2. Line 3 is as in stanza 1. In the last line, only the two syllables “in

ihr” are repeated, giving even more emphasis to the syllable “ihr.” The remainder

of the line is declaimed as in stanza 6. This performance slows at the end.

2:29--END OF SONG [42 mm.]

5. Ruf zur Maria (Cry to Mary). Folksong text. Poco Adagio. Strophic form with

varied last strophe. B-FLAT MAJOR, 6/4 time.

German Text:
Dich, Mutter Gottes, ruf’ wir an,
bitt’ für uns, Maria!
Tu’ uns in Ängsten nicht verlan,
Jesum, dein Sohn, der Not ermahn,
die er um menschlich Geschlecht wollt’ han,
bitt’ für uns, Maria!

Daß wir vollkommen werden gar,

bitt’ für uns, Maria!
Leib, Ehr’ und Gut auf Erd’ bewahr’,
daß wir in Zeit viel guter Jahr’
dort leben mit der Engel Schar,
bitt’ für uns, Maria!

Du bist der Brunn, der nicht verseicht,

bitt’ für uns, Maria!
Daß uns der heilig Geist erleucht
zu wahrer Reu und ganzer Beicht!
Jesus, dein Sohn, dir nicht verzeicht,
bitt’ für uns, Maria!

English Translation

0:00 [m. 1]--Stanza 1, lines 1-2. This song begins with an upbeat, as all the
previous

four songs had done. Other than that, the opening gesture is somewhat different,
abandoning the long upward movement and moving directly into the flowing 6/4 lines.

All four parts are expressive, with much internal motion, but the tenor line is

the most florid, imitating the altos with a yearning leap on “an.” The first
supplication,

“bitt’ für uns, Maria,” takes a poignant turn.

0:20 [m. 5]--Stanza 1, lines 3-6. The third line is similar to the first, but at

the beginning the alto and bass parts are exchanged. This makes the altos’ leap

on “nicht” wider and more expressive, especially since it includes a dissonant

note.

The fourth line begins a buildup, with a long-short rhythm in the sopranos and an

exciting climb in the tenors. The fifth line settles down and moves to the key of

E-flat major. After a dramatic pause, the final line, the repeated supplication,

has half-step motion in the soprano, alto, and bass parts, then moves back to B-
flat

with a soaring tenor line. Tenors and altos trail longingly at the cadence.
1:02 [m. 1]--Stanza 2, lines 1-2. Set to the same music as stanza 1. The
“yearning”

leap is on “gar.”
1:21 [m. 5]--Stanza 2, lines 3-6. The alto leap is on “Erd.” The only
difference

in declamation to stanza 1 is that the word “mit” in the fifth line is set to the

notes used for the two-syllable word “menschlich” before.

2:05 [m. 14]--Stanza 3, lines 1-2. The music is different for these lines. The

text is sung more secretively and quietly. The sopranos give up their soaring
line.

In compensation, the altos now have an extremely expressive moving line, as do the

tenors, and there are several chromatic notes and half-steps in those two parts.

The “supplication” moves quite warmly to the new key of F major.

2:26 [m. 18]--Stanza 3, lines 3-4. These lines are quite similar to the first two,

but at a higher pitch level. The fourth line soothingly moves back to the home key

of B-flat.
2:47 [m. 22]--Stanza 3, lines 5-6. Line 5 returns to the music of the first two

stanzas, complete with the corresponding motion to E-flat. The declamation is very

different, beginning on a downbeat to emphasize “Jesus, dein Sohn.” The final

pause

and supplication are as in the first two stanzas.

3:21--END OF SONG [26 mm.]

6. Magdalena (Magdalene). Folksong text. Poco lento. Simple strophic form. G

MINOR, 4/4 time.

German Text:
An dem österlichen Tag
Maria Magdalena ging zu dem Grab;
was fand sie in dem Grabe stehn?
Einen Engel wohlgetan.

Der Engel grüßt sie in der Zeit:

“Den da suchet das vielselige Weib,
er ist erstanden von dem Tod,
den du salben wolltest.”

“Maria!” ruft er ihr zu hant,

da erkennt sie ihren Heiland,
sie sah in aller der Gebärde,
sam er ein Gärtner wäre.
#GSPLIT:u#master - Copy
(2).txt############################################################################
###################################################################################
############################################################################GSplit
Archive############################################################################
##########&{3556881E-0858-4370-BF6F-
3E1C12C2ED45}######################################################################
###################################################################################
################################################################�0######��######qm�
�#####