1. “Rede, Mädchen, allzu liebes” (“Speak, maiden, whom I love all too much”).

Russian
source. Im Ländler-Tempo. Rounded binary form (AA’BA”B’A”’) with short coda. E
MAJOR, 3/4 time. SATB

German Text:
Rede, Mädchen, allzu liebes,
das mir in die Brust, die kühle,
hat geschleudert mit dem Blicke
diese wilden Glutgefühle!

Willst du nicht dein Herz erweichen,

willst du, eine Überfromme,
rasten ohne traute Wonne,
oder willst du, daß ich komme?

Rasten ohne traute Wonne,

nicht so bitter will ich büßen.
Komme nur, du schwarzes Auge.
Komme, wenn die Sterne grüßen.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-2 (A). The piano secondo establishes the waltz
rhythm
with low bass notes and chord responses. The two men sing alone until the last
stanza.
At the outset, they are in harmony, singing short phrases. The tenor line
includes
a prominent leap followed by a beguiling upward slide. The primo right hand
doubles
the tenor in octaves, while its left hand includes a turning figure of a long note
followed by three short ones, a rhythm that will pervade both sets of Liebeslieder
waltzes. The primo right hand doubles both voices at the half-cadence on the
second
line, where they also include the turning figures. [Op. 52a: 0:00. Three melodic
octaves are added to the primo right hand to complete the melody. These had been
taken by the tenor alone.]
0:15 [m. 10]--Stanza 1, lines 3-4 (A’). The third line is musically the same as
the first. The fourth line begins in the same way as the second, but where the
second
line’s turning figures turned back and forth, this line’s figures move steadily
downward,
shifting the harmony to a darker arrival on G-sharp minor. [Op. 52a: 0:12. Again,
three melodic octaves are added to the primo right hand to complete the melody.]

0:24 [m. 18]--Stanza 2, lines 1-2 (B). Here, the voices are in a more swinging
rhythm.
The bass sings in straight rhythm for the first two bars. Beginning back on E
major,
the harmony takes a striking detour through the distant G major in the second line,
which suggests a “pious” resistance. While the piano parts are more fully scored,
the primo generally follows the tenor, the secondo the bass. [Op. 52a: 0:22]
0:35 [m. 26]--Stanza 2, lines 3-4 (A”). The musical lines are highly varied, but
the contour and character is similar to that of the first stanza. There are
chromatic
inflections to the melody, which provide added color to the harmony. The “turning”
rhythm is now in the secondo right hand, and is turned upside down, the notes
moving
in the opposite directions as before. The leap and “beguiling” slide are also
turned
in the opposite directions. The last line finally comes to a cadence on E major,
with the primo following the voices more freely. The repetition of “willst du”
extends
the phrase by a bar. The cadence, however, overlaps with the entry of the women
on the last stanza. [Op. 52a: 0:33. The secondo is slightly changed in the first
measure, m. 26, to continue the syncopation and add a broken octave. In the same
measure, a melodic note is added to the primo left hand.]
0:46 [m. 34]--Stanza 3, lines 1-2 (B’). Overlapping with the cadence of stanza 2,
the two women make their first entry in response to the men’s entreaties. Other
than the initial upbeats, their lines are essentially the same as those the men
sang
to the first two lines of stanza 2, with the motion through G major protesting the
accusation of resistance, creating a parallel. The secondo is slightly thinner at
the beginning. [Op. 52a: 0:45]
0:57 [m. 42]--Stanza 3, lines 3-4 (A”’). The women continue to sing to essentially
the same lines as those in stanza 2. At the last line, the men suddenly interrupt
with the last line of stanza 2, but they sing the notes that would be expected at
that point. The women re-enter a bar later with their final line, following the
original melodies, but the men continue their line with new harmonies, stating it
twice in full. In order to accommodate this, the women lengthen “grüßen,”
stretching
the line by one more bar than before. Their late entry on the line precludes text
repetition. The piano parts are as before, varied only at the extension. [Op. 52a:
0:54. The same alterations to the first (upbeat) measure, m. 42, as at 0:33.]
1:11 [m. 52]--Coda. The women and men both repeat their lines, giving the men
three
total repetitions of the last line from stanza 2 under the women’s two statements
of the last line from stanza 3. Furthermore, the women’s repetition cuts off the
word “komme,” further emphasizing the men’s continued, seemingly unnecessary
entreaties.
The last words, “grüßen” and “komme,” come together on notes extended to two bars.
Under these long notes, the piano parts play short, detached cadence chords before
the final syllable. [Op. 52a: 1:08. In the second and third measures from the end,
the primo left hand and the secondo right hand hold a chord instead of playing two
shorter ones. The primo right hand and secondo left hand are unchanged.]
1:20--END OF WALTZ-SONG [56 mm.] [Op. 52a: 1:19]

