Ist all mein Sehnen, all mein Mut

In dir, o Bild, gegründet,

Und immer noch von gleicher Glut,
Von gleicher Lust entzündet.

English Translation

The last line in every stanza is repeated. All except stanza 3 have “extra”
repeated
words, and stanza 4 omits a second statement of some words to accommodate “extra”
repetition of others.
0:00 [m. 1]--Stanza 1 (A). A simple rising piano arpeggio (beginning on an
incomplete
measure) leads into the sweet, upward-striving vocal line. The accompaniment is
simple but varied, with some initial vocal doubling, off-beat chords, and low left-
hand
octaves. These low left hand notes outline the opening of the main melody with a
much slower motion. They begin in the second line, where the vocal phrase also
starts
to droop downward.
0:14 [m. 6]--The third line becomes more agitated at the mention of the “exiled
man,”
introducing borrowed “color” notes from the minor key, left hand arpeggios, and
three-note
downward turning figures in the piano that are derived from the opening melody.
The piano bass echoes the actual melody that is sung here. In the fourth line and
its repetition, the downward-turning figures persist in the right hand, then the
bass, with a descending line in dotted rhythm beneath, then above them. The melody
itself becomes gentle again. The repetition reaches higher for a lilting downward
motion before the last three words “gar zu gerne,” are given an “extra” repetition
at the incomplete cadence.
0:34 [m. 13]--Stanza 2 (A). The same piano arpeggio leads into the next verse,
entering
right after the cadence. It is musically identical to stanza 1, but the text
repetition
is handled differently. In the repeated last line, the word “deinem” is stretched
out, placing two syllables where four (“käme gar zu”) had been placed in stanza 1.
As a result, only the word “deinem” is given an “extra” repetition. The
“agitated”
third line again illustrates the poet’s distance with the mention of the “old
path.”

1:04 [m. 25]--Stanza 3 (B). The same arpeggio begins, but breaks into syncopated
left-hand repeated notes. The new musical material of the vocal line is similar
to that of A, but has less of the upward-striving character. It is, however, more
agitated thanks to the continuing left hand syncopation and several breathless two-
note
descents. Brahms initiates a gradual acceleration and crescendo similar to that
in “Erinnerung,” the previous song. The third line moves to the home minor key and
its related major key of C-flat, and the syncopation moves to the right hand. The
last line is repeated in full with no extra repetitions of words. The
accompaniment
pattern leads into the next verse and back to the major key.
1:29 [m. 36]--Stanza 4 (B’). It is similar to the last stanza, but quite varied.
The first two vocal lines are set a third higher, a striking effect. The
accompaniment
also sets the right hand much higher, and any syncopations or chords after the beat
are in that hand. The left hand and bass line are much more active, shadowing the
vocal melody. The vocal line comes back to that of stanza 3 at the third line,
which
retains the motion to C-flat major and A-flat minor. The last line is not repeated
in full, leaving out “Und sich,” but “an ihm” is repeated twice.
1:48 [m. 44]--The music is still agitated as the verse ends, leading into a more
extended transition back to the A material and the major mode, beginning with a
similar
opening arpeggio against lingering after-beat chords. Two references to the main
melody, the first one inverted, become more quiet and subdued before the entrance
of the main melody.
1:55 [m. 47]--Stanza 5 (A). The music is virtually identical to that of the first
two stanzas. Brahms does not explicitly indicate a return to the opening tempo,
but it is implied, and this recording does include a slowing as the verse begins.
The text repetition is handled as in stanza 2, with “gleicher” stretched out and
repeated in the full restatement of the last line. The most important change is
at the final cadence, which was open in the first two stanzas and now comes to a
full, wide close, followed only by a rolled chord.
2:43--END OF SONG [58 mm.]

4. An die Tauben (To the Pigeons). Text by Max Gottfried von Schenkendorf. Sehr
lebhaft (Very lively). Rondo form (ABACA’). C MAJOR, 4/4 time (Low key A major).

German Text:
Fliegt nur aus, geliebte Tauben!
Euch als Boten send’ ich hin;
Sagt ihr, und sie wird euch glauben,
Daß ich krank vor Liebe bin.

