Feurig bis ans Herz ihm dringt!

Hast du ihn so ganz vergessen?

Einsam harrt er am Balkon,
Überm Wipfel der Zypressen
Bleicht des Mondes Sichel schon.

Wie das Wasser, niedertropfend,

Kreise neben Kreise zieht,
Also zittert, leise klopfend,
Ihm das Herz bei diesem Lied.«

English Translation (includes two stanzas omitted by Brahms)

A Section
0:00 [m. 1]--Stanza 1. Two introductory bars set up the accompaniment pattern.
Plucked string effects are split between the hands in imitation of the guitar. The
pattern continues under the verse. The vocal line follows a formula. The second
line comes to a half-cadence, the third intensifies the first, and the fourth is
extended by a bar with a lengthened note (“seinen”) before a full cadence. The
accompaniment
adds an extra right hand pattern after the half-cadence, and becomes most active
under the last line.
0:19 [m.11]--The cadence merges into an interlude that very subtly reduces the
activity
in preparation for the next verse.
0:27 [m. 15]--Stanza 2. The accompaniment is changed to illustrate the dripping
water of the fountain. Rolled thirds in the right hand punctuate the vocal line,
which now gently descends in each of the first two lines. Vestiges of the patterns
from stanza 1 punctuate the ends of each line.
0:35 [m. 19]--For the last lines of the stanza, which are set in the radiant-
sounding
“dominant” key of E major, Brahms finally introduces smooth “legato” harmonies in
the right hand dominated by thirds. The left hand plays off-beat ascending
arpeggios.
The vocal line becomes more decorative under “leise klopfend,” and intensifies in
the last line as it moves to a highly fulfilling cadence on E. The piano already
anticipates the bell tones of the following interlude under the last line. The
song’s
first repeated words are “das Herz.”
0:44 [m. 23]--The interlude continues a bright “bell-tone” motif introduced under
the stanza’s last line. It quickly makes the turn back home to A minor and quiets
down for the third stanza, though still retaining the “bell” rhythm.
0:51 [m. 26]--Stanza 3. The first two lines are varied from stanza 1, set slightly
higher and introducing a decorative note on “meiner.” The last two lines, however,
are set as in stanza 1.
1:06 [m. 34]--The interlude begins as had the one after stanza 1 from 0:19 [m. 11],
but its last bar is diverted to move to F major, the key of the ensuing middle
section.

