English Translation

0:00 [m. 1]--Part 1. The bass in the secondo has a two-bar introduction with
stepwise
descending octaves beginning on the upbeat. The first two lines are sung by the
women, who are doubled in both hands of the primo. They maintain a steady long-
short
rhythm with many “neighbor” notes. Meanwhile, the secondo continues its bass
pattern
of mostly stepwise descents. Its right hand figures are the only things heard on
the second beats of bars. [Op. 52a: 0:00]
0:17 [m. 11]--The men sing the last two lines of the first stanza, their entry
overlapping
with the last descent of the women. They maintain the same rhythmic patterns, as
do the piano parts. The primo remains in the high register, but it still doubles
the men’s vocal lines in upper octaves in both hands. At their cadence, the men
make a striking motion to the related major key, C major. [Op. 52a: 0:12]
0:28 [m. 3]--Part 1 repeated, without the two-bar introduction. The women now sing
the first two lines of the second stanza. [Op. 52a: 0:22]
0:40 [m. 11]--The men conclude the repetition by singing the last two lines of the
second stanza. [Op. 52a: 0:31]
0:50 [m. 19]--Part 2. The new material is used for stanza 3. The women sing the
first two lines to a phrase that moves toward E minor. The patterns are the same,
but the secondo includes falling octaves which were not used before. The word
“Kraft”
is suddenly held out, breaking the rhythmic pattern and extending the vocal line
by a bar. A rising bridge in the piano parts extends the phrase yet another bar.
[Op. 52a: 0:41]
1:05 [m. 29]--For the only time in the song, all four parts join together for the
last two lines. The first half of the phrase swells to a high point in volume as
well as pitch, only to recede in the second half. With all four parts singing in
harmony, the primo still plays exact octave doubling in both hands. It mostly
doubles
only the soprano and alto, but adds some bottom notes (three-note chords) doubling
the tenor line at the beginning and end. The secondo bass doubles the vocal bass
in octaves, and its right hand roughly follows the tenor line. The phrase
concludes
gently, but still in the minor key. [Op. 52a: 0:53]
1:16 [m. 19]--Part 2 repeated. The first two lines of stanza 3 are again sung by
the women as before. [Op. 52a: 1:03]
1:30 [m. 29]--Last lines of stanza 3 from all four voices, as before. Note here
(as in the first statement) the only articulated vocal syllable on a second beat
of a bar--the second syllable of “wäre.” [Op. 52a: 1:16]
1:45--END OF WALTZ-SONG [36 mm.] [Op. 52a: 1:32]

6. “Ein kleiner, hübscher Vogel” (“A small, pretty bird”). Hungarian source.
Grazioso.
Rondo form (ABB’A’CA). A MAJOR, 3/4 time. SATB

German Text:
Ein kleiner, hübscher Vogel
nahm den Flug
zum Garten hin,
da gab es Obst genug.
Wenn ich ein hübscher,
kleiner Vogel wär,
ich säumte nicht,
ich täte so wie der.
Leimruten-Arglist
lauert an dem Ort;
der arme Vogel
konnte nicht mehr fort.
Wenn ich ein hübscher,
kleiner Vogel wär,
ich säumte doch,
ich täte nicht wie der.

Der Vogel kam

in eine schöne Hand,
da tat es ihm,
dem Glücklichen, nicht and.
Wenn ich ein hübscher,
kleiner Vogel wär,
ich säumte nicht,
ich täte doch wie der.

