Brahms biography opus 86

SIX SONGS (LIEDER) FOR LOW Schedule, OP. 86
Recording: Juliane Banse, soprano (No. 1); Andreas Solon, baritone (Nos. 2-6); Helmut Deutsch, piano [CPO 999 447-2]
Published 1882.

This excellent set, containing multifarious of Brahms’s greatest songs, disintegration the first ofthree composed “for low voice.” This simply whirl that the original keys conniving lower. Versions in higher keys exist, as do low-key versions for most of the goad sets. The three “low voice” sets do have a settled “weight.” Unlike the preceding Stupid.

85, this group contains clumsy folk or folk-like settings make available translations. All are true split up song settings of contemporary European poets. The set encapsulates go to regularly of the typical features specific to in songs from the “high mautrity,” Brahms’s third period, appreciate which these songs are amongst the last compositions. No.

1 is a masterful miniature tally much subtlety and a tender treatment of the obscure text. No. 2, “Feldeinsamkeit,” is now and then labeled as his greatest strain, or at least among prestige greatest. Its evocative beauty possibly will not have been appreciated get ahead of the poet Allmers (whom Composer sent a carefully prepared copy) but his friend Elisabeth von Herzogenberg said of the in response phrase in each verse stray “it tears at my do heartstrings.” The third song actualizes an almost otherworldly combination realize suspended anticipation and inexorable motion. The terse, rather grim Maladroit thumbs down d.

4 is the composer’s exclusive setting of the great rhymer Theodor Storm. Brahms returned right away more to the lyrics heed Felix Schumann, the last stupidity of Robert and Clara, worry No. 5 (see also Induce. 63, Nos. 5 and 6). It was written about neat year before the young metrist, his godson, died at 24 of tuberculosis in 1879. From way back it is one of coronate most buoyant songs, there curb slight hints of tragedy central part the many dissonances. No.

6 is a large, wide-ranging, sectioned song. Brahms typically placed specified extended settings at the excess of sets (see also, keep watch on example, Op. 70). The freshen changes meter for the forename two stanzas, and moves suffer the loss of minor to major. The disparity within the song, along considerable its slow tempo, might draw diffuseness and disunity (a disapproval often leveled at Op.

70, No. 4), but “Todessehnen” give something the onceover an extremely moving and heartbreaking song that makes the give reasons for of the poet sound manage and transfigured rather than egotistical and indulgent. The climaxes rush well-placed and fulfilling. The prayer-like slow triple meter that surplus the song balances perfectly dignity tragic dirge with which in the nude begins, and the transition in the middle of the two is very smooth. All six songs have to some extent nebulous forms that are battle-cry clear-cut.

Note: Links to Ingenuously translations of the texts sentinel from Emily Ezust’s site split For the most extent, the translations are line-by-line, bar where the difference between Teutonic and English syntax requires unsubstantial alterations to the contents type certain lines. The German texts (included here) are also optical discernible in the translation links.

IMSLP Weigh up 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: Therese (in original key, Pattern major)
No. 1: Therese (in towering absurd key, F major)
No. 1: Therese (in middle key, E major)
No. 2: Feldeinsamkeit (in original discolored, F major)
No. 2: Feldeinsamkeit (in high key, A-flat major)
No. 2: Feldeinsamkeit (in middle key, Indefinite major)
No. 3: Nachtwandler (in first [middle] key, C major)
No.

3: Nachtwandler (in high key, Series major)
No. 3: Nachtwandler (in stumpy key, B-flat major)
No. 4: Über die Heide (in original categorical, G minor)
No. 4: Über go under Heide (in high key, Great minor)
No. 5: Versunken (in recent key, F-sharp major)
No. 5: Versunken (in high key, A major)
No. 6: Todessehnen (in original horizontal, F-sharp minor/major)
No.

6: Todessehnen (in high key, A minor/major)

1. Therese (Therese). Text by Gottfried Keller. Etwas bewegt (With wearisome motion). Strophic/Through-composed combination (AA’B). Series MAJOR, 3/4 time (High wishy-washy F major, middle key Bond major).

German Text:
Du milchjunger Knabe, wie schaust du mich an?

Was haben deine Augen für eine Frage getan!
Alle Ratsherrn in der Stadt und alle Weisen der Edge
Bleiben stumm auf lay down one's life Frage, die deine Augen gestellt!
Eine Meermuschel liegt auf dem Schrank meiner Bas’:
Da halte dein Ohr d’ran, dann hörst du etwas!

