English Translation

0:00 [m. 1]--Part 1. Stanza 1, lines 1-2. There is an introductory bar from the
secondo that sets up the rhythm in a similar manner to the opening of No. 1. The
primo is immediately remarkable for its soaring arpeggios leading to characteristic
long-short resolutions. These resolutions are also present in the blissful vocal
harmonies. The second and third bars before the end of the phrase are grouped in
an expressive hemiola (implied 3/2 bar) in all vocal and piano parts except for the
vocal bass and the secondo left hand, which articulate the actual downbeat. [Op.
52a: 0:00]
0:13 [m. 10]--Stanza 1, lines 3-4. This phrase has a similar structure to the
first
one, but it makes a decisive harmonic motion to the “dominant” key, E-flat, at the
end. The placement of the hemiola is the same, but now it is only really present
in the piano parts, the vocal parts sticking to the 3/4 grouping against it. The
primo, playing in octaves, uses a zigzagging lead-in line to round off Part 1. [Op.
52a: 0:12]
0:24 [m. 2]--Part 1 repeated. Stanza 1, lines 1-2 as before, without the
introductory
bar. Brahms indicates that the repeat should be quieter than the first statement.
[Op. 52a: 0:22]
0:34 [m. 10]--Stanza 1, lines 3-4 as before. [Op. 52a: 0:33]
0:45 [m. 18]--Part 2. Stanza 2, lines 1-2. The first line begins with the lower
three parts, the soprano trailing behind them by a bar. The piano parts already
introduce the hemiola grouping in this line, but only the alto voice participates
in this grouping. The line makes a colorful harmonic shift to E major. The second
line makes a similar shift downward, to C major. The men’s parts overlap with the
completion of “Glut” from soprano and alto. This time, both the soprano and alto
play the “trailing” role. The hemiola is placed as in the first line, but now it
is the tenor who participates instead of the alto. The soprano and alto state the
line quickly so that all four parts can end together. The entire phrase is quite
restless. [Op. 52a: 0:44]
0:55 [m. 26]--Stanza 2, lines 3-4. These last lines move back to A-flat. They
open
in a slight overlap with the closing gesture of the previous phrase. They build
slightly in volume and work to the highest pitches in the soprano and tenor. The
hemiola, located where it was in both phrases of Part 1, now includes all voices
and both hands of both piano parts. [Op. 52a: 0:54]
1:05 [m. 18 (34)]--Part 2 repeated. Stanza 2, lines 1-2 as before, with motions
to E major and C major. [Op. 52a: 1:05]
1:15 [m. 26]--Stanza 2, lines 3-4 as before. The final cadence is followed by a
low punctuating A-flat, the same as had opened Part 2 and its repetition. [Op. 52a:
1:15]
1:29--END OF WALTZ-SONG [34 mm.] [Op. 52a: 1:31]

9. “Am Donaustrande, da steht ein Haus” (“On the banks of the Danube, there stands
a house”). Hungarian source. [Im Ländler-Tempo]. Rounded binary form. E MAJOR,
3/4 time. SATB

German Text:
Am Donaustrande,
da steht ein Haus,
da schaut ein rosiges
Mädchen aus.

Das Mädchen,
es ist wohl gut gehegt,
zehn eiserne Riegel
sind vor die Türe gelegt.
Zehn eiserne Riegel
das ist ein Spaß;
die spreng ich
als wären sie nur von Glas.