B Section
1:13 [m. 38]--Stanza 4. The verse begins in the last half of the final 6/8 bar in
an extended upbeat. The change to triple time (though in 9/8, retaining the swing
of the outer sections) and to F major signals a different sound world for the
middle
section. The vocal line has a light decoration in the first line. Most of the
interest
is in the accompaniment, which has a chain of thirds under the second line that
continues
beyond the half-cadence to plunge from a high register down to the tenor range of
the keyboard. The left hand patterns of three-note descents remain very constant,
slowly changing harmonies.
1:24 [m. 42]--The third line has the same decoration as the first. Under the last
line, however, the descending thirds are replaced by wider sixths, and the harmony
moves back unexpectedly to A minor, the home key of the song. The line is repeated
in a pleading manner, using C major to pivot from A minor back to F, and the line
of descending sixths changes back to thirds, again extended beyond the vocal
cadence
(in C). A single striking two-chord gesture that happens over a single bar of
undulating
(rather than descending) left hand figures moves back to F major.
1:44 [m. 49]--Stanza 5. It is notable that the two verses Brahms omitted fall
between
his fourth and fifth stanzas, the two in the middle section that are set to very
similar music. Thus he “bridges the gap” to conceal his abbreviation of the poem.
He also made some slight changes to the text of this verse, replacing “noch”
(“still”
or “again”) with “nur” (“only”), since the omitted verses spoke of a former
encounter.
He added the more vivid “heiß” (“warmly”) to replace “so,” a neutral word. With
all of this, the first two vocal lines of the stanza are set identically to the
corresponding
lines of stanza 4. The accompaniment is enriched, however, first with more
colorful,
dissonant harmonic motions on “Freund” and “Stunde,” then with the chain of thirds
beginning at a higher level (a third higher!) than in stanza 4.
1:56 [m. 53]--The third line is set as in stanza 4, but with the colorful harmonic
motion on “Munde.” The last line is greatly altered. It is sung three times
instead
of two. The motion to A minor and C major is avoided, and it becomes much more
excited,
as this is the climax of the poem. The left hand abandons its pattern and strides
up in strong octaves. The right hand continues the undulating rhythm, also working
upward. The first statement of the line builds, the second is already excited,
beginning
a step higher with the left hand moving in thirds, and the third finally reaches
a strong vocal cadence in F major. Here, the piano breaks its constant motion.
2:14 [m. 60]--The vocal cadence is somewhat undermined by the “colorful” harmonic
motion heard throughout stanza 5. The ensuing interlude continues the 9/8 meter
and rhythmic patterns of the previous stanza, and includes three more of the
“colorful”
harmonies that help move back to A minor for the return.
A’ Section
2:26 [m. 64]--Stanza 6. The meter changes back to 6/8, and stanza 6 is set
identically
to stanza 1.
2:41 [m. 72]--The interlude is a bar shorter than the one after stanza 1, since
stanza
7 includes great variations from stanza 2 and requires a different approach with
less preparation.
2:47 [m. 75]--Stanza 7. As in stanza 2, there are rolled thirds and gently
descending
vocal lines, but they are set higher, largely because there is now going to be no
motion to E major, rather the stanza will remain not only in A, but also in minor.
To help that goal, the first two lines are shifted up to D minor to create a
parallel
motion within the stanza. The text is identical to stanza 2.
2:55 [m. 79]--The last two lines are similar to the corresponding lines of stanza
2, including the smooth legato harmonies and the ascending off-beat arpeggios. The
harmony is active, first shifting to D major, then back home to A minor, where the
last line is again set over the “bell tones.” As in stanza 2, “das Herz” is
repeated.
The bell tones have a greatly altered character, being set in minor.
3:06 [m. 84]--The singer rounds off the song with a repetition of the last line.
The only word that is changed from stanza 2 is the replacement of “mir” (“me”)
with
“ihm” (“him”), and Brahms emphasizes this by beginning the word on an upbeat and
holding it across the bar line. The vocal line then soars up to an exceptionally
high note that almost singular in the Brahms songs. It is even very high in the
“low key” version in F-sharp minor. The note is also chromatic, falling outside
the scale of the key. After this dramatic and somewhat tragic gesture, the voice
reaches a strong A-minor cadence over the bell tones.
3:12 [m. 86]--The postlude begins with the vocal cadence. The guitar-like figures
are completely transferred to the bass, and the right hand plays smoother figures
that are reminiscent of the smooth legato harmonies heard at the end of stanza 2
and stanza 7, although they are broken by breathless rests. Although the singer
ended firmly in minor, after the postlude winds down with a subtle cross rhythm
(“hemiola”),
the pianist is allowed to play two A-major chords to end the song on a slightly
more
hopeful, if subdued note. The last of these, after an intervening bass octave, is
cut off quickly, as if strummed.
3:29--END OF SONG [91 mm.]
END OF SET

EIGHT SONGS (LIEDER UND GESÄNGE), OP. 59

Recording: Jessye Norman, soprano (Nos. 5, 8); Dietrich Fischer-Dieskau, baritone;
Daniel Barenboim, piano [DG 449 633-2]
Published 1873.

This set was published somewhat later than Op. 57 and Op. 58 (also sets of eight
songs titled “Lieder und Gesänge“--Brahms usually chose one of those two words).
It is actually closer in character and time of composition to the nine songs of
Op. 63, also given the title with both German descriptors (in English, we would
translate
both as “songs”). As with all of these sets, it shows a sense of internal
organization,
but perhaps a more elegant one. Rather than building up toward a large capstone
song, as do Op. 57 and Op. 58, or creating three “subgroups” with one poet apiece,
as does Op. 63, Op. 59 is arranged in two groups of four, each ending with a pair
of poems by his friend Klaus Groth (Op. 63 also closes with Groth). The first song
of each subset is by a great romantic poet (Goethe and Mörike, respectively), the
second by a “lighter” poet. Brahms’s admiration for Daumer spilled from Op. 57
into
this set, and No. 6 of Op. 59, to a very erotic Daumer text, seems like a leftover
from the Op. 57 songs, to which it is very similar, if more complex in form. The
first song is a dramatic, but restrained setting of an excellent late Goethe text.
The second song uses subtle rhythmic manipulation to illustrate the voyage on the
sea (the later song in Op. 106 with the same title is a different poem). Nos. 3
and 4, both “rain songs” to related Groth texts, use the same basic material and
are usually paired without a break. No. 3 is the most substantial song in the set
by far. The main material of these songs was “recycled” to great effect in the
finale
of the first violin sonata, Op. 78 (which begins like a violin transcription of No.
4’s opening). “Agnes,” No. 5, is a stylized folk-like lyric by Mörike, and Brahms
responds with a setting resembling his songs on actual folk texts. The mixed meter
is handled with particular deftness, as is the varied accompaniment between verses.
The final two Groth songs are rather short, but both are of unusual quality,
particularly
the almost manic No. 7, with its intricate counterpoint, major/minor mixture, and
manipulation of the main melodic figure. No. 8 is restrained and beautiful, and
is notable for its long, slow descents in the vocal line. The set is the subject
of a notable letter by Brahms to his publisher, often cited as evidence that the
song groups and opus numbers, rather than being random collections, have order and
logic in their arrangement. In the letter, he was adamant about the grouping into
two subsets as well as the overall order for publication.