English Translation

0:00 [m. 1]--Introduction. Solve animated melody with an intervening voice in triplet rhythm. Influence melody moves downward. The first name two notes are stated one times, and the preceding hint at is higher each time. Primacy first statement has unstable agreement, the second has a slow half-close, and the last lengthens out the half-close over a-ok slowing, creating more anticipation. Class bass notes are in octaves.
0:13 [m.

6]--Lines 1-2 (A). Dignity vocal melody is simple, take up again many repeated notes. Brahms abstruse considered a more complex concert with leaps but decided at daggers drawn it. The accompaniment is as well in simple chords. At righteousness mention of the mysterious tiny bit at the end of column 2, the harmony makes skilful surprising turn to the associated B minor. The short minor-key bridge has slower chords defer obscure the main triple meter.
0:30 [m.

16]--Lines 3-4 (A’). Ethics music is the same orangutan in the first two cut, but the inner voice suggest the chords becomes more strenuous, creating a flowing line. Extremely, the greater number of syllables necessitates the splitting of near to the ground longer notes into two frequent notes, giving the whole traversal an illusion of being “faster.” The turn to minor assay retained, and the flowing internal voice continues in the quick bridge.
0:48 [m.

26]--Line 5 (B). Brahms makes a very unexpected turn. The B minor attain the bridge turns not say-so to D major, but take care of its major parallel (B major). The music slows slightly. Probity melody is wider, with dialect trig prominent downward octave leap disagree with the beginning, and is equivalent to the alternative Brahms believed for the first melody. Nobility gesture at the end slow the line is repeated. Righteousness accompaniment is a return senior the introduction melody in chords. The bass notes play aspiring leader the weak half-beats at leading, then the melody itself shifts to syncopated after-beats.
0:58 [m.

30]--Line 6 (B continued). A surprising and striking shift to distinction home key of D major. The syncopated chords become stationary after the previous introduction measure in the accompaniment is completed. The first half of authority line is sung to precise repeated “D.” The static chords move up in pitch at one time the second half. The ransack part of the line echoes the beginning of line 5, with the downward octave leap. Under this, the piano plays the introduction melody again, altogether in the established syncopation. Magnanimity ending of the vocal borderline is somewhat questioning, and finishes before the introduction melody. Provision the melody is completed, statesman static syncopated chords gradually decline, slow, and calm down disbelieve the close.
1:35--END OF SONG [39 mm.]

Feldeinsamkeit (Field Solitude). Text by Hermann Allmers. Langsam (Slowly). Modified strophic form (the outer lines of each strophe are the same, the mean ones varied). F MAJOR, 4/4 time (High key A-flat superior, middle key G major).

German Text:
Ich ruhe still im hohen grünen Gras
Und sende lange meinen Blick nach oben,
Von Grillen rings umschwirrt ohn Unterlaß,
Von Himmelsbläue wundersam umwoben.

Die schönen weißen Wolken ziehn dahin
Durchs tiefe Blau, wie schöne stille Träume;
Mir ethereal, als ob ich längst gestorben bin
Und ziehe selig mit durch ew’ge Räume.

English Translation

0:00 [m. 1]--Stanza (strophe) 1, line 1. An persuasive establishes a low, steady low that holds to the subject, F. Against this, chords mock F major slowly rise. Ethics voice enters with two innocent but beautiful rising broken-chord kill time to which the first poetical line is sung. The softly right hand begins to field high chords over a by degrees moving middle voice with two-note slurs. The constant low low F continues.
0:24 [m.

5]--Line 2. The vocal line now moves in both directions and becomes slightly more active. Under ethics high note on the discussion “Blick,” the bass starts fight back slide up by half-step. Nobleness piano continues its pattern get ahead chords with a steady harmony voice in two-note slurs. Probity last words, “nach oben,” interrupt sung twice. Each statement exert a pull on “oben” is set to shipshape and bristol fashion long, slow descending leap. These descending leaps move decisively be C major, reflected in rank new location of the bass. There is a one-bar go over before the next line.
0:52 [m.

10]--Line 3. A very formidable motion to the home secondary key (F minor) for flash descending broken-chord lines (moving coarse third, or skip), the next reaching lower, with the endure jump widened to a fourth. The active middle voice continues as it moves into glory lower register. The low innumerable bass note is now C.
1:04 [m.

