0:22 [m.

8]--The third line introduces some colorful harmonies, turning to the

somewhat
distant key of F major amid more gentle vocal leaps. The fourth line begins to
head
back home, moving through A major with another wide leap. It is repeated, reaching
a low, resonant and full cadence in D major. A simple arpeggio leads to the next
verse, with no real interlude.
0:44 [m. 15]--Stanza 2. The vocal line is largely the same as in stanza 1, but the
rhythm is altered significantly to fit the declamation of the text. More important
is the variation in the piano under the first line, where the bass, rather than
swinging
downward, is now entirely in the low octaves, still on the pitches D and A. Here,
the alteration helps illustrate the ringing bells in the text.
0:55 [m. 19]--The third and fourth lines also have significant changes in
declamation,
most notably at the end, where the lowest note of the cadence is stretched out to
two notes over three beats to accommodate an extra syllable. The piano
accompaniment,
however, is now the same as in stanza 1.
1:18 [m. 26]--Unlike the point after stanza 1, the piano introduction is played
again
before stanza 3 after the arpeggio is halted with a dissonant note.
1:28 [m. 29]--Stanza 3. Again, it is essentially the same as the other stanzas,
with the necessary variations for declamation. The piano accompaniment is as in
stanza 1 in the first line.
1:40 [m. 33]--The third and fourth lines also contain new variations in
declamation,
particularly at “küsse ihr,” but the final cadence is as in the first stanza, with
the shorter low note on one beat. The simple arpeggio leads right to the close,
with no extended postlude.
2:17--END OF SONG [40 mm.]

7. Heimweh I (Homesickness I). Text by Klaus Groth. Zart bewegt (With tender
motion).
Three-part strophic form with variation in the third strophe. G MAJOR, 2/4 time
with two 3/4 bars (Low key E major).

German Text:
Wie traulich war das Fleckchen,
Wo meine Wiege ging,
Kein Bäumchen war, kein Heckchen,
Das nicht voll Träume hing.

Wo nur ein Blümchen blühte,

Da blühten gleich sie mit,
Und alles sang und glühte
Mir zu bei jedem Schritt.

Ich wäre nicht gegangen,

Nicht für die ganze Welt! -
Mein Sehnen, mein Verlangen,
Hier ruht’s in Wald und Feld.

English Translation

0:00 [m. 1]--A somewhat wistful piano introduction, with a meandering line in the
left hand, sets the mood for the song. The right hand plays upward-floating double
notes against the winding descent of the left. It ends with a highly expectant
half-cadence.
0:09 [m. 5]--Stanza 1. The wistful, rather sweet mood continues in the first part
of the verse. The vocal line floats down, then back up, then down again on the
second
line. The second line is repeated with some intensification, creating a five-bar
phrase that ends on a half-cadence. The left hand leads the piano accompaniment,
the right hand playing single and double notes, as well as three-note chords, after
the beats.
0:21 [m. 10]--While the rhythmic pattern is maintained, both hands of the piano
become
more static and more full in harmony. After a slight break to establish this, the
third vocal line makes a rather dark turn to minor that is immediately shifted more
hopefully to B-flat major. The fourth line starts to move back home. This line,
like the second, is also repeated. A single 3/4 bar intrudes for this repetition,
which includes an internal reiteration of “das nicht.” The piano briefly breaks
its constant rhythm inside of the 3/4 bar.
0:37 [m. 16]--The vocal line does not come to a complete cadence, but merges into
a restatement of the introduction with the meandering line moved to the right hand.
The left hand floats steadily upward with double notes, and the anticipatory half-
cadence
is more rich and full, with a rolled chord.
0:46 [m. 20]--Stanza 2. A strophic repetition of the music of stanza 1, with
repeated
lines and the intruding 3/4 measure. In the 3/4 bar, the internal repetition is
shifted forward, reiterating the word “jedem.”
1:14 [m. 31]--The introduction is again stated after this verse with the moving
line
in the right hand, as after stanza 1 at 0:37 [m. 16].
1:24 [m. 35]--Stanza 3. While extremely similar to the preceding verses, there are
subtle differences from the beginning. The accompaniment is more halting and less
flowing, breaking the constant rhythmic pattern in the middle of the first two
bars.
The declamation of the text takes on a rather altered, more assertive rhythm in
the first statement of line 2, whose repetition now moves lower and to a stronger
half-cadence.
1:37 [m. 40]--The approach to line 3 is as in the first two stanzas. The line
itself
is diverted to E-flat major instead of B-flat, a slightly more distant and colorful
harmonic motion. The result is a more emphatic line. Line 4 does move back to G,
but the line is somewhat different. The repetition of this last line includes an
expected reiteration of “hier ruht’s,” but the 3/4 measure is omitted and the
entire
musical line is the most altered in the verse, again through more assertiveness.
The bass line includes strong octaves, and breaks the constant motion, playing
only
on every other beat. The right hand follows suit in the last bar.
1:56 [m. 47]--The line now, of course, comes to a complete close. A variation of
the piano introduction closes the song. The moving line is in the right hand. The
wistful mood is still there, but alterations in the line and in the harmony add a
slight tinge of melancholy to the final bass octave and chord.
2:15--END OF SONG [49 mm.]

8. Heimweh II (Homesickness II). Text by Klaus Groth. Etwas langsam (Somewhat

slowly). Strophic/ternary form (ABB’A’). E MAJOR, 6/4 time with two 9/4 bars
(Middle
key C-sharp major, low key C major).

