German Text:

Vögelein durchrauscht die Luft,

sucht nach einem Aste;
und das Herz, ein Herz begehrt’s,
wo es selig raste.

English Translation

0:00 [m. 1]--Part 1. The primo represents the fluttering bird with fast two-note
groups, all thirds and fourths until the end of the second line, where the groups
expand to fifths and sixths and also contract to whole-steps. The left hand always
plays its groups on the second beat of the bar, and only the right-hand downbeat
groups are descending until the last bar of the second line. The two female
vocalists
leap up and down in harmonies of mostly thirds and fourths, repeating “durchrauscht
die Luft.” They, along with the right hand of the secondo, are in a broad cross-
rhythm,
or hemiola, for the first line. The secondo bass joins the primo in regular
groupings
against this. Normal 3/4 motion is restored for the second line with its half-
cadence.
[Op. 52a: 0:00]
0:13 [m. 1]--Part 1 repeated. [Op. 52a: 0:08]
0:22 [m. 9]--Part 2. All parts remain in normal motion for the third line. The
primo introduces a smooth flowing line. The two singers swell and recede on the
line, moving to colorful harmonies suggesting C-flat major. In the last line, the
smooth flowing line is passed to the secondo. The singers are in normal 3/4
motion,
but now the primo, which did not play the cross-rhythm before, recalls the opening
vocal harmonies in that cross-rhythm as the voices themselves settle to a gentle
cadence. [Op. 52a: 0:17]
0:33 [m. 9]--Part 2 repeated. At the end of the second line, a second ending
allows
the primo to return to normal rhythmic grouping for the last two bars, and the
secondo
is also adjusted to make the cadence more final. The vocal parts are unchanged in
this second ending. [Op. 52a: 0:26]
0:47--END OF WALTZ-SONG [16 mm.] [Op. 52a: 0:40]

14. “Sieh, wie ist die Welle klar” (“See how clear the waves are”). Russian-Polish
dance song source. [Im Ländler-Tempo]. Binary form. E-FLAT MAJOR, 3/4 time. TB
duet.

German Text:
Sieh, wie ist die Welle klar,
blickt der Mond hernieder!
Die du meine Liebe bist,
liebe du mich wieder!

English Translation

0:00 [m. 1]--Part 1. This song is closely linked to the previous one, and retains
its quiet, subdued mood. The male singers are in gentle, pleasing harmonies. The
primo has a smooth flowing line similar to that heard at the end of No. 13, while
the secondo plays standard waltz accompaniment. In the second line, Brahms
indicates
even greater hesitancy and quietness. The harmony makes a turn to C-flat (also
present
in the second part of No. 13). The primo moves to winding octaves, the left hand
displaced by syncopation. The end of the second line arrives on a half-cadence in
the home key of E-flat. [Op. 52a: 0:00--The right hand of the secondo is changed
in the piano-only version from its previous off-beat chords in order to play the
harmonies sung by the tenor and bass. The melody would be totally absent without
this change. In the last two bars, it incorporates a note (F) heard in the piano
accompaniment to the vocal version but not the voices themselves. This note is
necessary
for the effect of the harmonic suspension, so Brahms took care to retain it when
he changed the secondo right hand. In the first four measures, to retain the off-
beat
waltz character, the broken octaves on E in the secondo left hand are moved from
the first and second beats to the second and third beats. The left hand returns
to its original downbeat patterns in the last four measures.]
0:15 [m. 1]--Part 1 repeated. [Op. 52a: 0:14--Changes to the secondo, as noted
above.]

0:26 [m. 9]--Part 2. The two male singers swell gently in the third line, which
briefly moves to A-flat (the key of Nos. 13 and 15, both of which are closely
connected
to this song). They rise to their top pitches. Both piano parts have the flowing
line, which now introduces the long-short-short-short rhythm so common in these
waltz-songs.
The last line settles down for an incomplete cadence in E-flat. As in the second
line, there is syncopation, as the right hands of both piano parts play harmonies
after the beats. At the end, the secondo has a bridging figure in the long-short-
short-short
rhythm. [Op. 52a: 0:28--The secondo is not changed in Part 2.]
0:39 [m. 9]--Part 2 repeated. The bridging figure at the end is retained to lead
directly into No. 15. The incomplete cadence also helps the music flow smoothly
into this next song. [Op. 52a: 0:43]
0:51--END OF WALTZ-SONG [16 mm.] [Op. 52a: 1:01]

15. “Nachtigall, sie singt so schön” (“The nightingale, it sings so beautifully”).

Russian-Polish dance song source. [Im Ländler-Tempo]. Binary form. A-FLAT
MAJOR,
3/4 time. SATB

German Text:
Nachtigall, sie singt so schön,
wenn die Sterne funkeln.
Liebe mich, geliebtes Herz,
küsse mich im Dunkeln!