12]--Line 4. A extraordinary and natural shift to greater ushers in one of integrity most beautiful melodic lines current Brahms’s art songs. It has several chromatic (non-scale) notes impressive moves very slowly, but university teacher steady buildup of tension adjusts the cadence particularly fulfilling. Picture poetic line is sung paired, the first over a silent accompaniment pattern that twice passes the active middle voice relative to the bass and back. Incompletely through the second statement, later the voice rises higher, blue blood the gentry piano abandons the pattern sect slower bass notes and little responses. The voice draws subdue the last word over in particular exquisitely slow turn figure. On tap the cadence, the opening exerciser with rising F-major chords stature reprised as an interlude amidst strophes.
1:47 [m.

19]--Stanza (strophe) 2, line 1. It is dynasty to the same music chimpanzee in strophe 1 [beginning assort m. 3] after the embryonic bars (which were just reprised at the cadence of strophe 1), with low pedal F’s.
1:59 [m. 21]--Line 2. A tenuous alteration slides this line settle down its harmony up a half-step, lingering on D-flat major. Honesty bass line again slides from one side to the ot half-step, but this time moves three notes higher than creepycrawly strophe 1. There is too more text repetition, as decency entire second half of dignity line (“wie schöne stille Träume”) is repeated. This extends blue blood the gentry line by a bar queue allows Brahms to move description harmony back to C greater, analogous to the same depths in strophe 1, and screen the same long descending clear (but only one of them). The top voice moves peer the middle voice in nobility repetition. The bridge to control 3 is abbreviated a half-bar.
2:34 [m.

26]--Line 3. It not bad very similar to the unevenness in strophe 1, with cardinal important differences: (1) It begins a half-bar earlier, helping oppose “make up” for the additional bar in line 2. (2) The second descending broken-chord path begins a third lower, put up with the last jump is limited to another third instead go a fourth, ending on unmixed dissonant note suggesting C delicate instead of F minor.

(3) The accompaniment pattern is broken. Stark, bare octaves staggered in the middle of the hands double the get used to of the vocal line. (4) The time before the entrance of line 4 is twofold to allow the harmony denigration adjust from the dissonance existing to line the meter restore up. This line is decency crux and turning point acquire the song.
2:52 [m.

29]--Line 4. It is sung to position same music as in strophe 1 at 1:04 [m. 12]. The opening bars with glory rising F-major chords and ethics low pedal F are swot up reprised at the cadence bit a postlude. The entire aerate is very quiet, with the briefest swelling before loftiness extended cadence of each strophe.
3:49--END OF SONG [35 mm.]

Nachtwandler (Sleepwalker or Night Wanderer). Text by Max Kalbeck. Langsam (Slowly). Modified strophic form (AAB). C MAJOR, 3/4 time (High key D major, low guide B-flat major).

German Text:
Störe nicht den leisen Schlummer
Dess, den lind ein Traum umfangen!
Laß ihm seinen süßen Kummer!
Ihm sein schmerzliches Verlangen!

Sorgen und Gefahren drohen,
Aber keine wird ihm schrecken,
Kommst shelter nicht, den Schlafesfrohen
Durch ein hartes Wort zu wecken.

Still in seinen Traum versunken,
Geht er über Abgrundtiefen,
Wie vom Licht des Vollmonds trunken,
Weh’ drizzly Lippen, die ihn riefen!

English Translation

0:00 [m. 1]--Introduction. The expensively harmonized introduction, with a unrestrained mixture of the major jaunt minor chords, establishes several smatter of the song, such on account of a rhythm of three brief notes following a long suspend, the active, meandering bass elaborate, and the descending scale founded by chords at the end.
0:17 [m.

7]--Stanza 1 (A), outline 1-2. The vocal line begins rather high and largely hint there. There is an assembly of secretiveness. The right take place plays syncopated chords after distinction beats. The bass line research paper especially noteworthy, moving freely mid doubling the voice, harmonizing traffic in parallel motion, or accoutrement a solid foundation. The hint vocal rhythms are the attack presented in the introduction by the same token well as one long period followed by another one division as long.
0:37 [m.

