1:07 [m.

29]--The bridge has moved back to the home key of D-flat, but this phrase
immediately suggests G-flat again. Like the corresponding place in Part 1, a
prolongation
stretches the phrase to five bars, this time in syncopation on the word “tränte,”
which also has a similar minor-key inflection The secondo here moves to broken
octaves.
The last phrase sets “das Auge mir” in tender two-note off-beat groups separated
by rests, and the music moves back to D-flat for the cadence. These are supported
by chords in the primo. Another flowing line, this time in both secondo right hand
and primo left hand, leads to the repeat of Part 2. [Op. 52a: 1:08]
1:22 [m. 21 (39)]--Part 2 repeated. Six-bar phrase, move to G-flat, and bridge.
[Op. 52a: 1:27]
1:32 [m. 29]--Last two phrases. The ending replaces the flowing lead-in with
closing
accompaniment figures and a final chord in the secondo. The ending is extended a
bar longer than the previous “lead-in.” [Op. 52a: 1:40]
1:58--END OF WALTZ-SONG [39 mm.] [Op. 52a: 2:20]

18. “Es bebet das Gesträuche” (“The bushes are trembling”). Hungarian source.
Lebhaft
(Lively). Binary form. B-FLAT MINOR--D-FLAT/C-SHARP MAJOR, 3/4 time. SATB

German Text:
Es bebet das Gesträuche,
gestreift hat es im Fluge
ein Vögelein.
In gleicher Art erbebet
die Seele mir, erschüttert
von Liebe, Lust und Leide,
gedenkt sie dein.

English Translation

0:00 [m. 1]--The secondo plays a very brief introduction with a pair of secretive
upbeat two-chord figures. They are in the key of B-flat minor, where the song will
begin. [Op. 52a: 0:00]
0:04 [m. 3]--Part 1. The voices sing the first two lines in block chords, still
using the secretive detached, upbeat figures heard in the introduction. There are
longer, accented notes on the second syllable of “Gesträuche” and the first
syllable
of “Flüge.” The secondo follows these vocal harmonies, but the primary interest
is in the primo, which introduces a skittish perpetual motion of detached up-down
motion and short left-hand notes. The key is still B-flat minor. The two phrases
are musically identical. [Op. 52a: 0:02]
0:12 [m. 11]--For the words “ein Vögelein,” the voices and secondo suddenly become
smooth, stretching out the first syllable, adding gently flowing motion in soprano
and tenor, and prolonging the last syllable. More importantly, the music here
moves
to the related major key (same key signature, five flats) of D-flat major, where
No. 17 was set. The words are repeated at lower pitch levels, with the flowing
motion
in alto and tenor. The primo continues to play its skittish motion, and leads to
the repeat with broken octaves. [Op. 52a: 0:07--There are some slight alterations
to the secondo right hand to help bring out the melody more clearly.]
0:19 [m. 3]--Part 1 repeated. First two lines in B-flat minor. [Op. 52a: 0:13]
0:26 [m. 11]--Two statements of “ein Vögelein” in D-flat major. Broken octaves
lead
down to Part 2. [Op. 52a: 0:19--Alterations to secondo right hand to bring out the
melody.]
0:34 [m. 19]--Part 2. The music makes a sudden shift to E major (four sharps).
The fourth and fifth lines are sung in almost rapturous fashion with soaring lines
from all four parts. The fifth line reaches higher. There are small chromatic
inflections
on “erbebet” and “erschüttert.” The secondo now plays more sweeping lines,
alternating
with the detached upbeats, which are heard under the longer words. The primo still
has the perpetual motion, but it now has some longer upward lines. [Op. 52a: 0:24]

