1:46 [m. 10]--Closing phrase on “Fidelin linla,” as at 0:20, 0:49, and 1:18.

1:56 [m. 1]--Stanza 5. Alto solos with “Fidelin” interjection. In this

performance,
they are sung somewhat more slowly and tenderly than before.
2:06 [m. 6]--Refrain. Text and music as at 0:12, 0:41, 1:10, and 1:38.
2:14 [m. 10]--Closing phrase on “Fidelin linla,” as at 0:20, 0:49, 1:18, and 1:46.

2:26--END OF SONG [14 mm. (x5)]

4. Fragen (Questions). Text by Anastasius Grün after a Slovenian folk source.

Sehr lebhaft und rasch (Very lively and rapidly). Two strophes with coda (Bar
form).
C MAJOR, 6/8 time.
(The title Fragen is also used for the vocal quartet Op. 64, No. 3.)

German Text:
Wozu ist mein langes Haar mir dann,
wenn ich kein Band drein flechten kann?
Wozu ist mein Füßchen mir flink und fein,
darf tanzen ich nicht mit dem Liebsten mein?
Wozu ist mir nur die weiße Hand,
darf ich nicht halten den Liebsten umspannt?
Wozu mein Aug mir so schwarz und scharf,
wenns nicht mehr den Liebsten erspähen darf?
Wozu sind mir die Gedanken mein?
Zu denken, mein Liebster, allimmer dein!

English Translation

0:00 [m. 1]--Strophe 1. All voices sing the first two lines (the first question)
in rich, ebullient harmony with piano bass and support. The 6/8 motion, beginning
with an upbeat, is excited and rapid. The first sopranos have a light
embellishment
as the voices approach a half close at the end of the phrase.
0:09 [m. 5]--The third and fourth lines (the second question) are presented in
imitation,
with the two soprano parts following the two alto parts at the distance of half a
bar and with overlapping text. While the second altos and second sopranos provide
harmony with no direct imitation, the first sopranos follow the first altos at the
distance of a sixth until the end of the second line, where all the voices come
together
on another half close as the altos repeat “dem Liebsten.” The piano essentially
doubles the vocal lines.
0:19 [m. 11]--Strophe 2. The fifth and sixth lines (the third question) are sung
to the same music as the first question, with a slight, but significant alteration
at the very end. Both soprano parts reach a step higher in the last bar (on
“Liebsten”)
before they descend to the half close, slightly increasing the urgency. The piano
changes slightly to follow them. There are also alterations based on
syllabification.
The second altos have slight changes in their line.
0:27 [m.15]--The seventh and eighth lines (the fourth question) are sung in
imitation
to the same music as the third and fourth lines, as at 0:09 [m. 5].
0:37 [m. 21]--Coda. The voices come together and begin the pivotal final question
with an abrupt shift to B-flat major, becoming louder and more animated. The words
“die Gedanken mein” are repeated. The voices move back home to C for the first
statement
of the last line, becoming even more exuberant.
0:45 [m. 26]--The last phrase begins as if it will be a repetition of “allimmer
dein”
similar to the repetition of “die Gedanken mein.” It is, however, extended and
stretched
out to bring the song to a close. The outer voices, first sopranos and second
altos,
sing “allimmer” twice, with the first sopranos broadly descending and the second
altos in wide leaps, the piano providing a bass an octave below them. The middle
voices sing “allimmer dein” twice in faster motion. The first altos, who delayed
their completion of the first statement of the line, trail behind the second
sopranos
in a brief canon. All voices except the first altos come together on a final
statement
of “allimmer, immer dein” for the concluding cadence. The first altos, who are
trailing,
eliminate the extra “immer. Throughout the coda, the piano follows the voices.
0:58--END OF SONG [29 mm.]

5. Die Müllerin (The Mill Maid). Text by Adelbert von Chamisso. Allegro.
Strophic
form (AA’AA’). C MINOR, 6/8 time.

German Text:
Die Mühle, die dreht ihre Flügel,
Der Sturm, der sauset darin,
Und unter der Linde am Hügel,
Da weinet die Müllerin:

Lass sausen den Sturm und brausen,

Ich habe gebaut auf den Wind;
Ich habe gebaut auf Schwüre --
Da war ich ein törichtes Kind.

Noch hat mich der Wind nicht belogen,

Der Wind, der blieb mir treu;
Und bin ich verarmt und betrogen --
Die Schwüre, die waren nur Spreu.

Wo ist, der sie geschworen?

Der Wind nimmt die Klagen nur auf;
Er hat sich auf’s Wandern verloren --
Es findet der Wind ihn nicht auf.