English Translation

0:00 [m. 1]--Part 1. Stanza 1. The secondo provides a brief lead-in with
dissonant
whole-step clashes resolving to pleasing thirds. Only the lower three parts sing
in this first part. When they enter, it is with a harmonious, highly stylized
waltz
rhythm. The right hand of the secondo follows the vocal lines, especially the
alto,
and the primo provides “Blue Danube”-like responses to the first two (identical)
lines. In the last two lines, this response is used to propel the waltz rhythm
forward
as the cadence is approached with large downward leaps in the alto. The cadence
itself is punctuated with a gentle closing descent. [Op. 52a: 0:00]
0:29 [m. 20]--Part 1, varied repeat. Stanza 2. In this verse, the hands largely
reverse roles. The vocal lines are now followed much higher in the primo, and the
“Blue Danube” responses are in the secondo right hand. The whole-step/third
alternation
moves to the primo left hand, and the secondo left hand adds a new low bass. The
vocal parts are mostly unchanged except for the tenor, who adds parallel
harmonization
to the alto’s closing leaps. The closing descent is heard, now at a lower pitch
level in the secondo only. [Op. 52a: 0:25]
0:50 [m. 36]--Part 2. Stanza 3. The bass impetuously begins the line at a
suddenly
powerful level. The other three voices (the soprano [the imprisoned maiden?]
making
her only appearance in the song) follow him a bar later. The primo has rapid
chords
moving with the voices, with the right hand following the left off the beat. It
then moves to the “Blue Danube” responses. The secondo is less active, providing
a foundation. The first two lines hint at B major, but remain in E. The bass
finishes
before the top parts, and then begins the second couplet, the others following
again.
He slows down his last line so that he can end with the others. The phrase
sternly
moves to G-sharp minor. A “Danube” echo bridges to the gentle music. [Op. 52a:
0:47]

1:03 [m. 47]--Stanza 1 reprise. The music of Part 1 returns, but this time the
tenor
has a preparatory leap the leads the alto and bass back into the music. The
soprano
drops out after her brief appearance for stanza 3. When the other voices enter,
there is an extra “preliminary” hint of the “Blue Danube” response that is held
over
from the bridge. The bass joins the tenor for similar lead-ins to the second line
and to the last couplet. The bass repeats “da steht,” and both tenor and bass
repeat
“da schaut.” The accompaniment to the first two lines is similar to that heard at
the beginning, but the secondo adds the low bass line from stanza 2. In the last
couplet, the stanza 2 pattern, with the response in the secondo, takes over. The
last vocal bar (m. 61) begins the closing descent, and the repeat signs lead back
to m. 34 to complete it. [Op. 52a: 0:59]
1:26 [m. 36]--Part 2 repeated. Stanza 3, with its impetuous bass outburst, is
reprised.
[Op. 52a: 1:21]
1:39 [m. 47]--Stanza 1, second reprise, with tenor and bass lead-ins and full
accompaniment.
The gentle descent is completed in two new bars (mm. 62-63), with the primo
entering
to double the chords at a high level and with the volume and speed both receding
greatly. This explains why the repeat went back to m. 34. These last two bars are
a “closing” version of mm. 34-35. [Op. 52a: 1:33]
2:11--END OF WALTZ-SONG [63 mm.] [Op. 52a: 2:04]

10. “O wie sanft die Quelle sich” (“Oh how gently the stream”). Russian-Polish
dance song source. [Im Ländler-Tempo]. Binary form. G MAJOR, 3/4 time. SATB

German Text:
O wie sanft die Quelle sich
durch die Wiese windet!
O wie schön, wenn Liebe sich
zu der Liebe findet!