English Translation

0:00 [m. 1]--Stanza 1, lines 1-4 (A). The primo plays repeated octaves on the note
E, then repeats them an octave lower. The secondo takes over for another statement
yet an octave lower. This small introduction establishes the basic rhythm. The
tenor then sings the lilting opening phrase alone, with engaging pauses on the
second
beats of the bars. The first two hesitant words are still introductory, the main
patterns beginning on “hübscher.” The primo decorates his line with light “bird-
call”
repetitions while the secondo plays a solid waltz rhythm with bass octaves on the
downbeats followed by chords. [Op. 52a: 0:00]
0:15 [m. 13]--Stanza 1, lines 5-8. The other three voices begin their response,
overlapping with the tenor’s conclusion. Their opening upbeat is on shorter notes.
The material is essentially the same as the tenor’s statement, but with vocal
harmonies.
The primo now adds an even more decorative line, with downward swooping arpeggios
in triplet rhythm depicting the flight of the bird. [Op. 52a: 0:15]
0:23 [m. 21]--Stanza 2, lines 1-4 (B). A sharp trill in the primo leads into the
new section, which is in the key of C-sharp minor. The tenor and bass forcefully
sing the first two lines of the stanza in a decisive rhythm representing the
treacherous
twigs. The primo is still decorative, playing rapid, detached arpeggios in
octaves.
The secondo plays sharp chords that emphasize the vocal lines. In the third and
fourth lines, the alto joins the men, and the music veers toward G-sharp minor,
reaching
a half-cadence there. [Op. 52a: 0:22]
0:31 [m. 29]--Stanza 2, lines 1-4 repeated (B’). The same material begins, now
with
the soprano joining the lower voices and taking the melody. In the third and
fourth
lines, the music changes to remain in C-sharp minor, ending on a half-cadence
there.
The tenor and bass repeat the fourth line as a lead-in to the following “codetta.”
[Op. 52a: 0:29]
0:40 [m. 38]--In a sort of “codetta” to the B section, the last words, “nicht
fort,”
are passed twice from the soprano down to the tenor and bass in harmony. The
soprano
and tenor sing them on a rising half-step. The alto does not sing here. This
“codetta”
is at a suddenly quiet level, and when the words are passed to the tenor and bass
the second time, the piano parts adjust the harmony to E major, the related major
key to C-sharp minor. The piano primo echoes the rising half-step one last time.
[Op. 52a: 0:37]
0:46 [m. 43]--Stanza 2, lines 5-8 (A’). The tenor smoothly leads back to A major
with a variant of his initial melody that moves downward and smoothes out the line.
The words are a counter-argument to the last four lines of stanza 1. The piano
parts play similar music to what they did in the A section. Note the faster notes
on “kleiner Vogel.” [Op. 52a: 0:44]
0:55 [m. 51]--Stanza 2, lines 5-8 repeated. The other three parts overlap with the
tenor’s ending and sing the response to the same music as was used at 0:15 [m. 13].
The major difference is that here they are singing the same words that the tenor
just did. The primo again includes the downward swooping arpeggios. [Op. 52a:
0:52]

1:02 [m. 59]--A “codetta” is added to the A’ material. The alto and tenor repeat
the words “nicht wie der” in a secretive, detached manner. The left hand of the
primo and the right hand of the secondo accompany them. The same words are then
stated by soprano, tenor, and bass (without alto), in a response. All hands except
the right hand of the secondo play here. This pattern with these two statements
is repeated, but now the alto sings instead of the tenor in the response, and its
final harmony is changed. Finally, all four voices and all four hands come
together
in an emphatic cadence on “wie der.” A brief bridge with repetitions of the
keynote
A in the basic rhythm follows. It is used to pivot to F major. [Op. 52a: 0:59]
1:11 [m. 67]--Stanza 3, lines 1-2 (C, Part 1). The tenor begins a gently flowing
melody that quietly reaches upward. After he sings the first line, the other
voices
join him in harmony to sing both lines. The key of the section is F major. The
piano parts provide block harmonies, but the “preparatory” grace notes in the primo
are notable. The first part ends on an incomplete cadence. [Op. 52a: 1:09]
1:23 [m. 67]--Stanza 3, lines 1-2 (C, Part 1) repeated. [Op. 52a: 1:19]
1:33 [m. 75]--Stanza 3, lines 3-4 (C, Part 2). The piano parts play a brief
interlude
to lead into these lines. The “preparatory” grace notes are played in the secondo
here. The tenor leads in, as before, and the music is essentially the same, even
when the other voices enter for the repetition of the third line, but there is an
internal harmonic change suggesting D major. This was not present in Part 1. The
passage ends with the same incomplete cadence as did Part 1, however. [Op. 52a:
1:30]
1:49 [m. 75]--Stanza 3, lines 3-4 (C, Part 2) repeated, including the lead-in piano
interlude. [Op. 52a: 1:48]
2:05 [m. 87]--Stanza 3, lines 5-8 (A). The transition here has the same function
as did the introduction to the song, and is in the same rhythm. Instead of simple
octaves, the piano parts play chords that move from F major back home to A. The
primo holds its outer octaves after the first chords while the secondo begins its
two sets of harmonies. The tenor then sings to the same music he used for the
first
lines of the song, including the three introductory syllables. The piano parts are
also the same. Only the text is different. [Op. 52a: 2:07. The secondo has added
tenuto marks for emphasis on the harmonies over which the tenor had sung the three
introductory syllables. These harmonies (and the syllables) have great
transitional
significance at this point.]
2:20 [m. 99]--Stanza 3, lines 5-8 repeated. The other three voices enter and sing
their lines as heard at 0:15 [m. 13] and 0:55 [m. 51]. The words are the same as
those at 0:15 [m. 13], and a repetition of the tenor’s text. The accompaniment,
including the swooping arpeggios, is also the same. [Op. 52a: 2:21]
2:28 [m. 107]--The “codetta” from 1:02 [m. 59] is used to end this most extended
waltz-song. The absence of the word “nicht” in the repeated text creates a bit of
variation, especially in the piano parts. The fourth statement of the text (the
second response) includes the tenor, but not the soprano and alto in another
variance.
The emphatic cadence on “wie der” is also changed so that the soprano ends on the
keynote, creating more finality. [Op. 52a: 2:28]
2:36--END OF WALTZ-SONG [111 mm.] [Op. 52a: 2:37]