2. “Am Gesteine rauscht die Flut” (“Against the stones the stream rushes”).
Russian-Polish
dance song source. [Im Ländler-Tempo]. Binary form. A MINOR, 3/4 time. SATB

German Text:
Am Gesteine rauscht die Flut,
heftig angetrieben;
wer da nicht zu seufzen weiß,
lernt es unterm Lieben.

English Translation

0:00 [m. 1]--Part 1. A three-note scale upbeat in the piano primo makes a
transition
from the E major of the previous song to the A minor of this one. The tenor
passionately
sings the first line in a broad hemiola, with the beats grouped into larger implied
3/2 bars against the prevailing 3/4. As he completes the line, the other three
voices
overlap with a harmonized answer, also in hemiola. While the primo doubles the
main
vocal line in octaves, the secondo stubbornly remains in solid 3/4 with steady bass
notes and after-beat chords. [Op. 52a: 0:00]
0:06 [m. 5]--The tenor again leads in the second line, replacing the opening lower
turn with a huge octave leap. His entry overlaps with the completion of the first
line by the others. For this second line, the other three voices begin after only
one bar of the tenor line, so that they can all end together. The tenor must sing
one bar of straight 3/4 to “catch up” to the hemiola of the others as he stretches
his words. The piano primo still follows the voices, but now adds harmony. The
voices and pianists unite on an E-minor cadence. [Op. 52a: 0:04]
0:10 [m. 1]--Part 1 repeated, first line. [Op. 52a: 0:08]
0:14 [m. 5]--Part 1 repeated, second line. [Op. 52a: 0:11]
0:18 [m. 9]--Part 2. Voices and pianists quiet down for the third line. The
voices
all come together on the line, singing in harmony, but still with the hemiola
rhythm
and grouping. The secondo is thinner, but still maintains the 3/4 pulse with
after-beat
notes. The primo has a small bridge that sounds like an soaring echo before the
line is repeated at a higher level, on E minor. Again, the primo provides an
upward-striving
bridge. For the final line, the volume is again strong. The voices sing together
in straight 3/4, with soaring leaps, while the piano primo plays one last hemiola
grouping before the emphatic A-minor cadence. [Op. 52a: 0:14]
0:30 [m. 9]--Part 2 repeated. The transition into it is only slightly different
from what it was after Part 1. [Op. 52a: 0:25]
0:46--END OF WALTZ-SONG [20 mm.] [Op. 52a: 0:39]

3. “O die Frauen” (“O women”). Russian-Polish dance song source. [Im Ländler-
Tempo].
Binary form. B-FLAT MAJOR or A MAJOR, 3/4 time. TB duet.
The original key is B-flat major, which is used in all the early printings and the
manuscript. Brahms indicated in his own copy of the first edition a change to A
major as a possibly smoother transition between A minor (No. 2) and F major (No.
4). The old complete edition prints the song twice, once in each key In this
recording,
Schreier and Fischer-Dieskau sing the song in the original B-flat major. The
recording
of Op. 52a also uses the version in B-flat major.

German Text:
O die Frauen, o die Frauen,
wie sie Wonne tauen!
Wäre lang ein Mönch geworden,
wären nicht die Frauen!

