Unter den Gräbern,

Unter den Quellen,

Über Fluten und Seen
In der Abgründe Steg,
Über Felsen, über Höhen,
Find’t Liebe den Weg!

In Ritzen, in Falten,
Wo der Feu’rwurm nicht liegt,
In Höhlen, in Spalten,
Wo die Fliege nicht kriecht,
Wo Mücken nicht fliegen
Und schlüpfen hinweg,
Kommt Liebe, sie wird siegen
Und finden den Weg.

Sprecht, Amor sei nimmer

Zu fürchten, das Kind!
Lacht über ihn immer,
Als Flüchtling, als blind,
Und schließt ihn durch Riegel
Vom Taglicht hinweg:
Durch Schlösser und Siegel
Find’t Liebe den Weg.

Wenn Phönix und Adler

Sich unter euch beugt,
Wenn Drache, wenn Tiger
Gefällig sich neigt,
Die Löwin läßt kriegen
Den Raub sich hinweg,
Kommt Liebe, sie wird siegen
Und finden den Weg.

English Translation (mostly the original English words, but accommodating Herder’s

minimal poetic alterations)

Original English Text

0:00 [m. 1]--Stanza 1 (A). With no piano prelude, the two voices immediately set

up the rocking 6/8 motion, moving in harmonies dominated by pleasing thirds and
sixths.

The piano right hand doubles the voices while the left hand provides leaping,
detached

off-beat figures that propel the music forward.

0:11 [m. 9]--The sixth and seventh lines are set to a distinct harmonic motion to

D major and C major after a high point. There, the piano bass shifts to the
opening

vocal figure in octaves while the right hand provides more connected off-beat
patterns.

The seventh line recedes, then quickly builds again. The last line moves home,

and it is repeated, along with an “extra” repetition of the first two words.
Strong

bass octaves, including chromatic half-steps, move opposite the vocal lines under

the repeated line, which is the climax of the verse in pitch and volume. The alto

voice has some descending chromatic motion. A brief interlude adds a tenor voice

to the accompaniment and continues the right hand off-beats.

0:27 [m. 25]--Stanza 2 (B). This strophe is set in the closely-related (dominant)

key of B major. The first two couplets are in nearly-exact canon (imitation), with

the alto leading. The arching lines move stepwise and are quite narrow. Extra
bars

are added because of the canon. The voices come together for the last two
couplets.

There is a similar harmonic digression to that in the first strophe (to G-sharp),

but this occurs earlier, right before the voices come together. The accompaniment

pattern continues from the preceding interlude, but it changes at the seventh line

as the voices swell and briefly turn to minor. The right hand moves to the
downbeats

and the left hand to low, sustained, partly syncopated octaves. The last line is

not repeated, but includes an upward-reaching climax before the cadence.

0:48 [m. 46]--An interlude that begins with the vocal cadence breaks the nearly
constant

piano pattern. The left hand now plays repeated notes while the right moves to a

new key, G major, with chords leading from upbeats to downbeats.

0:54 [m. 52]--Stanza 3 (C). This verse begins quietly and is set in the more
distant

key of G major. The soprano now leads, but the alto does not follow in exact
imitation.

In fact, the motion of the alto voice is usually nearly opposite to that of the

soprano (contrary motion). This continues through five lines, and is continuous,

without the intervening “extra” bars of stanza 2. The whole strophe is far more

chromatic than the first two and includes many half-steps. The voices come
together

(the alto dropping two words, “durch Riegel”) at the sixth line in the familiar
third

harmony, swelling as they do. The piano accompaniment retains the pattern of the

preceding interlude. The right hand plays repeated notes and chords while the left
hand doubles the trailing alto voice. This changes under the fifth line, where the

left hand takes over the repeated notes and the right doubles the vocal harmony.

1:07 [m. 64]--The voices sing the climactic seventh line in octaves and long notes,

briefly suggesting C major, before returning to third harmony and G major in the

last line, whose first two words are repeated. The right hand moves back to
repeated

chords, now full and rich, and the left hand then switches to the bass octaves
moving

against the vocal lines. In a two-bar bridge, the repeated notes move back to the

left hand.
1:18 [m. 75]--Stanza 4 (B’). It is very similar to second strophe (B), but begins

in G major. The imitation (canon) and the “extra” bars are present. The original

“off-beat” accompaniment pattern returns. When the voices come together at the
third

couplet, they wrench the harmony upward to the key of B major, a motion completed

at the climax of the fourth and last couplet. Ironically, as the music reaches the

key of the first B, the actual material begins to diverge from it, particularly in

the accompaniment, where repeated chords (similar to the pattern in C) are now
heard

in the right hand.

1:38 [m. 95]--This interlude is similar to that between B and C at 0:48 [m. 46],

but now moves (finally) back home to E major.

1:43 [m. 100]--The text and music of stanza 1 (A), are repeated exactly to round

off the song.