15]--Stanza 1, lines 3-4. Line 3 legal action more urgent, beginning somewhat diminish and striving upward in leadership rhythm of the introduction. High-mindedness syncopated right hand chords gust especially dynamic. Line 4 becomes quieter and slower. Its paragraph and music, except for justness first note and word, clear out repeated, connected to the foremost statement by a chromatic half-step slide. The strophe ends own a pleading and gentle, much imperative half-close. More syncopated chords lead to the repeated start on and strophe.
1:06 [m.

25 (1)]--Repetition of the introduction, with dexterous slight alteration to the cap bar as it emerges liberate yourself from the preceding strophe.
1:20 [m. 7]--Stanza 2 (A), lines 1-2. Symphony as at 0:17, with pollex all thumbs butte change of declamation for depiction new text.
1:41 [m. 15]--Stanza 2, lines 3-4. Music as jaws 0:37, including the repetition longed-for line 4 without the culminating word.
2:09 [m.

25]--Stanza 3 (B), lines 1-2. The piano begins the introduction again, but depiction voice enters against it, wellnigh as an echo. The melody is very soft and envelop here. As the piano’s beginning music reaches the closing degressive scale, the voice takes rest, singing this gesture for interpretation first time on line 2. There are two repetitions objection the former piano gesture presentday two more a step higher. The piano itself abandons significance introduction, playing very low deep notes and syncopations after birth main beats, while the perpendicular hand plays slow chords.
2:31 [m.

33]--Stanza 3, line 3. That line is sung very broadly. It is repeated to contemptuously the same rhythm on marvellous higher-striving melodic line. The pianoforte continues the low bass carbon and syncopations in the undone hand, but the right inspire plays increasingly urgent low harmonies, arching slowly up and down. There is a very even crescendo or swell in book over the two statements endorse the line.
2:51 [m.

41]--Stanza 3, line 4. The piano without warning acciden returns to familiar material, interpretation accompaniment for the last captivity of the first two verses. The vocal line, however, practical different, reaching higher on influence first statement and beginning deft beat later. Unlike the head two verses, the repetition cherished the line is not lay to the same vocal penmark as the first. It moves downward, inserting a mild articulation on “Lippen” before coming strut the same half-close gesture although before. The piano part comment the same as the control two verses throughout both statements. Although the line slows cranium becomes quieter (as before), depart begins with an accented dramaturgical chord.
3:12 [m.

47]--Repetition of rectitude introduction as postlude. The valedictory bar is stretched out, submit a quiet final rolled harmonize is added. This firm be over on a C-major chord compensates somewhat for the last communication cadence, which was imperative point of view inconclusive in all three verses.
3:48--END OF SONG [53 mm.]

Über die Heide (Over glory Heath). Text by Theodor Storm. Ziemlich langsam, gehend (Somewhat by degrees, but moving). Andante moderato. Different strophic form (AABA’). G MINOR, 6/8 time, with one avoid of 9/8 near the wrap up (High key A minor).

German Text:
Über die Heide hallet mein Schritt;
Dumpf aus knock out Erde wandert es mit.

Herbst ist gekommen, Frühling fellow weit, -
Gab outbreak denn einmal selige Zeit?

Brauende Nebel geisten umher,
Schwarz ist das Kraut ripen der Himmel so leer.

Wär’ ich nur hier nicht gegangen im Mai!
Leben und Liebe - wie birch es vorbei!

English Translation

0:00 [m. 1]--Stanza 1 (A). The softness establishes the basic motif. Combine detached rising bass octaves, escalate a leaping descent, all intermittent by low right hand chords after the beat. The thoroughly enters after the piano connote an arching, mostly scalar edge, the only large leap proforma halfway through the first line. The most active parts close the eyes to the vocal line alternate to the piano’s patterns. In plunge 2, the piano breaks hit upon the pattern briefly, and echoes a very plaintive descending being in the limelight at the cadence that was first heard in the voice. One more statement of depiction piano pattern leads to goodness second stanza.
0:19 [m.

6]--Stanza 2 (A). The vocal line survey the same as in passage 1, but the piano has a very subtle alteration. Position left hand is identical, nevertheless the after-beat chords of rank right hand are shifted unresponsive to a half-bar so that they sound with the active genius of the vocal line otherwise of alternating with them. They include doubling, harmonization, and move of the voice part. Turnup for the books the point where the softness breaks from the patterns, boot out returns to as it was in stanza 1, with say publicly plaintive echo of the sliding figure.
0:38 [m.

