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1:54 [m. 54]--Stanza 3, lines 3-4. Brahms writes a circular bass progression
through
B-flat, F, and C (all minor) leading back home to G. The vocal line arches up and
back twice with long-short-short figures that increase the intensity. The vocal
melody then slows down and diminishes in the fourth line as these figures are
passed
to the piano right hand, finally interrupting the persistent off-beat syncopation.
2:08 [m. 62]--Stanza 4, lines 1-2. Although there is a continuous flow into this
stanza from the colorful harmonies at the end of the last, this is an important
arrival,
as the home key of G unambiguously moves to major. The melody is a transformed
version
of that used for the last two lines of the first two stanzas. The setting is
higher,
but the long-short rhythm confirms its identity. The accompaniment is also
similar,
but follows the vocal line more closely. The phrase is extended to a full-hearted,
but gentle climax through the repetition of “Lunas” and the stretching out of
“Zauberschein”
in a brief turn to C major.
2:24 [m. 72]--Stanza 4, lines 3-4. The intensity continues for these lines, which
include surprising dissonant harmonies and a continued emphasis on the harmony of
C major under the word “sänftigend.” The left hand slows down to longer block
chords
in a lower register. The overall motion is downward, with a lengthening of “Herz”
over a moving mid-range left hand line. There is a half-close before the
repetition.
2:40 [m. 81]--The last two lines are repeated without “und” and with an extra
repetition
of “sänftigend.” The volume rises to the first “sänftigend,” still over C major
harmony, then diminishes for the second statement of the word, now over a darker
minor chord. For the last warm words, Brahms indicated two vocal options. One
turns
and rises with some decoration. The other continues to descend to the lowest vocal
pitch. Fischer-Dieskau sings the lower version. In a short postlude, continuing
off-beat middle range syncopations and descending bass lines lead, after more rich
harmonies, to a final rolled chord.
3:22--END OF SONG [94 mm.]
2. Auf dem See (On the Lake). Text by Karl Joseph Simrock. Etwas bewegt (With
some
motion). Modified strophic form (AABA’). E MAJOR, 3/4 time (Low key E-flat
major).
(The title Auf dem See is also used for Op. 106, No. 2.)
German Text:
Blauer Himmel, blaue Wogen,
Rebenhügel um den See,
Drüber blauer Berge Bogen
Schimmernd weiß im reinen Schnee.
English Translation
1:19 [m. 33]--Stanza 3 (B). There is great contrast with a turn to the home minor
key (E minor). The accompaniment changes dramatically with ascending arpeggios in
triplet rhythm (groups of three notes per beat). But elements of the main strophe
are still present, such as the dotted rhythm in the right hand and cross-meter
(again
three groups of two ascending beats, this time in triplet rhythm) under the second
line. The words “werde mild” are stretched out as an extension, somewhat arresting
the stormy nature of the contrasting music. There is a piano bridge at “mild” that
again uses the cross-meter.
1:32 [m. 43]--The remainder of the stanza begins somewhat calmer, moving to the new
key of G major (which is related to E minor). The words “Glück” and “Frieden” are
lengthened on descending half-steps, placing a cross-rhythm in the vocal melody and
extending the third line. After the last line avoids a cadence, a bridge using the
familiar cross-meter increases the intensity and moves to B major, toward the home
key. The last line is strongly repeated. Another, longer bridge passage moves to
the home key, diminishes, and uses the familiar cross-meter in its last two bars,
which abandon the triplet rhythm.
1:52 [m. 59]--Stanza 4 (A’). The music is essentially the same as the first two
strophes, but there is an extremely effective embellishment on the word “Flut.”
The murmuring repetition is on “Busch und Stadt.”
2:07 [m. 69]--The last two lines are as in the first two strophes, with an added
crescendo on the ascent in the first statement of the last line. Two closing
chords
are added to the descending postlude.
2:36--END OF SONG [84 mm.]