7. “Wohl schön bewandt’” (“Quite fair and contented”). Polish source. [Im
Ländler-Tempo].
Binary form. C MINOR, 3/4 time. Soprano (or alto) solo.

German Text:
Wohl schön bewandt
war es vor ehe
mit meinem Leben,
mit meiner Liebe;
durch eine Wand,
ja, durch zehn Wände
erkannte mich
des Freundes Sehe.
Doch jetzo, wehe,
wenn ich dem Kalten
auch noch so dicht
vorm Auge stehe,
es merkts sein Auge,
sein Herze nicht.

English Translation

0:00 [m. 1]--Part 1. The first statement of Part 1 sets the first four lines. The
music is characterized by heavy upbeats resolving downward but steadily working
upward.
The primo is primarily concerned with decorating and doubling the singer, while
the secondo counters her upbeat rhythm by placing its two-note descents on the
second
beat of each bar. It also provides a solid low bass. The end of the phrase evokes
the memory of happiness with a warm motion to A-flat major, a third below the home
C minor. [Op. 52a: 0:00]
0:13 [m. 1]--Part 1 repeated. The repetition sets lines 5-8. Because of the
accentuation
of line 5, the piano parts take the first upbeat alone. The word “durch” then
enters
on the downbeat, and the long note that was used for “schön” in the first statement
is split into two notes for “durch” and the first syllable of “eine.” [Op. 52a:
0:12]

0:23 [m. 9]--Part 2. It sets the last six lines. The first four of these are
given
more hopeful music. There is a strong motion toward A major, emphasized by a
turning
decoration in the primo. Brahms never quite arrives there, receding back to C
minor
after the high point on “noch.” The last two lines take another harmonic detour
through D-flat major, a half-step above the keynote. This moves immediately and
strongly back to C minor as the word “Herze” is held for almost six beats, the
primo
adding a gentle turn figure to the bleak cadence. The secondo retains its rhythmic
patterns on the second beat of each bar. [Op. 52a: 0:23]
0:43 [m. 9]--Part 2 repeated, using the same text. [Op. 52a: 0:46--m. 25. This is
the most significant alteration in the piano-only waltz-songs. The repeat is
written
out, and the primo is ornately embellished. The first two measures have arching
scales, the first in triplets, the second in faster six-note groups, also in
triplet
rhythm. After the turning decoration and the high point, which are unchanged, the
move back to C minor breaks into a trill, sliding down by half-step. At the point
where the penultimate line would be sung, the primo first winds up high in jagged
triplets, then plunges down in an almost unmeasured scale over the turn to D-flat,
and actually undermines that harmonic turn by using the note G-natural (instead
pointing
toward F minor or A-flat major). Finally, suspended notes and syncopation are
added
to the line for “Herze,” and the gentle turn is delayed a beat.]
1:10--END OF WALTZ-SONG [24 mm.] [Op. 52a: 1:23--40 mm.]

8. “Wenn so lind dein Auge mir” (“When your eyes look at me”). Polish source. [Im
Ländler-Tempo]. Binary form. A-FLAT MAJOR, 3/4 time. SATB

German Text:
Wenn so lind dein Auge mir
und so lieblich schauet,
jede letze Trübe flieht
welche mich umgrauet.

Dieser Liebe schöne Glut,

laß sie nicht verstieben!
Nimmer wird, wie ich, so treu
dich ein andrer lieben.

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