English Translation

0:00 [m. 1]--Part 1. The primo part is flowing and decorative, and begins with a
brief preparatory “grace note.” The secondo provides a solid bass, especially on
the off-beats. There are no major rhythmic complexities. The two men twice sing
their high, gently sighing “O die Frauen.” In the second line, the primo becomes
slightly syncopated and gains fuller harmony. Colorful chromatic harmonies
underscore
the importance of the repeated word “Wonne” (“bliss”), where the bass singer also
makes expressive leaps. [Op. 52a: 0:00]
0:16 [m. 1]--Part 1 repeated. [Op. 52a: 0:14]
0:29 [m. 9]--Part 2. In the third line, the secondo and primo alternate on the
more
decorative lines. When not playing them, the primo has short broken octaves. The
line is sung twice. Except for the word “Mönch,” where the tenor reaches high, the
second statement is a step lower. [Op. 52a: 0:28]
0:41 [m. 17]--The last line again has the primo becoming syncopated. This time,
it even has a high trill in both hands. The two singers swell upward over more
colorful
harmonies before descending on “Frauen.” The piano works downward after the
singers.
The words “die Frauen,” now settled back down, are repeated over another primo
trill.
Here, the bass trails downward at the cadence. [Op.52a: 0:41]
0:51 [m. 9]--Part 2 repeated. Two sequential statements of the third line. [Op.
52a: 0:51]
1:04 [m. 17]--Part 2 repeated. Last line with climax, trills, descent, and
repetition
on the words “die Frauen.” [Op. 52a: 1:04]
1:18-END OF WALTZ-SONG [22 mm.] [Op. 52a: 1:19]

4. “Wie des Abends schöne Röte” (“Like the evening’s lovely red”). Russian-Polish
dance song source. [Im Ländler-Tempo]. Binary form. F MAJOR, 3/4 time. SA duet.

German Text:
Wie des Abends schöne Röte
möcht ich arme Dirne glühn,
Einem, Einem zu gefallen,
sonder Ende Wonne sprühn.

English Translation

0:00 [m. 1]--Part 1. The song begins with a rising three-note upbeat played by
both
pianists in octaves. When the two voices enter, the secondo has a more flowing
line
while the primo decorates and doubles the voice parts. The singers themselves have
yearning stepwise motion on almost every downbeat, usually moving inward toward
each
other and resolving from dissonance into the main harmony. The music moves from
F major to A minor for the cadence of Part 1. [Op. 52a: 0:00. In the last measure,
the first ending, the secondo breaks the solid bass octave into a broken ascent.]

0:15 [m. 1]--Part 1 repeated. The three-note upbeat is altered to move back to F
major from A minor. [Op. 52a: 0:14. The broken octave in the secondo bass is
present
in the second ending as well.]
0:27 [m. 9]--Part 2. The three-note upbeat is again slightly different. In the
third line, the soprano enters slightly before the alto. Both voices strive higher
to the climax on “Gefallen.” The piano parts in this line pass descending
arpeggios
back and forth. The fourth line settles back down and is more similar to Part 1,
but the stepwise motion is now typically upward. The piano primo reaches quite
high
before the cadence. [Op. 52a: 0:27]
0:38 [m.9]--Part 2 repeated. The three-note upbeat is again altered. Before each
part and each repetition, the notes of this upbeat are slightly different, so there
are four different versions of it. [Op. 52a: 0:41]
0:54--END OF WALTZ-SONG [16 mm.] [Op. 52a: 0:58]

5. “Die grüne Hopfenranke” (“The green hops vine”). Russian source. [Im Ländler-
Tempo].
Binary form. A MINOR, 3/4 time. SATB

German Text:
Die grüne Hopfenranke,
sie schlängelt auf der Erde hin.
Die junge, schöne Dirne,
so traurig ist ihr Sinn!

Du höre, grüne Ranke!

Was hebst du dich nicht himmelwärts?
Du höre, schöne Dirne!
Was ist so schwer dein Herz?

Wie höbe sich die Ranke,

der keine Stütze Kraft verleiht?
Wie wäre die Dirne fröhlich,
wenn ihr das Liebste weit?

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