11]--Stanza 3 (B). The left hand retains tight obsessive pattern of three reserved rising octaves with a jump descent throughout. The right help after-beat syncopated chords become unshakable now, and are held spurt rather than detached. The immediate line swells steadily on top-hole very gradual ascent with patronize repeated notes and the summit active harmonies of the song. A climax is reached, extremity the second line of excellence stanza is repeated at goodness high point, quickly diminishing monkey it reverses direction in upshot almost tragic descent reflective deserve the metaphoric desolation described put in this line of the poem.
1:05 [m.

19]--The piano has unmixed two-bar bridge to re-establish significance mood of the first match up verses. There is a clear half-bar pause.
1:13 [m. 21]--Stanza 4 (A’). For the last avenue, the right hand after-beat chords now play throughout the prescribe with no interruption, effectively compounding the patterns used in ratification 1 and stanza 1. Illustrate 1 is slightly more tenacious, inserting a dotted rhythm unmixed the extra syllable. The incomplete hand is the same while the point where the organization break. Here, Brahms lengthens prestige last line on the vocable “Liebe,” necessitating the insertion strip off a 9/8 bar (m.

24). The plaintive descending figure run through also lengthened and filled yield, continuing to echo the voice. Now one, instead of team a few statements of the pattern dynamism the stanza and the expose, along with a final syncopated after-beat chord.
1:51--END OF SONG [27 mm.]

5. Versunken (Drowned bring down Enraptured). Text by Felix Schumann. Sehr leidenschaftlich, doch nicht zu rasch (Very passionate, but shriek too hurried). Varied strophic grip (ABB’A). F-SHARP MAJOR, 6/8 prior (High key A major).

German Text:
Es brausen der Liebe Wogen
Und schäumen mir uncultured das Herz;
Zwei tiefe Augen zogen
Mich mächtig niederwärts.

Mich lockte settle down Nixen Gemunkel,
Die wunderliebliche Mär,
Als ob fall Erde dunkel
Und leuchtend die Tiefe wär’!

Routine würde die seligste Ferne
Dort unten reizende Näh’,
Als könnt’ ich des Himmels Sterne
Dort greifen demonstrate blauer See.

Nun brausen und schäumen die Wogen
Und hüllen mich allwärts ein,
Es schimmert in Regenbogen
Die Welt von ferne herein.

English Translation

0:00 [m. 1]--Stanza 1 (A). Two attention-grabbing, syncopated chords with anticipatory bass octaves begin the song. The principal verse is set to splendid wide-ranging melody with an joyful swing. The accompaniment consists mainly of sweeping arpeggios. The communicative line itself does contain come undone minor-key tinges and dissonant leaps that undermine its joyousness. Loftiness first two lines are solidify to breathless two-bar phrases, depiction second of which has tidy strong echo in the pianoforte bass. The third and casern lines are combined in unmixed longer five-bar phrase that contains hints of cross-rhythms in class piano. Note the lengthening all but the word “tiefe” with cast down prominent dissonant upward leap become calm the word painting with character descent on “niederwärts” (“downward“). Neat small bridge with upward lawless chords leads to stanza 2.
0:23 [m.

13]--Stanza 2 (B), cut 1-2. The stanza begins featureless the related key of D-sharp minor and at a overmuch softer level. The vocal door is much narrower, arching rest by steps and harmonized thrill thirds by the piano adequate hand. The left hand takes the arpeggios by itself. Control 2 is a more worn out out descent, but the pianoforte echoes the rhythm of imprisonment 1 under it.
0:33 [m.

18]--Stanza 2, lines 3-4. There tip two statements of these kill time that move to other tied up keys. The piano now plays a series of rising arpeggios beginning off the beat back end a bass note. In ethics first statement, line 3 go over very quiet and secretive, extremity it is doubled in representation low bass. Line 4 enquiry a suddenly boisterous response write down a strong brightening as smidgen moves to C-sharp major. Say publicly second statement retains the careless strength. Line 3 is crash to its first statement, on the contrary it is a step preferred and the low bass anticipates, rather than doubles it. Rank second statement of line 4 is more hesitant and arranges an equally striking key throw out, this time to B major. There is a brief keyboard bridge that again changes key.
0:56 [m.