German Text:
O wüßt ich doch den Weg zurück,
Den lieben Weg zum Kinderland!
O warum sucht’ ich nach dem Glück
Und ließ der Mutter Hand?

O wie mich sehnet auszuruhn,

Von keinem Streben aufgeweckt,
Die müden Augen zuzutun,
Von Liebe sanft bedeckt!

Und nichts zu forschen, nichts zu spähn,

Und nur zu träumen leicht und lind;
Der Zeiten Wandel nicht zu sehn,
Zum zweiten Mal ein Kind!

O zeig mir doch den Weg zurück,

Den lieben Weg zum Kinderland!
Vergebens such ich nach dem Glück,
Ringsum ist öder Strand!

English Translation

0:00 [m. 1]--The first “Heimweh” song is wistful, while this one is more deeply
introspective.
The piano introduction sets up slow, sweeping arches over the long 6/4 bars. The
line is richly chromatic, played over low bass octaves. The bass, then the
arpeggios
introduce mild syncopation in the third and fourth bars respectively. The piano
pattern continues when the voice enters.
0:21 [m. 5]--Stanza 1 (A). The vocal line is also slow and introspective, but not
as chromatic as the underlying piano arpeggios. Often, the voice moves in the
opposite
arch-like trajectory from the piano, and always in slower note values. Line 2
introduces
the same bass cross-rhythm heard in the introduction and moves to the “dominant”
key of B major.
0:40 [m. 9]--Line 3 moves strikingly to the key of F major and introduces rests on
the strong beats before the right hand arpeggios. Line 4 restores the main E-major
key and the opening piano arpeggios. The words “der Mutter Hand” are repeated over
an inserted bar of 9/4, which creates a moment of even more breadth. A variation
of the first two bars of the introduction leads to the next stanza.
1:14 [m. 15]--Stanza 2 (B). Brahms marks “Lebhafter werdend” (“Becoming more
lively”)
at this point. The line is more assertive. The piano abandons the long arpeggios
in favor of a flowing left hand under a right with rich chords after a few initial
syncopations. The verse is harmonically active. The first line moves to G major,
the second to E minor, the third and fourth to B major, all quite natural
progressions.
The bass holds steady under the fourth line. It is repeated to a new and
rhythmically
shifted vocal contour, reaching a cadence in B major. The piano chords lead
smoothly
to the next stanza.
1:52 [m. 25]--Stanza 3 (B’). Follows closely upon stanza 3, and is extremely
similar,
with the only major difference being a slightly more flowing second line (“Und nur
zu träumen leicht und lind”). The last line is repeated, as in stanza 2. A quick
key change back to E, over a slowing of tempo to the original pace on an isolated
piano descent, leads to the final stanza.
2:32 [m. 36]--Stanza 4 (A’). The first two lines are exactly as in stanza 1, as
the parallel text would suggest. 2:53 [m. 40]--The last two lines make an
extremely
subtle, but dramatic change. The slowly flowing accompaniment is suddenly aborted
as the key changes to F again. It is replaced by rather stark off-beat octaves in
the right hand descending by thirds. The fourth line, including a similar text
repetition
(“öder Strand”), and a 9/4 bar as before, retains the same contour, but is now set
in E minor, creating a seemingly pessimistic close. The accompaniment to the line
retains vestiges of the third line, with syncopation, strong-beat rests, and
abandonment
of the arpeggios.
3:21 [m. 44]--Coinciding with the last note of stanza 4, the long arpeggios of the
piano introduction return and restore the major mode. This creates a beautiful
close
that almost negates the pessimistic ending of the last stanza, but the many
chromatic
notes underscore the pervading melancholy mood to the end. The third bar alters
the original introduction material to continue to climb upward to a “Phrygian”
cadence
(with a prominent chromatic C-natural) onto a rolled and held E-major chord.
4:00--END OF SONG [47 mm.]

9. Heimweh III (Homesickness III). Text by Klaus Groth. Etwas langsam (Somewhat
slowly). Alternating strophic form (ABA’B’). A MAJOR, 2/4 time (Low key F major).

German Text:
Ich sah als Knabe Blumen blühn -
Ich weiß nicht mehr, was war es doch?
Ich sah die Sonne drüber glühn -
Mich dünkt, ich seh’ es noch.

Es war ein Duft, es war ein Glanz,

Die Seele sog ihn durstend ein.
Ich pflückte sie zu einem Kranz -
Wo mag er blieben sein?

Ich such’ an jedem Blümchen nach

Um jenen Schmelz, um jenes Licht,
Ich forsche jeden Sommertag -
Doch solche find’ ich nicht.

Ihr wußtet nimmer, was ich trieb?

Ich suchte meinen alten Kranz.
Er war so frisch, so licht, so lieb -
Es war der Jugendglanz.

English Translation

0:00 [m. 1]--A brief, mildly syncopated piano introduction establishes the moderate
walking speed and the distinctive “upward-skipping” left hand figure that will
characterize
the song.
0:04 [m. 3]--Stanza 1 (A). The music is somewhat reminiscent of No. 7, “Heimweh
I,” in its mood, but the protagonist here seems rather more detached. The music
maintains a steady, walking pace. The left hand of the piano usually plays the
“upward-skipping”
figure from the introduction, while the right harmonizes with the voice in thirds
and sixths, with expressive chromatic notes. Line 3 makes a brief harmonic
diversion
to B minor. The last line is repeated in a sweetly curving line that serves as a
kind of “refrain” in the song, closing off both the A and B verses. The piano
plays
gentle syncopations in thirds under the “refrain.”
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