German Text:

Ach, wende diesen Blick, wende dies Angesicht!

Das Inn’re mir mit ewig neuer Glut,
Mit ewig neuem Harm erfülle nicht!

Wenn einmal die gequälte Seele ruht,

Und mit so fieberischer Wilde nicht
In meinen Adern rollt das heiße Blut -

Ein Strahl, ein flüchtiger, von deinem Licht,

Er wecket auf des Wehs gesamte Wut,
Das schlangengleich mich in das Herze sticht.

English Translation

0:00 [m. 1]--Stanza 1 (A). The voice and piano begin together in an expressive,
lightly harmonized melody. For the first line, the top of the piano part doubles
the voice. The character is that of a lament.
0:12 [m. 5]--For the second and third lines, the accompaniment changes to a steady,
solid, and very wide-ranging triplet rhythm. This accompaniment cascades downward
for the second line. At the arrival of the third, it arches up and down across a
wide swath of the keyboard. This is also the arrival of the climax in the vocal
line, with strong accents and biting dissonances in the piano. The third line is
repeated and quickly subsides at the end. A very brief transition leads to the
second
stanza.
0:38 [m. 15]--Stanza 2 (B). The beginning of the stanza is expressive and warm.
The first line is set in a closely-related major key, D-flat. The piano
accompaniment
doubles the voice, but also adds another, more active line in octaves as well as
a separate bass line. The vocal line is somewhat hesitant.
0:51 [m. 20]--As the second line of the stanza arrives, Brahms keeps the
established
accompaniment texture, but marks that the music should intensify and become more
agitated. The key also moves strongly back to the minor. The words “in meinen
Adern”
(“in my veins”) are repeated, and this repetition yields the song’s largest climax,
punctuated by a sudden rich chord, followed by an even richer one on “rollt das
heisse
Blut” (“courses [my] hot blood”). The wide-ranging triplets return at the climax.
Under “Blut” (“blood”) a third, dissonant chord (a “diminished seventh”) helps to
pivot back to the “A” music.
1:12 [m. 29]--Stanza 3 (A). The expressive A melody returns, but only in the
piano.
The voice enters on the last beat of the first bar, creating a dissonance. The
second bar begins with a dotted (long-short) rhythm to accommodate the text, but
from that point, the music is identical to that of stanza 1.
1:25 [m. 33]--For the second and third lines, the wide-ranging triplets enter, as
in stanza 1. The accents and dissonances are especially appropriate as they fall
under the words about the serpent’s sting to the heart. The third line is repeated
as in stanza 1. The music remains identical until the moment of transition, which
is replaced by a solid downward-plunging line and a loud F-minor chord to end the
song.
2:00--END OF SONG [42 mm.]

BOOK II:
5. “In meiner Nächte Sehnen” (“In my night-time longing”). Text by Georg Friedrich
Daumer. Agitato. Ternary form (ABA’). E MINOR, 6/8 time (Low key C-sharp minor).
German Text:
In meiner Nächte Sehnen,
So tief allein,
Mit tausend, tausend Tränen,
Gedenk’ ich dein.

Ach, wer dein Antlitz schaute,

Wem dein Gemüt
Die schöne Glut vertraute,
Die es durchglüt,

Wem deine Küsse brannten,

Wem je vor Lust
All seine Sinne schwanden
An deiner Brust -

Wie rasteten in Frieden

Ihm Seel’ und Leib,
Wenn er von dir geschieden,
Du göttlich Weib!

English Translation

0:00 [m. 1]--A brief introduction sets up the rhythm and the mood. Two short
fragments
and one longer one, all with a typical 6/8 swing.
0:06 [m. 5]--Stanza 1 (A). The voice takes up the line whose rhythm and direction
were anticipated in the bass of the introduction. The accompaniment that enters
with the voice breaks into a trembling rhythm that persists through the rest of the
song. The bass line freely imitates the voice. After two parallel phrases for
each
pair of lines, the last line is repeated as a tag, with the word “gedenk” receiving
an extra repetition. The stanza moves to a cadence on the related “dominant” key
(B minor). A very brief bridge.
0:22 [m. 17]--Stanzas 2 and 3 (B). The two middle stanzas are combined into one
section. The second stanza is very active, with four rising figures. The second
line makes a hopeful and warm move to major. The last two lines restore the minor-
key
passion, wrenching upward to A minor. Punctuating chords join the accompaniment
texture for the last line.
0:32 [m. 25]--The beginning of the third stanza marks the climax of the song. The
second and fourth lines are set to shorter figures half-the length of those
previously
used for these short lines in the first two stanzas. The bass line intermittently
doubles the voice. The last two lines are repeated as the music subsides, with an
extra repetition for the words “an deiner.” A cadence on B minor/major precedes
another brief bridge.
0:50 [m. 37]--Stanza 4 (A’). The first two lines are as in stanza 1 (A). The third
line adds an extra sliding note to the word “geschieden.” The fourth line reaches
higher than in stanza 1 in order both to close the song on a more emphatic note and
to end in the home key of E minor. The line is repeated, with the “extra”
repetition
of the word “göttlich” reaching even higher for the cadence.
1:03 [m. 47]--A postlude begins with the last vocal cadence on the word “Weib.”
The “trembling” accompaniment persists until the end. Some biting, accented
dissonances
are heard. The passion does subside, but the ending is not completely subdued,
despite
ending in major.
1:21--END OF SONG [53 mm.]