0:41 [m. 27]--The key makes yet another shift, to the related C-sharp minor (also
in four sharps). Note that C-sharp is the same note as D-flat, the major key where
Part 1 ended. The sixth line is now sung and played twice with very similar music
to that used for the first two lines, but now a bit higher in the C-sharp minor
key.
The second phrase is also not identical to the first, and reaches higher,
increasing
the tension. [Op. 52a: 0:30]
0:48 [m. 35]--The last line, the words “gedenkt sie dein,” is sung to the same
music,
and in the same key, as were the words “ein Vögelein” at 0:12 and 0:26 [m. 11].
The first note is different, since the music is approaching from a different
location,
and the tenor and alto lines are largely reversed, but it is otherwise virtually
identical. Visually, it does not appear that way, though, since Brahms notates it
in C-sharp rather than D-flat. Also, he continues to use the four-sharp signature
of the previous C-sharp minor rather than the unwieldy seven sharps of C-sharp
major,
simply adding the other sharps in front of notes as needed. Even the lead-in to
the repeat at the first ending is like the previous second ending, leading to the
same point. [Op. 52a: 0:36--There are similar alterations to the secondo right hand
as in the analogous passage of Part 1 to help bring out the melody.]
0:56 [m. 19 (43)]--Part 2 repeated. Fourth and fifth lines in E major, as at 0:34.
[Op. 52a: 0:42]
1:04 [m. 27]--Two statements of the sixth line in C-sharp minor, as at 0:41. [Op.
52a: 0:47]
1:11 [m. 35]--Initial statement of “gedenkt sie dein” in C-sharp (D-flat) major,
as at 0:48. Only the first statement is an identical repeat, as the second one is
changed somewhat in a second ending. [Op. 52a: 0:53--Alterations to secondo right
hand to bring out the melody.]
1:15 [m. 39, second ending]--The second ending with the repetition of “gedenkt sie
dein” has an altered accompaniment for the closing. The perpetual motion in the
primo finally breaks, cutting off the last beats of each bar, even adjusting
pitches
in the broken octaves of the fourth bar under the vocal cadence. The secondo and
the voice parts, however, are not changed. This subtle “braking” of the motion
carries
into a two-bar extension, which has a two-note final “sighing” descent in the primo
and a low C-sharp major chord in the secondo. Perhaps Brahms retained the four
sharp
signature to visually match the E major of the first waltz-song in the cycle. [Op.
52a: 0:56]
1:33--END OF WALTZ-SONG [44 mm.] [Op. 52a: 1:10]
END OF CYCLE

RHAPSODY FOR ALTO, MALE CHORUS, AND ORCHESTRA, OP. 53

Recording: Marjana Lipovšek, alto; Men of the Ernst Senff Choir (Chorus Master:
Ernst
Senff); Berlin Philharmonic, conducted by Claudio Abbado [DG 435 683-2]
Published 1870.

The so-called “Alto Rhapsody” is one of the composer’s most famous vocal works, and
was the first of four short choral/orchestral pieces that are often grouped
together,
all of which last around twelve to fifteen minutes. These include the
Schicksalslied,
published immediately thereafter, and two more works from the 1880s (and the Op.
80s), the Nänie and the Gesang der Parzen. It is, however, unlike the other three
in several ways, most notably the inclusion of a soloist. It also uses a male
chorus
rather than a mixed chorus. Brahms had recently utilized a men’s choir to great
effect in the cantata Rinaldo (also to a text by Goethe). This text is a fragment
from a longer poem and describes a wandering misanthrope for whom the narrator
offers
a prayer that his heart will be moved (the prayer marked by the entry of the
chorus).
Brahms apparently identified with this protagonist, and the work is often
associated
with the marriage of Julie Schumann (daughter of Robert and Clara) with whom Brahms
had been infatuated. He perhaps only half-jokingly referred to the piece as a
pendant
to the Liebeslieder Waltzes, whose opus number directly precedes it. The irony is
that no two works could (at first glance) be further apart in affect. Strikingly,
the main melody of the final choral section is used as the ground bass for the
closing
“Zum Schluß” of the later New Liebeslieder, Op. 65. The structure is similar to
a Baroque cantata, with opening recitative or arioso, solo aria, and finale with
chorus. Brahms loved the alto voice greatly, and the contrast with the men’s
voices,
who enter about halfway through, is extremely beautiful. The contrast between the
warm closing choral section and the often dissonant and dramatic solo portion is
also effective. The orchestra is conservative, with flutes, oboes, clarinets,
bassoons,
two horns, and strings with no trumpets or timpani.