English Translation

0:00 [m. 1]--Part 1. The soprano introduces the pervasive long-short-short-short

rhythm, and is freely imitated by the tenor a bar later. The alto and bass provide
slow-moving support. The mood is light and fleeting. The primo follows the
soprano
in octaves, filling in pauses with notes from the tenor line. The secondo
maintains
the basic waltz pulse. The last word, “windet,” is stretched out as all voices
come
together. As they end, the piano parts have a two-bar hemiola or cross-rhythm.
The primo and the secondo bass stretch their motion to a longer implied 3/2 bar
while
the secondo right hand has a new arching line. [Op. 52a: 0:00]
0:14 [m. 1]--Part 1 repeated. [Op. 52a: 0:14]
0:24 [m. 11]--Part 2. Beginning with a heavy emphasis on C major, the
“subdominant”
key, the tenor starts the second part alone on the third line. The soprano freely
imitates him a bar later. Four bars into this pattern, the alto and bass begin a
similar free imitation. The tenor and soprano come to an end two bars after that.
Under the first four bars, the right hands of both parts follow the tenor and
soprano
respectively while their left hands keep the rhythm. After the other two parts
enter,
the primo follows the alto in octaves while the secondo right hand follows the
bass.
The hemiola cross-rhythm is placed at the end where it is expected, and the alto
and bass now participate with the piano parts, stretching their lines. Their
completion
overlaps with the first bar of the repetition on the tenor entry, where there is
another emphasis on C major. [Op. 52a: 0:28]
0:36 [m. 21]--Part 2 repeated. The tenor begins in overlap as the alto and bass
complete their previous lines. The first bar of the piano parts is slightly
thicker
to reflect this overlap. The repetition then follows as before until the hemiola,
where the alto and bass now abruptly end on the first bar and do not participate
with the piano parts. The alto cuts off the last word “findet,” and the bass cuts
out “zu der Liebe.” All four parts enter on the last two beats, and then the
cross-rhythm
is repeated with all voices participating, leading to the final cadence bar. They
state the whole last line. The piano parts are lower in the repeated cross-rhythm,
but the harmony is the same, suggesting C major (as at the repetition) and then
confirming
G major. [Op. 52a: 0:41]
0:54--END OF WALTZ-SONG [33 mm.] [Op. 52a: 1:05]

11. “Nein, es ist nicht auszukommen” (“No, there’s just no getting along”). Polish
source. [Im Ländler-Tempo]. Rounded binary form. C MINOR, 3/4 time. SATB

German Text:
Nein, es ist nicht auszukommen
mit den Leuten;
Alles wissen sie so giftig
auszudeuten.

Bin ich heiter, hegen soll ich

lose Triebe;
bin ich still, so heißt’s, ich wäre
irr aus Liebe.

English Translation

0:00 [m. 1]--Part 1 (Stanza 1). The song begins with an impetuous outburst from
all voices in block chords. While the primo follows the vocal harmonies, the
secondo
agitates the mood with after-beat chords. After the first half, the primo bridges
a bar of vocal rests with an echo of the rhythm and shape of the previous bar. The
same thing happens after the second phrase, which emphasizes the “dominant” harmony
of G major. The consonant-filled text moves with tongue-twisting speed and
requires
precise articulation. [Op. 52a: 0:00]
0:10 [m. 1]--Part 1 (Stanza 1) repeated. [Op. 52a: 0:08]
0:18 [m. 9]--Part 2. Stanza 2. The contrasting passage begins at a suddenly
quieter
level. The voices are still agitated, and at the end of the first phrase, “lose
Triebe” recalls the predominant long-short-short-short rhythm. Both piano parts
have active, detached notes until becoming more smooth at “lose Triebe.” The
parallel
second phrase builds strongly and suddenly, reaching a climax on the main rhythm
with “irr aus Liebe.” These last words are repeated in a powerful general descent.
The primo has fuller harmonies throughout this second phrase, and the secondo bass
speeds up under the two statements of “irr aus Liebe.” This contrasting passage
also has fast-moving text. It suggests the related keys of E-flat major and G
minor.
[Op. 52a: 0:16]
0:28 [m. 19]--Stanza 1 reprise. This statement is an exact reprise of Part 1. [Op.
52a: 0:26]
0:35 [m. 9]--Part 2 repeated. Repetition of the contrasting passage for the second
stanza. [Op. 52a: 0:33]
0:46 [m. 19]--Second reprise of stanza 1. The only change is a broadening for a
final cadence at the end, and only the voice parts are stretched out. The piano
parts are unchanged from previous statements. The last two bars have first and
second
endings because of this vocal broadening at the end. [Op. 52a: 0:43]
0:54--END OF WALTZ-SONG [26 mm.] [Op. 52a: 0:52]
12. “Schlosser auf! und mache Schlösser” (“Locksmith - get up and make your
locks”).
Russian-Polish dance song source. [Im Ländler-Tempo]. Binary form. E-FLAT
MAJOR,
3/4 time. SATB

German Text:
Schlosser auf! und mache Schlösser,
Schlösser ohne Zahl;
denn die bösen Mäuler will ich
schließen allzumal.