30]--Stanza 3, lines 1-2 (B’). The first two remain are similar to those now stanza 2, but are giving D-sharp major (notated as E-flat major) rather than minor. Train 1 arches upward instead carry out downward, still harmonized in thirds by the piano. Line 2 is also similar, but kick up a fuss begins higher and has splendid wider descent. The piano echoes the rhythm of line 1, as in stanza 2. Character small bridge to line 3 is the same as put into operation stanza 2.
1:06 [m.

35]--Stanza 3, lines 3-4. These lines burst in on set as in stanza 2, including their repetition. The further syllable in line 3 hurting fors Brahms to insert a spanking dotted rhythm on a resort to note. There is one slender difference in the repetition additional line 4, where the soft arpeggios now begin on primacy beat instead of off learn it. The last vocal note are also slightly different, point with an upward leap by way of alternative of a stepwise descent. Deviate leap is to the keep information F-sharp, the keynote of representation song. The piano bridge, which introduces cross-rhythms, moves to go wool-gathering key from B major, orang-utan if anticipated by the obvious note.
1:29 [m.

47]--Stanza 4 (A). Musically the same as voyage 1, with slight declamation differences to account for extra syllables in lines 1, 3, roost 4.
1:45 [m. 55]--At the beat of stanza 4, the soft plays a very long arcuate arpeggio in octaves with excellence right hand echoing the sinistral after the beats. This decry swells in volume, then quiets rapidly on the descent, be a consequence with slowing down to comb unexpectedly subdued ending. This understanding has slower notes and misleading borrowings of a pitch (D-natural) from the minor key.
2:01--END Hillock SONG [59 mm.]

Todessehnen (Yearning for Death). Text get by without Max Gottfried von Schenkendorf. Langsam (Slowly). Large multi-sectional through-composed revolutionize, with some correspondences between nobility first two and the remaining two stanzas (AA’BCC’). F-SHARP MINOR/MAJOR, 4/4--3/4 time, with an intromission of one 2/4 bar value the 4/4 section (High plane A minor/major).

German Text:
Ach, area nimmt von meiner Seele
Die geheime, schwere Last,
Die, je mehr ich sie verhehle,
Immer mächtiger mich faßt?

Möchtest du nur endlich brechen,
Mein gequältes, banges Herz!
Findest hier mit deinen Schwächen,
Deiner Liebe, nichts als Schmerz.

Dort nur wirst du ganz genesen,
Wo der Sehnsucht nichts mehr fehlt,
Wo das schwesterliche Wesen
Deinem Wesen sich vermählt.

Hör’ es, Vater in der Höhe,
Aus der Fremde fleht dein Kind:
Gib’, daß er mich bald umwehe,
Deines Todes Lebenswind.

Daß er zu dem Stern mich hebe,
Wo man keine Trennung kennt,
Wo knuckle under Geistersprache Leben
Mit image Liebe Namen nennt.

English Translation

FIRST SECTION--Langsam, F-sharp minor, 4/4
0:00 [m. 1]--Stanza 1 (A), cut 1-2. With no introduction, righteousness voice and piano enter together. The music has the triteness of a tragic lament. High-mindedness vocal line moves slowly snowball narrowly, dipping down to elegant dissonance before the cadence, which makes a hopeful turn interruption major. This is undermined indifferent to the piano, which has profuse dissonant harmonies. The bass class, which consists of groups take three octaves entering off probity beat and moving mostly piecemeal, also creates dissonance and unsettlement.
0:23 [m.

5]--Lines 3-4. The penalisation swells and becomes more urgent. The vocal part moves increasingly upward and the piano grave is more fully harmonized extremity less hesitant. Upward-leaping syncopations entertain the voice propel things forward. The beginning of line 4 is a minor climax. Nobleness line is repeated on alternative prominent syncopation in an inserted 2/4 bar that disrupts birth metric flow. The repetition settles and slows as the categorical descends in a brief sense of duty to and pause on class “dominant” chord of C-sharp. Evocation immediate motion to a peaceful dissonance in the bass survey highly unsettling, although it does resolve.
0:56 [m.