Note: The link to the English translation of the text is from Emily Ezust's site
at http://www.recmusic.org/lieder. For the most part, the translation is line-by-
line,
except where the difference between German and English syntax requires slight
alterations
to the contents of certain lines. The German text (included here) is also visible
in the translation link.

IMSLP WORK PAGE

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck--also includes
piano/vocal score)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke)

Rhapsodie (Alto Rhapsody). Text by Johann Wolfgang von Goethe, from the long poem
Harzreise im Winter (Journey Through the Harz in Winter). Adagio--Poco Andante--
Adagio.
Three-part form resembling a Baroque cantata: recitative (arioso), aria, and
chorus
(with soloist). C MINOR/MAJOR, 4/4 and 6/4 time.

German Text:
Aber abseits wer ist’s?
Ins Gebüsch verliert sich sein Pfad.
Hinter ihm schlagen
Die Sträuche zusammen,
Das Gras steht wieder auf,
Die Öde verschlingt ihn.

Ach, wer heilet die Schmerzen

Des, dem Balsam zu Gift ward?
Der sich Menschenhaß
Aus der Fülle der Liebe trank?
Erst verachtet, nun ein Verächter,
Zehrt er heimlich auf
Seinen eigenen Wert
In ung’nügender Selbstsucht.

Ist auf deinem Psalter,

Vater der Liebe, ein Ton
Seinem Ohre vernehmlich,
So erquicke sein Herz!
Öffne den umwölkten Blick
Über die tausend Quellen
Neben dem Durstenden
In der Wüste!

English Translation

Part 1--Introduction and recitative/arioso; Adagio, C minor, 4/4; Stanza 1

0:00 [m. 1]--INTRODUCTION. The violins are muted throughout the entire solo
section.
The low strings, supported by bassoons, begin with a “leading tone” figure. The
violins and violas, supported by horns, enter immediately in tremolo with a very
sharp but nebulous “augmented” chord that resolves and diminishes. A descending
figure in long-short rhythm follows. The “leading tone” and augmented chord are
then heard a step lower, in B-flat minor, again followed by the descending figure.
Two more “leading tone” figures follow, both without the succeeding descent. The
sharp dissonance in both is a “diminished seventh” that now moves to a major chord
on A-flat, then D-flat.
0:33 [m. 7]--Moving back to C minor, the woodwinds join the orchestra now in an
upward
winding line that slowly surges forward. The low strings play a yearning figure
that will later set the words “hinter ihm.” The violas pulsate in triplets as the
violins and horns provide a counterpoint to the yearning figure. The flutes and
clarinets then respond with a richly harmonized descent that settles the music back
down.
0:51 [m. 11]--The violins now play a slow descent that will be used to set the
words
“schlagen die Sträuche zusammen.” They are harmonized by the violas, with some
cellos
playing a line in the opposite direction. Three syncopated “sigh” figures follow,
each dropping in pitch and successively losing strength. The last of these is held
slightly longer before resolving downward. The low strings come to a quiet,
preparatory
pause on the “dominant” chord.
1:34 [m. 19]--ARIOSO. Lines 1-2. The alto soloist enters with a slowly winding
melody on the first line, beginning unaccompanied. When she reaches the word
“ist’s,”
the strings enter with the “leading tone” motives and dissonant tremolo chords
heard
at the beginning, but without the horn and bassoon support. These continue as they
had at the opening as she sings the second line, which is filled with heavy,
pathetic
downward “sighs.” After the line, the last leading tone and tremolo are shifted
up a third from where they were in the introduction.
2:08 [m. 26]--Lines 3-4. The upward winding line heard at 0:33 [m. 7] is also
shifted
up a third, suggesting E-flat minor. When the alto enters with “hinter ihm” on the
“yearning figure,” the voice is still higher than the low strings were before, but
the harmony becomes similar and moves back to C minor. The woodwinds descend as
they had before, in rich harmony. The soloist then sings “schlagen die Sträuche
zusammen” to the slow descent heard at 0:51 [m. 11], with flutes joining the
strings.
Only one syncopated figure follows, and it slides upward toward the key of D-flat
major, where the next lines will be heard.
2:43 [m. 34]--Line 5. This line is set in a comparatively warm D-flat major to
depict
the blooming grass. The flutes and clarinets descend against the violin ascent,
which the soloist shadows. A syncopated “sigh” figure bridges to a second
statement
of the line a step higher, in E-flat major (the major key most closely related to
the home key of C minor). The syncopated “sigh” then bridges to the last line.
3:14 [m. 42]--Line 6. All winds drop out. The soloist has only quiet low string
support. She shifts back to C minor with a leaping fifth, then a highly dramatic
descending jump of a seventh. She works upward to the second syllable of
“verschlingt,”
where she holds a note. The violins and violas quietly enter with a slow descent.
This continues after the alto drops out after the last word, “ihn.” The strings
descend to a quiet, but highly intense and anticipatory “dominant” chord in
preparation
for the next section (the “aria”).
Part 2--Aria; Poco Andante, C minor, 6/4; Stanza 2. The aria has a small “aba”
form.