English Translation

0:00 [m. 1]--Stanza 1. The first two lines are sung in a forceful, aggressive
unison,
with the altos an octave below the sopranos in the swaying 6/8 motion, with upbeat,
that has dominated the song set so far. The remaining two lines are sung in
harmony
and more subdued, the altos beginning a half-bar before the sopranos, lengthening
their notes after the sopranos enter. All voices finish the phrase together. The
altos are in two parts from the beginning of the phrase, while the sopranos only
split at the very end at the cadence. The piano supports and doubles the unison
phrase and the second, harmonized phrase.
0:17 [m. 9]--Stanza 2. The first phrase, formerly sung in unison, is greatly
altered.
It is also now sung in harmony, with only the first sopranos maintaining the
previously
unison melody. The first altos harmonize directly with them throughout. On the
first line, the second sopranos and second altos introduce a rollicking octave leap
depicting the blustering wind, which is also taken by the piano. At the second
line,
the second altos join the first altos in unison while the second sopranos add a
third
line of harmony, also incorporated into the piano part. This leads into the second
phrase (the last two lines), which is unchanged from the first stanza other than
an indication that it is supposed to be louder than it was there.
0:33 [m. 1]--Stanza 3. Sung to the same music as stanza 1, with one slight change
in declamation in the last line where “waren” is assigned to two notes formerly
given
to one syllable.
0:48 [m. 9]--Stanza 4. Sung to the same music as stanza 2 (with harmonized first
phrase and the octave leap in the second soprano and alto parts), with two notes
assigned to the second word, “ist,” that had previously been given to the two
syllable
“sausen.”
1:06--END OF SONG [16 mm. (x2)]

6. Die Nonne (The Nun). Text by Johann Ludwig Uhland. Andante. Strophic form
with
altered harmonies in last verse. G MINOR, 4/4 time.

German Text:
Im stillen Klostergarten eine bleiche Jungfrau ging.
Der Mond beschien sie trübe,
An ihrer Wimper hing
Die Träne zarter Liebe.

“O wohl mir, daß gestorben der treue Buhle mein!

Ich darf ihn wieder lieben:
Er wird ein Engel sein,
Und Engel darf ich lieben.”

Sie trat mit zagem Schritte wohl zum Mariabild;

Es stand im lichten Scheine,
Es sah so muttermild
Herunter auf die Reine.

Sie sank zu seinen Füßen, sah auf mit Himmelsruh’,

Bis ihre Augenlider
Im Tode fielen zu:
Ihr Schleier wallte nieder.

English Translation

0:00 [m. 1]--Stanza 1. The minor-key setting is tender, but intensely sad in
expression.
The first long line is given in two short phrases with upbeats, the second altos
on low bell-like repeated notes. The piano effectively restricts itself to two-
chord
groups on the upbeats and downbeats. The shorter second and third lines are set
to the same short phrase, with even sparer piano chords. The third line leads
directly
into the fourth, in which both sopranos parts make a dramatic upward leap
(harmonized
in thirds) before the altos follow. The completion of the phrase is poignantly
drawn
out, the piano now full and comforting.
0:39 [m. 1]--Stanza 2. Repeat signs are indicated for the ten-bar stanza in the
second and third verses. The only change in declamation is the replacement of the
two-syllable “eine” with a single syllable (“der”).
1:17 [m. 1]--Stanza 3. Again indicated with a repeat. Declamation as in stanza
2.
1:56 [m. 11]--Stanza 4. For the final verse, with its vivid imagery, the harmony
is significantly changed, and even the melody includes a few major-key inflections.
The long first line now has a sort of major-minor mixture with some very close and
dissonant harmonies, and the piano already abandons its austere two-chord groups
in the second half of the line. The second altos remain on their bell-like low
notes
even longer. Brahms indicates a quieter presentation.
2:09 [m. 15]--The second line is as in the first three stanzas, but the piano now
accompanies fully and the singing becomes slower and softer. A piano bass note,
not heard in the other stanzas, bridges it to the third line. This third line is
not identical as it was before. It introduces the major-minor mixture and a lower
second alto line on repeated bell tones. The final line is also subtly altered.
The second sopranos do not move up with the first sopranos on the leap, but create
a wider held harmony of a sixth before the alto entrance. The major-minor mixture
is preserved, and the verse concludes with a transfigured major chord.
2:40--END OF SONG [20 mm. ([10x3]+10)]

BOOK II:
7. Vier Lieder aus dem Jungbrunnen (Four songs from the collection Der
Jungbrunnen),
No. 1: “Nun stehn die Rosen in Blüte” (“Now the roses are blooming”). Text by Paul
Heyse. Allegro. Simple strophic form. E MAJOR, 3/8 time.

German Text:
Nun stehn die Rosen in Blüte,
Da wirft die Liebe ein Netzlein aus,