Ihr könnt fliegen, ihr könnt eilen,

Tauben, froh bergab und -an;
Ich muß in der Fremde weilen,
Ewig ein gequälter Mann.

Auch mein Brieflein soll noch gehen

Heut zu ihr, mein Liebesgruß,
Soll sie suchen auf den Höhen,
An dem schönen, grünen Fluß.

Wird sie von den Bergen steigen

Endlich in das Niederland?
Wird sie mir die Sonne zeigen,
Die zu lange schon verschwand?

Vögel, Briefe, Liebesboten,

Lied und Seufzer, sagt ihr’s hell:
Suche ihn im Reich der Toten,
Liebchen, oder komme schnell!

English Translation

0:00 [m. 1]--Stanza 1 (A). The brief two-bar introduction sets up the constant
triplet
rhythm that will be in the accompaniment throughout the song. It creates a rather
breathless character. The vocal line is sweeping and disjunct, with many leaps
across
the main chords in the key. The right hand takes over the triplets while the left
hand plays a skipping pattern with many rests and double notes in a rhythm
supporting
the vocal line. The first statement of the last line moves briefly away from the
key, to G major, C minor, and finally E-flat major, but a very affirmative
repetition
of that line, with broken octaves in the bass, brings the music back home. The
following
two-bar interlude includes chromatic notes used during the harmonic diversion.
0:20 [m. 15]--Stanza 2 (B). The music is now somewhat more assertive, with more
solid punctuation in the piano left hand. The vocal line moves generally down in
each phrase instead of up, as in A. The last line is repeated, as in A. The
stanza
begins in the “dominant” key, G major, but moves away. The last two lines first
seem to move naturally to E minor, but then there is a sudden reappearance of the
home-key harmony of C major in the last line, which includes suddenly powerful
descending
bass octaves. The repetition of the line is wrenched through F major back to E,
this time E major, for the cadence. This cadence is the only brief break from the
constant triplets. The following interlude is longer (5 bars), and moves home to
C.
0:41 [m. 30]--Stanza 3 (A). The end of the preceding interlude has restored the
quiet, secretive character after the assertive E-major cadence highlighting the
“tormented
man.” The vocal line is the same as in stanza 1, including the motion away from
C and the return with the sweeping repetition of the last line. The accompaniment
is somewhat richer, adding many double notes to the line with the triplet rhythm,
which is split between the hands. The skipping pattern is replaced by downbeat
bass
notes, which only move away from the keynote C at the harmonic diversion. The bass
octaves under the repetition are not broken. The interlude begins as after stanza
1, but is expanded by two measures to move to the new key for stanza 4.
1:02 [m. 44]--Stanza 4 (C). The vocal line and even the piano have similarities
to B (stanza 2), but the notes are entirely different. The stanza begins in F
major,
but it is highly chromatic. The piano twice moves from ascending arpeggios to the
pattern of stanza 2. The last line is again adventurous in its unstable key, which
moves to the distant A-flat major/minor, already suggested in the third line. It
is repeated as in other stanzas, but the words “die” and “schon” are omitted, and
“zu lange” is given an extra repetition. The repeated line builds and moves the
music through B-flat minor back home to C, whose “dominant” chord arrives rather
abruptly with a low bass arpeggio under a lengthening of the word “lange.” The
interlude
(again only two bars), now has downward-moving chords in the right hand echoing the
preceding vocal line.
1:22 [m. 57]--Stanza 5 (A’). It is obviously similar to stanzas 1 and 3, but the
voice is now higher, usually at a distance of a third or a sixth above the original
melody. The piano actually does play the first two lines of the original melody
in a high register, often in octaves above the triplets of the left hand, which
moved
there in the preceding interlude. The third line arrives at E-flat, as it did in
stanzas 1 and 3, but this key now comes via a fresh-sounding A major. The
repetition
of line 4 is, however, as in stanza 1, with the sweeping, affirmative cadence (and
at the original pitch level). A piano postlude includes more “color” notes (very
frequent in this song) and accented, syncopated chords. The triplets are finally
cut off with a loud chord.
1:48--END OF SONG [70 mm.]