3:52 [m. 48]--ARIA. First section (a). The meter changes to a flowing 6/4 meter
for the “aria.” In the first two lines, the soloist is doubled by the first
violins.
She and the violins frequently superimpose a clashing implied 3/2 meter upon the
flowing 6/4, which is maintained by a meandering viola line. The low strings
provide
bass support, and the winds are absent. The alto melody, with its cross rhythms,
is peaceful, yet somehow agitated. A pathetically stressed “sigh” figure is heard
on “Gift ward.”
4:09 [m. 54]--The alto continues with the next two lines. The violins join the
violas
on the meandering line. The soloist reaches a highly dramatic accented downward
leap of a seventh on the significant word “Menschenhaß.” Under this leap, the
violins
and violas move to a steady syncopated rhythm on repeated notes. A flute then
leads
the woodwind entrance, followed shortly thereafter by an oboe, then clarinets.
Meanwhile,
the soloist sings the fourth line of the stanza, which wanders toward a wistful A-
flat
major.
4:27 [m. 60]--The soloist sings two more sharply accented leaps on “Menschenhaß,”
this time on more mild fifths, the second one a step higher. The strings continue
their syncopated rhythm, but the first violins have rising lines after each
statement
of the word. The soloist moves again to the fourth line, seeming to move to D-flat
major on a new arching line, but she breaks off after “Fülle,” trailed by the
clarinets
as the strings quiet down on their syncopations.
4:43 [m. 65]--The strings drop out, and the soloist enters on a full statement of
the fourth line. The flutes and clarinets support her. She leaps down an octave
on “aus,” slides further down, and then has a very wide upward leap of a twelfth
on “Fülle.” On “Liebe trank,” she settles to a gentle cadence on A-flat major.
The woodwinds, supported by a winding viola line, punctuate the cadence with a
reference
to the opening melody of the “aria.” This is then repeated more quietly by a
clarinet,
with the bassoon on the winding line. The flutes and oboes drop out for this last,
subdued echo, which is quickly tinged by a minor-key harmony.
5:13 [m. 73]--Second section (b). The remainder of the words are presented in a
short time frame. The fifth line is given in two short phrases that move from F
minor back toward C minor. The violins and violas, with wind support, provide a
fluid background. The sixth line is sung in faster winding notes in a narrow
range,
trailed by the strings. The seventh line is then given in longer notes that reach
steadily upward, doubled by a flute, then leap back down on a dissonant seventh.
This line briefly suggests F minor again. A bassoon echoes the long notes.
Finally,
the last line is sung on a gentle arch that descends to a half-cadence in C minor,
with cellos imitating the vocal line under the cadence.
5:45 [m. 84]--An instrumental bridge is based on the preceding vocal setting of the
stanza’s last line, as well as the aria’s opening melody. The violas follow the
cello imitation. The winds and horns then enter against a flowing low bass. The
volume increases dramatically and strongly as the winds and the violas recollect
the aria’s opening melody. Finally, the violins play the arching line at full
volume
under a strongly accented wind chord. They then trail downward, leading to the
reprise.