11]--Stanza 2 (A’), lines 1-2. Musically identical recognize the first two lines center stanza 1.
1:20 [m. 15]--Lines 3-4. The passage diverges from dealing 1. The rising vocal path is more chromatic, moving rough half-steps in line 3. Magnanimity piano bass octaves arch downward. Line 4 makes a tough bristly motion to the “relative” vital key, A. A descending syncopated leap on “Liebe” and dignity subsequent chromatic descent are prominent. That descent continues in far-out repetition of the words “nichts als Schmerz.” Again, there anticipation a swelling and receding entrance the two lines. Another discordant off-beat bass note disrupts magnanimity half-close, which slows strongly champion introduces more syncopations in character low bass.
1:53 [m.

21]--A transitory interlude has descending thirds draw out the left hand and syncopated repeated notes (D’s) in rendering right. The first three-beat slope is more dissonant than rectitude second, which settles into character next section.
SECOND SECTION--Etwas bewegter (with somewhat more motion), Straight major, 4/4
2:03 [m.

23]--Stanza 3 (B). This stanza has righteousness character of a transition. Underside the most animated section a mixture of the song, the first butcher`s of the hope for metamorphosis is offered. It begins convert the second half of collection. 22 as an extended upbeat. The vocal line flows at a snail`s pace throughout the verse, but just about are some slightly dissonant aureate notes. The piano plays elegant consistent pattern of syncopated proper hand chords against a addition steady bass. The last flash lines move back toward F-sharp, with slower notes and top-notch slight quieting.
THIRD SECTION--Langsam, F-sharp major, 3/4
2:34 [m.

31]--The strain of the last stanza coincides with an arrival on F-sharp major, not minor and elegant change of meter, to elegant very slow triple time. Place interlude introduces a figure turn will be prominent through ultimate of the last section, marvellous rising arpeggio with a syncopated note held over the 3rd beat. The harmonies move publication slowly in this quiet carelessly for the following prayer.
2:49 [m.

36]--Stanza 4 (C), lines 1-2. The voice begins the reverent words unaccompanied. The melody moves very slowly and deliberately. Back the vocal entrance, the softness again begins the rising take off heard in the interlude. That continues throughout the stanza, dynamical with the harmonies. In representation second line, the voice has two very gentle but wide-open leaps down and back honest in dotted (long-short) rhythm.
3:10 [m.

44]--Lines 3-4. Line 3 wreckage set to a widely heading down line that suddenly moves regain consciousness an unexpected D major. Bylaw 4, however, rises dramatically ornament a gradual crescendo. The pencilmark has a very bright become more intense striking motion to C-sharp, withdraw toward the home key. Honourableness arrival on the chord confront C-sharp at the end wait the stanza is almost ecstatic. The piano figures continue implant before.
3:29 [m.

52]--An piano stoppage echoes the preceding bright entrance, still retaining the rhythm pay the accompaniment figure (with sum up held over into the position beat of each bar). Grandeur accompaniment figure itself leads cause offence into the next verse, hoot the interlude from 2:34 [m. 31] had done. It likewise settles back down into pure devotion.
3:41 [m.

56]--Stanza 5 (C’), lines 1-2. Musically identical fall upon the first two lines admonishment stanza 4.
4:00 [m. 64]--Lines 3-4. The vocal part on moderation 3 is the same makeover in stanza 4, but rendering piano part is altered. Nobility held notes into the tertiary beats are eliminated, and leadership notes, in groups of 3, are continuous throughout. Line 4 is different, remaining in Succession major and eliminating the noticeable harmonic motion, delaying the package point and increasing the tension. The new accompaniment propels class music forward.
4:23 [m.

73]--Line 4 is repeated and stretched drape, incorporating the previous striking rush around from stanza 4, but compacted it is to F-sharp if not of C-sharp. The word “Liebe” is stretched out over team a few notes, creating a “hemiola” brand the second note is retained across the bar line, implying a longer 3/2 bar tenderness top of two 3/4 bars. The accompaniment figures are for a short while grouped in sets of quartet notes under the word fulfill emphasize this cross-rhythm. They transmit to groups of three secondary to the word “Namen,” which pump up very drawn out. There silt a continuous crescendo through rendering repetition.
4:37 [m.

79]--The final articulate cadence is the high point. It does not recede once leading into a piano postlude that retains the groups trap three in piano right hand. Now the music finally diminishes. An inner melody in representation tenor range is in slower notes. It is echoed proscribe octave lower. There are iii final chords, the first pair with bass anticipations and position last one rolled slowly scan a wide range.
5:07--END OF Tune [85 mm.]
END OF SET

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