English Translation

0:00 [m. 1]--Part 1. The mood and material are similar to No. 11, which it usually
follows without a break. The bass intones a stark motion, still in C minor, of the
initial imperative, doubled by the secondo in octaves. The top voices enter
directly
afterward with chords from the primo. The voices then come together for the
remainder
of the phrase, which sets the first two lines, “mache Schlösser” being reiterated.
The long-short-short-short rhythm is again used, and E-flat major, relative key
to C minor, emerges. The second line turns quickly back to C minor. The primo
follows
the vocal harmonies, also bridging the lines, while the secondo plays entierly in
thumping, detached octaves. Note the play between “Schlosser” (“locksmith”) and
“Schlösser” (“locks”), which requires precise diction. [Op. 52a: 0:00--The last
decay
of the final chord from No. 11 bleeds into this track.]
0:08 [m. 7]--Part 1 repeated. While the piano parts begin a decorative echo of the
previous vocal line, the tenor suddenly begins to intone the third line. The bass
follows directly in the next bar (m. 8) with his initial intonation, now on the
first
words of the third line (“denn die bösen”). This bar corresponds to the opening
upbeats except for the presence of the primo and the tenor. The following bar (m.
9a) corresponds exactly with m. 1 after the upbeat, and the other voices (including
tenor) make their entrance on the third line. The repeat then moves back to m. 2,
and the last two lines continue to the same music, repeating “bösen” and
“schließen.”
[Op. 52a: 0:08]
0:16 [m. 7]--Part 2. The tenor begins his intonation here, as he had before, now
repeating different words from the last lines, “will ich schließen.” The bass
begins
his intonation in m. 8, also to these words, but m. 9b is entirely new, and
launches
the second part. The top three voices state “will ich schließen” in C minor,
overlapping
the bass (who repeats “schließen”), with the primo now continuing its decorative
echo. The secondo begins to suggest a faster rising motion, still in octaves and
single notes. A third statement of “will ich schleßen” (the second for soprano and
alto) begins a step higher. Both of these last statements are followed by softer,
slower piano echoes, the second of which is repeated as the secondo strives upward.
[Op. 52a: 0:16]
0:24 [m. 14]--The two female voices, with the primo, begin a faster, more
illustrative
statement of the last two lines in their entirety. The men follow them with the
same faster material a bar later. The voices come together as the women repeat
“schließen”
yet again. The entire statement moves decisively to E-flat, where the emphatic
cadence
is surprisingly bright. Both piano parts are also bright, strong, and detached.
[Op. 52a: 0:24]
0:29 [m. 18a (8)]--Part 2 repeated. Immediately after the cadence, the piano parts
forcefully turn back to C minor and the bass intones “will ich schließen.”* The
leading tenor intonation, having already been heard twice, is here skipped. The
music repeats back to m. 9b, and the two full statements of “will ich schließen”
and their echoes follow. [Op. 52a: 0:29]
0:35 [m. 14]--Repetition of the faster statement of the last two lines and final
E-flat major cadence. [Op. 52a: 0:35]
0:42--END OF WALTZ-SONG [18 mm.]** [Op. 52a: 0:42]
*Note: Some scores, including the “Sämtliche Werke,” indicate that the bass is not
to sing the intonation on the repetition of Part 2, instead joining the other
voices
in the two full statements of “will ich schließen” and leaving the piano parts
alone
in their transition back. In this recording, Fischer-Dieskau sings the intonation
here (which is the fourth time it is heard).
**In the “Sämtliche Werke” printing of Op. 52a, the initial part-measure with two
upbeats is (correctly) not counted. In the printing of Op. 52 with voices, it is
(incorrectly) counted. With this consideration, I have subtracted one measure from
the previous counts above--the correct measure count is 18. The ambiguity stems
from the full-measure first ending of Part 2, which is m. 18a and corresponds to
m. 8 for the repetition. The second ending is printed with just one beat in both
Op. 52 and Op. 52a, confirming that it completes the part-measure at the beginning.

13. “Vögelein durchrauscht die Luft” (“Little bird rushes through the air”).
Russian-Polish
dance song source. [Im Ländler-Tempo]. Binary form. A-FLAT MAJOR, 3/4 time. SA
duet.
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