2:05 [m. 120]--The first interlude is expanded into an exuberant postlude. The
repeated

patterns of the added tenor voice reveal its relationship to the canonic melody of

stanzas 2 and 4.
2:18--END OF DUET [128 mm.]

2. Weg der Liebe II (The Path of Love II). Text by Johann Gottfried Herder,
adapted

from an English folk poem. Poco adagio molto espressivo. Simple strophic form.

C MAJOR, 6/8 time.

German Text:
Den gordischen Knoten,
Den Liebe sich band,
Kann brechen, kann lösen
Ihn sterbliche Hand?
Was müht ihr, was sinnet
Ihr listigen Zweck?
Durch was ihr beginnet,
Find’t Liebe den Weg.

Und wär’ er verriegelt,

Und wär’ er verkannt,
Sein Name versiegelt
Und nimmer genannt,
Mitleidige Winde,
Ihr schlüpftet zu mir
Und brächtet mir Zeitung
Und brächtet ihn mir.

Wärst fern über Bergen,

Wärst fern überm Meer:
Ich wandert’ durch Berge,
Ich schwämme durchs Meer;
Wärst, Liebchen, ein’ Schwalbe
Und schlüpftest am Bach,
Ich, Liebchen, wär’ Schwalbe
Und schlüpfte dir nach.

English Translation (literal translation of Herder's German)

Original English Text

0:00 [m. 1]--Stanza (strophe) 1. One measure of pulsating low bass C’s prepares

the vocal entrance. These bass C’s continue under the first phrase. The voices

move together, mostly in thirds and sixths. The right hand of the piano plays full

chords moving in the opposite direction from the voices. The chords connect to the

second phrase, where the piano line doubles the voices, but a new bass line is
added,

the harmony moves briefly toward F major and minor, and the pulsing notes move away

from C. The mood is expressive, subdued, and somewhat hypnotic.

0:22 [m. 10]--The third phrase introduces highly colorful harmonies that are
borrowed

from the minor key. The piano becomes more active, with the hands moving steadily

in opposite directions above the solid bass line. The piano basically follows the

voices, but they have longer held notes. The end of the phrase briefly touches on

the expressive “Neapolitan” harmony of D-flat. The fourth and last phrase artfully

moves back to the C-major harmony, now with pulsating chords that follow the
soprano.

The alto becomes independent, introducing two passing notes that go against the

6/8 swing. The phrase rises to a brief climax. The cadence merges into the
postlude.

0:39 [m. 17]--The expressive postlude reintroduces the pulsing bass, includes some

poignant chromatic notes, rises to another brief climax, and concludes with a
beautiful

turn figure leading to a pure C-major cadence. It is the same length as the vocal

phrases, not counting the initial bar that overlaps the vocal cadence. The last

bar is similar to the introductory bar at the beginning of the duet.

0:52 [m. 22]--Stanza (strophe) 2. The music is the same as in stanza 1.
1:10 [m. 30]--Third and fourth phrases, as at 0:22 [m. 10].
1:26 [m. 37]--Piano postlude, as at 0:39 [m. 17].
1:40 [m. 42]--Stanza (strophe) 3, again with identical music.
1:57 [m. 50]--Third and fourth phrases, as at 0:22 [m. 10] and 1:10 [m. 30].
2:15 [m. 57]--Piano postlude, as at of 0:39 [m. 17] and 1:26 [m. 37]. It slows to

the end, and the last measure comes to a full stop where the previous interludes

had merged into the “introductory” pulsating C’s.

2:34--END OF DUET [61 mm.]

3. Die Meere (The Seas). Text by Johann Gottfried Herder, adapted from an Italian

text. Andante. Binary strophic form (ABAB). E MINOR, 6/8 time.

German Text:
Alle Winde schlafen
auf dem Spiegel der Flut;
kühle Schatten des Abends
decken die Müden zu.

Luna hängt sich Schleier

über ihr Gesicht,
schwebt in dämmernden Träumen
über die Wasser hin.

Alles, alles stille

auf dem weiten Meer!
Nur mein Herz will nimmer
mit zu Ruhe gehn.

In der Liebe Fluten

treibt es her und hin,
wo die Stürme nicht ruhen
bis der Nachen sinkt.

English Translation

0:00 [m. 1]--The piano introduction sets up the style of the “Venetian Gondola
Song.”

The left hand plays solid bass notes, then leaps up and sways back down. The
right

hand, harmonized mostly in thirds with some fourths, is highly embellished.

0:14 [m. 5]--Stanza 1 (A). As in the first two duets, the voices move mostly in

thirds and sixths, but the minor key gives this motion a new poignancy. The piano

right hand doubles the voices, then connects the two phrases with the dotted rhythm

of the introduction. The second phrase (lines 3-4) initially continues the
doubling

in the piano, but it is now an octave below the voices. It has a two-note upbeat

absent in the first phrase. The cadence is in the relative major key of G. The

rocking left hand leads into the next verse.

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