6:04 [m. 90]--Third section (a’). The opening melody is given by the alto as at
3:52 [m. 48], but now the violas join the first violins on the vocal doubling, and
the meandering line previously played by the violas is transferred to the cellos.

6:21 [m. 96]--The sections that previously followed the first statement of the
melody
are now conflated together. The music begins as it had at 4:09 [m. 54], but the
leap on “Menschenhaß” is suddenly expanded to an octave instead of a seventh. The
strings play the pulsating syncopated rhythm, as they had before. The ascending
flute line is doubled by the viola. The word “Menschenhaß” is then repeated a
half-step
higher, which is similar to its double statement at 4:27 [m. 60]. The flute/oboe
ascent follows again. In fact, the statement of the fourth line breaking off after
“Fülle” is heard as it was after those repetitions at m. 60, a half-step lower than
it was there, moving toward the home major key (C major). It is trailed by the
oboes
instead of the clarinets.
6:44 [m. 104]-- The full statement of the fourth line is given as it was at 4:43
[m. 65], with wind support, absent strings, and the same wide leaps. The whole
line
is a half-step lower than it was before. The cadence is now in G major. The
strings
do enter a bar earlier. The winds, supported by the winding viola line, reference
the opening melody as they did before after this cadence.
7:05 [m. 110]--The subdued repetition of the reference to the opening melody is
expanded.
The clarinets present it first, as they had before, but now with the cellos on the
winding line. It is tinged by minor-key harmony, as before. The cellos continue
to diminish and trail downward as the horns and bassoons slowly echo the long last
notes of the cadence gesture. The bassoons, horns, violas, and low strings quiet
completely and settle on a very subdued, but extremely tense and expectant pause.
This pause arrives on the “dominant” chord of the home key, C, which is simply an
alteration of the previous G-major harmony.
Part 3--Chorus with solo; Adagio, C major, 4/4; Stanza 3
7:27 [m. 116]--With glowing radiance, the male chorus makes its first entrance,
together
with the soloist. She carries the melody while they warmly, albeit mezza voce,
support
her with harmonies. The cellos play pizzicato (plucked) triplets as an
accompaniment.
At “Vater der Liebe,” there is some counterpoint, as the first tenors and first
basses begin after the soloist and the others. Clarinets and bassoons enter to
support
and harmonize with the soloist, while flutes join with the later-entering men. The
second tenors and second basses enter with the soloist on “Vater,” but sustain
their
first note longer. All come together on “Liebe.”
7:47 [m. 120]--The words “ein Ton” are joined with the next line. The melody is
extremely gentle here, becoming slightly chromatic in the next line at “so
erquicke.”
There, the second tenors have a prominent line of counterpoint as they begin later
with a descending diminished third (whole step). The soloist and the first basses
have slightly more active vocal lines. Horns and bassoons provide support as the
plucked string triplets continue. This line beginning with “so erquicke” is
repeated
as the soloist sings a sweeping line. A cadence is reached.
8:30 [m. 128]--The next two lines abruptly shift upward to E-flat major, where they
are sung in their entirety. The plucked cello triplet arpeggios give way to bowed
triplets (now on repeated chords) in the upper strings. Supported by the flutes,
the soloist presents the line “Öffne den umwölkten Blick” alone, dovetailing with
the chorus, who sing for the first time without her support. The other winds enter
with the chorus. Soloist and chorus sing the next line together with more motion
and a swelling volume.
8:52 [m. 132]--The chorus trails on “Quellen” behind the soloist, who begins the
last two lines as they end the word. The triplet arpeggios return, now in the
second
violins and violas. The soloist’s melody makes a highly dramatic harmonic shift,
from E-flat major over its minor version to the highly remote and atmospheric B
major.
Her melody is quiet and restrained, like the prayer that the text here is.
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