BOOK II:
5. Junge Lieder I (Songs of Youth I). Text by Felix Schumann. Lebhaft (Lively).
Two-part simple strophic form. F-SHARP MAJOR, 4/4 time (Middle key D major, low
key C major).
German Text:
Meine Liebe ist grün wie der Fliederbusch,
und mein Lieb ist schön wie die Sonne,
die glänzt wohl herab auf den Fliederbusch
und füllt ihn mit Duft und mit Wonne.

Meine Seele hat Schwingen der Nachtigall,

und wiegt sich in blühendem Flieder,
und jauchzet und singet vom Duft berauscht
viel liebestrunkene Lieder.

English Translation

0:00 [m. 1]--Stanza 1. There is no introduction. The vocal line is extremely

extroverted
and thrusts constantly forward. The accompaniment is very busy, with a steadily
moving left hand and constant syncopated chords in the inner voice of the right.
Under the first line, the left hand plays a distinctive downward-winding pattern.
The singer surges upward in the related minor key (D-sharp), lingering on “Liebe”
and “grün” before moving to major when turning back downward. The second line is
sung twice to two shorter phrases, reaching a half-cadence on the “dominant” key
of C-sharp.
0:16 [m. 9]--The third and fourth lines, both set to shorter phrases, very slightly
diminish in volume and intensity before surging forward again. Then line 4 is
repeated
with an affirmative character that is asserted in an upward-striving chromatic
line,
with longer notes and a phrase stretched to the length of the first line (twice as
long as that for the second and third phrases as well as the first statement of the
fourth line).
0:30 [m. 16]--At the cadence, a piano interlude breaks from the constant pattern
of the verse and introduces off-beat triplet rhythms. The bass and melody move in
opposite directions. The harmonies become richer and the music comes to a pause.
A single measure reintroduces the accompaniment pattern of the verse, including
the downward-winding left hand motion, before the second verse erupts at a louder
volume.
0:39 [m. 21]--Stanza 2. Musically identical to stanza 1. The “lingering notes”
are now on “Seele” and “Schwingen.” The second line is again sung twice.
0:54 [m. 29]--The third and fourth lines are sung as in stanza 1, with the
lengthened
repetition of line 4 on the rising chromatic line.
1:08 [m. 36]--The previous piano interlude in triplets now serves as a postlude.
The measure that had “returned” to the verse pattern leads to a surprisingly quiet
final chord.
1:28--END OF SONG [41 mm.]

6. Junge Lieder II (Songs of Youth II). Text by Felix Schumann. Zart bewegt
(With
tender motion). Three-part simple strophic form. D MAJOR, 6/4 time (Low key B
major).

German Text:
Wenn um den Holunder der Abendwind kost
Und der Falter um den Jasminenstrauch,
Dann kos’ ich mit meinem Liebchen auch
Auf der Steinbank schattig und weich bemoost.
Und wenn vom Dorfe die Glocke erschallt
Und der Lerche jubelndes Abendgebet,
Dann schweigen wir auch, und die Seele zergeht
Vor der Liebe heiliger Gottesgewalt.

Und blickt dann vom Himmel der Sterne Schar

Und das Glühwürmchen in der Lilie Schoß,
Dann lasse ich sie aus den Armen los
Und küsse ihr scheidend das Augenpaar.

English Translation

0:00 [m. 1]--A gentle introduction, beginning with an upbeat, sets up the rocking,
lullaby-like motion. The broad 6/4 meter also contributes to this. In the first
bar, the left hand crosses above the right for two notes, contributing to the
harmony
above the rocking internal voice. The lead-in to the vocal entry is extended.
0:10 [m. 4]--Stanza 1. The tender melody is accompanied by very subtle and gentle
syncopation in the piano. In the first line, the bass swings gradually downward,
alternating between the pitches D and A through three octaves. The voice moves
downward
in the first line, and swings upward with lilting skips as the second line begins.

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