6. “Strahlt zuweilen auch ein mildes Licht” (“Although occasionally a gentle light
shines”). Text by Georg Friedrich Daumer. Sanft bewegt (Gently moving). Ternary
form (ABA’). E MAJOR, 6/8 time (Low key D major).

German Text:
Strahlt zuweilen auch ein mildes Licht
Auf mich hin aus diesem Angesicht -
Ach, es können auch wohl Huldgebärden
Machen, daß uns fast das Herze bricht.
Was die Liebe sucht, um froh zu werden,
Das verraten diese Blicke nicht.

English Translation

The shared meter and key center, as well as the quiet, major-key ending of the
fifth
song, make for a very smooth transition between the fifth and sixth songs.
0:00 [m. 1]--A. A very brief introduction with gently rising arpeggios anticipates
the rising vocal line. The first couplet is set to a leisurely rising and falling
line that quickly moves to a cadence on B major. The accompaniment is a mostly
continuous
flow, with much doubling of the vocal line. Many non-key, chromatic notes are
included.

0:18 [m. 8]--B. The second couplet is more agitated and chromatic, beginning with
an upward sliding vocal line. The left hand of the piano plays mostly doubled
notes
in thirds. A cadence on the home minor key (E minor) and the agitated mood convey
the message of these lines, that the kind glances are not those of love.
0:32 [m. 14]--A’. The introductory measures enter with the preceding minor-key
cadence,
gradually moving back to major. The fifth line is set as the first was, but the
sixth line, the second of the last couplet, is altered, moving toward G major
instead
of B major, with a more incomplete close. A one-bar interlude includes light
syncopations.

0:50 [m. 21]--The last line is repeated, re-establishing the home major key. This
final vocal line still ends rather inconclusively after a brief swell. There is
a short postlude that includes somewhat disconcerting syncopated chords that
intrude
on the continuous texture. The closing is, however, very gentle and mild. Despite
its rich harmony, this song is a bit of a respite from the darker mood of the last
two songs.
1:13--END OF SONG [26 mm.]

7. “Die Schnur, die Perl’ an Perle” (“The string, on which pearl after pearl”).
Text by Georg Friedrich Daumer, adapted from a Sanskrit poem. Etwas langsam
(Somewhat
slowly). Two-part form (AA’). B MAJOR, 3/4 time (Low key A-flat major).

German Text:
Die Schnur, die Perl’ an Perle
Um deinen Hals gereihte,
Wie wiegt sie sich so fröhlich
Auf deiner schönen Brust!
Mit Seel’ und Sinn begabet,
Mit Seligkeit berauschet
Sie, diese Götterlust.

Was müssen wir erst fühlen,

In welchen Herzen schlagen,
So heiße Menschenherzen,
Wofern es uns gestattet,
Uns traulich anzuschmiegen
An eine solche Brust?

English Translation

0:00 [m. 1]--A brief two-bar introduction sets up the underlying inner motion of
the accompaniment. The top voice, beginning on an upbeat, leaps down and then
mirrors
the leap up.
0:06 [m. 3]--Stanza 1 (A). The first two lines are set to a lovely and leisurely
melody over the undulating accompaniment with the top line doubling the voice. The
last four notes are echoed in a one-bar interlude.
0:20 [m. 9]--The third line is set to two gestures that leap down to a distinctive
chromatic note and then slide upward to propel an opposite ascent. The fourth line
is stated twice, both times after extremely artful changes of key, the first
sliding
down a half-step to B-flat and the second regrouping on F-sharp, which is more
close
to home. The first statement reaches upward, the second settles back down toward
a two-bar interlude.
0:50 [m. 21]--The last three lines (5-7) of the stanza re-establish the home key
and move toward a gentle cadence. Nonetheless, there are several distinctive
chromatic
notes. The sixth line reaches the song’s highest pitch.
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