Note: Links to English translations of the texts are from Emily Ezust's site at
http://www.recmusic.org/lieder.
For the most part, the 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.

IMSLP WORK PAGE

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck--original keys)

ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke--original keys)

ONLINE SCORE FROM IMSLP (Edition Peters, edited by Max Friedländer):

No. 1: Dämmrung senkte sich von oben (in original key, G minor/major)
No. 1: Dämmrung senkte sich von oben (in high key, B-flat minor/major)
No. 2: Auf dem See (in original key, E major)
No. 2: Auf dem See (in low key, E-flat major)
No. 3: Regenlied (in original key, F-sharp minor)
No. 3: Regenlied (in low key, D minor)
No. 4: Nachklang (in original key, F-sharp minor)
No. 4: Nachklang (in low key, D minor)
No. 5: Agnes (in original key, G minor)
No. 5: Agnes (in low key, E minor)
No. 6: Eine gute, gute Nacht (in original key, A minor/major)
No. 6: Eine gute, gute Nacht (in low key, F-sharp minor/major)
No. 7: Mein wundes Herz (in original key, E minor/major)
No. 7: Mein wundes Herz (in low key, C-sharp minor/major)
No. 8: Dein blaues Auge hält so still (in original key, E-flat major)
No. 8: Dein blaues Auge hält so still (in low key, D major)

BOOK I:
1. Dämmrung senkte sich von oben (Twilight Sank from High Above). Text by Johann
Wolfgang von Goethe. Langsam (Slowly). Varied strophic (Stanzas 1-2) and Through-
composed
(Stanzas 3-4) forms. G MINOR/MAJOR, 3/8 time (High key B-flat minor/major).

German Text:
Dämmrung senkte sich von oben,
Schon ist alle Nähe fern,
Doch zuerst empor gehoben
Holden Lichts der Abendstern.

Alles schwankt in’s Ungewisse,

Nebel schleichen in die Höh’,
Schwarzvertiefte Finsternisse
Widerspiegelnd ruht der See.
Nun am östlichen Bereiche
Ahn’ ich Mondenglanz und Glut,
Schlanker Weiden Haargezweige
Scherzen auf der nächsten Flut.

Durch bewegter Schatten Spiele

Zittert Lunas Zauberschein,
Und durch’s Auge schleicht die Kühle
Sänftigend in’s Herz hinein.

English Translation

0:00 [m. 1]--Introduction. In G minor, four bars establish the opening

accompaniment
pattern, a harmonized two-note group followed by a rest, in the piano’s tenor
range.
The very low bass moves in the third bar. The mood is somewhat ominous and
foreboding.

0:12 [m. 5]--Stanza 1, lines 1-2. The accompaniment continues in the pattern and
range established in the introduction, but the left hand also plays on both the
first
two beats. The vocal melody of the first line comes from the bass of the
introduction,
and is evocative of the falling darkness. Its long-short rhythm contrasts with the
piano’s two short notes and a rest. The second line continues the rhythmic
patterns
in both piano and voice, briefly moving to D minor.
0:32 [m. 13]--Stanza 1, lines 3-4. A new accompaniment pattern is established with
off-beat syncopations in the right hand against melodic fragments in the left. The
long-short pattern continues in the vocal line, but the melody and harmony brighten
considerably to a striking E-flat major. The fourth line brings the music back to
the minor key. The lengthening of the word “Abendstern,” with a note crossing a
bar line, stretches the line to five bars instead of four, the cadence merging with
the following interlude.
0:49 [m. 21]--Arriving with the cadence of stanza 1, this interlude has the same
bass as the introduction, but the right hand now plays a flowing line derived from
the original two-note figures. It is quiet and mysterious in nature.
0:57 [m. 25]--Stanza 2, lines 1-2. The vocal line is as in stanza 1 for these two
lines. The accompaniment is new, continuing the flowing, mysterious lines from the
preceding interlude in both hands.
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