3. Regenlied (Rain Song). Text by Klaus Groth. In mäßiger, ruhiger Bewegung (In
measured, peaceful motion). Expanded ternary form (AA’BCC’AA”). F-SHARP MINOR,
2/2 [Cut] and 3/2 time (Low key D minor).
German Text:
Walle, Regen, walle nieder,
Wecke mir die Träume wieder,
Die ich in der Kindheit träumte,
Wenn das Naß im Sande schäumte!
English Translation
0:00 [m. 1]--Introduction. The piano establishes the pervasive single long-short
rhythm (dotted rhythm) that will permeate this song and the next. It is heard
first
in isolation on an upbeat, then, after three detached chords, in the bass. More
chords lead to the vocal entry.
0:09 [m. 5]--Stanza 1 (A). The singer enters with the dotted rhythm, then begins
the flowing melody of the song. The piano establishes a pattering “rain”
accompaniment,
played by the right hand in the middle range. Though meandering, it contains many
repeated notes. The dotted rhythm is played by the left hand, both over and under
the perpetual “rain” motion in alternation. The singer also begins the third and
fourth lines with the dotted rhythm. The harmony of the third line makes a lovely
upward shift to G major at the mention of childhood. The left hand abandons the
dotted rhythm in the last line, playing low bass octaves.
0:34 [m. 21]--Restatement of the introduction.
0:41 [m. 25]--Stanza 2 (A’). The first two lines are set to the same music as
stanza
1, but the third and fourth lines slide more forcefully upward, the fourth line at
a higher level, moving toward the key of A major, where the B section is set. The
pattering rain accompaniment and the isolated dotted rhythms above and below it
from
the left hand continue. The fourth line is repeated with longer notes, but
increasing
speed to aid in the transition to the next section.
1:13 [m. 46]--Stanza 3 (B). This section is much more lively, with a joyous,
leaping
vocal line and a skittish accompaniment that includes isolated detached notes in
the left hand and rapid arpeggios in the right. These right hand arpeggios are in
groups of six with the first note replaced by a rest. They alternate with
syncopated,
harmonized two-note figures. The stanza begins in A major, then moves strikingly
to C major in its last line. Stanza 4 follows seamlessly.
1:25 [m. 54]--Stanza 4 (B continued). The first line is exceptionally exuberant.
The right hand abandons the syncopations, playing only the six-note groups, which
now oscillate up and down, still with their first note replaced by a rest. The
left
hand plays a smoother bass line instead of the detached leaping notes. The second
line slides upward by half-steps in longer notes, some held over bar lines.
1:35 [m. 61]--The third line returns to the patterns heard in stanza 3, re-
establishing
A major. In the last line, the high point, the right hand groups replace the
initial
rests with downbeat notes that, taken together, form a descending line that nearly
doubles the voice. The left hand again becomes smooth. The line is repeated
strongly,
and these initial notes now double the voice exactly. There is a strong cadence
in A, then a brief bridge continuing and repeating the descending patterns with
greatly
diminishing volume.
1:53 [m. 71]--Stanza 5 (C). The meter changes to 3/2. These longer bars seem to
arrest the forward progress of the song to provide contrast and respite. The main
key of the 3/2 section is D major. The stanza begins with an upbeat on the last
beat
of the 2/2 bars in the bridge. The constant “rain” accompaniment ceases, as the
text now focuses completely on the memories of the past. Instead, the singer uses
patterns of two long notes followed by two short ones. The piano left hand
initially
follows the singer’s rhythm. The right hand alternates with chords after the beats
of the long notes, then joins on the shorter ones. The second line moves to F-
sharp
major.
2:02 [m. 75]--At the beginning of the third and fourth lines, the two long notes
are replaced by a long-short dotted rhythm. The piano now plays straight chords
in the left hand, with the right hand following after the beat. The two lines move
from F-sharp major (the major version of the home key) back to D for the sixth
stanza.
This motion and the right hand after-beat chords continue in a bridge.
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