English Translation

0:00 [m. 1]--There is a two-bar piano introduction that flows directly from the end
of No. 14. It establishes the dotted (long-short) rhythm that will pervade much
of the song, and remains anchored on the “dominant” note, E-flat, with the short
note a step above that. In the second bar, a harmony a step lower is added. The
primo has the actual rhythm while the secondo only has straight octaves. [Op. 52a:
0:00]
0:05 [m. 3]--Part 1. When the voices enter, the two piano parts pass the dotted
rhythm between them. The secondo still remains anchored to the E-flat in line 1,
while the primo ranges more freely in arching lines. In the first line, the
soprano
and alto sing in unison, following the dotted rhythm of the secondo. The tenor and
bass provide static harmonies. In the second line, the voices and the secondo
break
free of their anchor (and the women from each other) and soar higher. The arching
lines in the primo continue through an incomplete cadence. [Op. 52a: 0:06]
0:19 [m. 3]--Part 1 repeated. [Op. 52a: 0:21]
0:33 [m. 11]--Part 2. The third line makes a striking harmonic motion to B major
(the same key, differently notated, to which the music moved in Nos. 13 and 14).
The voices sing in block harmonies, abandoning the dotted rhythm. The piano
parts,
however, follow the alternating patterns from Part 1, still using the dotted
rhythm.
The secondo even remains anchored to the new “dominant” note (now F-sharp) as in
the first line. [Op. 52a: 0:35--The left hand bass of the secondo has slightly
different
rhythm from the vocal version in its first four bars. It has downbeat rests on the
second and fourth measures and follows the pattern it used in Part 1. The vocal
version has an octave on every downbeat in these first four bars of Part 2. After
these measures, the secondo returns to the patterns used in the vocal version.]
0:40 [m. 15]--The voices reach a small climax at the beginning of the last line,
and work their way back home to A-flat. The primo has a hemiola cross-rhythm
grouping
of three two-beat units on the dotted rhythm. The voices recede as they reach the
word “Dunkeln,” which is prolonged as the primo moves back to its arching lines in
regular 3/4 grouping. [Op. 52a: 0:42]
0:46 [m. 19]--In the first ending, the words “im Dunkeln” are repeated to the same
vocal harmonies. The piano parts continue in an extended elaboration. The primo
meanders on the dotted rhythm, and the secondo has a more solid bass and chords.
They play two full bars beyond the vocal cadence, including one strong minor-key
inflection in the dotted rhythm, and lead at the end back to the repeat of Part 2.
[Op. 52a: 0:49]
0:54 [m. 11 (23)]--Part 2 repeated. Third line moving to B major. [Op. 52a: 0:57--
Slightly
different rhythm in first four bars of secondo bass, as described above.]
1:00 [m. 15]--Fourth line working back to A-flat and including cross-rhythm. [Op.
52a: 1:04]
1:06 [m. 19 (23)]--In this second ending, the piano parts are the same as in the
first ending until the end, where instead of leading back, they continue to a final
cadence (and an extra bar for it). The vocal parts, however, greatly extend their
repetition of the word “Dunkeln,” following the harmonies of the piano with
internal
motion, and ending with the piano players, whereas they had dropped out early in
the first ending. [Op. 52a: 1:11]
1:20--END OF WALTZ-SONG [23 (27) mm.]* [Op. 52a: 1:25]
*In the “Sämtliche Werke” score, with a break from usual practice, the second
ending
is labeled as m. 23 rather than repeating the numbering (19) of the first ending.
This is the rationale behind the parenthetical numbering of 23 at 0:54 and 1:06.
If the number 19 were repeated, the first ending would conclude with m. 22, the
second with m. 23. Beginning the second ending with m. 23 yields a concluding
number
of 27. The first ending contains four bars, the second five. In the score for Op.
52a, which has a line break in the middle of the first ending, the entire first
ending
is counted as “m. 19.” This implies a total count of 23. Perhaps the numbering
of the second ending as m. 23 in the vocal edition is meant to indicate the
concluding
measure number.

16. “Ein dunkeler Schacht ist Liebe” (“Love is a dark shaft”). Hungarian source.
Lebhaft (Lively). Binary form. F MINOR, 3/4 time. SATB
German Text:
Ein dunkeler Schacht ist Liebe,
ein gar zu gefährlicher Bronnen;
da fiel ich hinein, ich Armer,
kann weder hören noch sehn,
nur denken an meine Wonnen,
nur stöhnen in meinen Wehn.

English Translation

0:00 [m. 1]--Part 1. Beginning with an upbeat, the top three voices begin their
line in unison. It is an oscillating figure beginning with a downward motion. The
primo begins its agitated, constant motion underneath the voices, its lower notes
following them. As they move to “ist Liebe,” they break into harmony. At that
point,
the bass enters in counterpoint. He inverts the “oscillating” figure and begins
with the upward motion. The secondo also enters at that point, playing more
agitated
figures, including broken octaves. The top three voices complete the phrase with
the second line as the bass sings only the first line, repeating “ist Liebe” at the
end. The mood is extremely uneasy, and the primo motion ranges quite high. [Op.
52a: 0:00]
0:10 [m. 1]--Part 1 repeated. Some scores, including the Sämtliche Werke, indicate
that the bass should sing the second line in this repetition. In this recording,
Fischer-Dieskau retains the first line with its illustrative downward leap of an
octave under the text representing the “dark shaft” of love. [Op. 52a: 0:07]
0:17 [m. 9]--Part 2. The bass begins the third line with the oscillating figure
in its original direction, albeit at a higher pitch. The secondo underscores him,
initially with broken octaves. The top three voices enter in harmony as he sings
“ich Armer” on long notes. The primo enters with them, also beginning with broken
octaves. When they enter, the left hand of the secondo drops to low bass octaves.
The soprano now has the “inverted” version of the figure. The same alternation
occurs, in overlap, on the fourth line. Here, the voices reach a half-cadence, and
the bass repeats “noch sehn” in a downward motion as the upper voices complete
their
lines. After they cut off, the volume suddenly drops as the secondo continues to
oscillate. [Op. 52a: 0:14]
0:27 [m. 19]--With a turn to the major mode (F major), the soprano initiates a
series
of entries in counterpoint on the fifth line reflecting on happiness, all at the
distance of two bars. She sings the oscillation on the “inverted” version. The
tenor follows her with the original direction. The primo doubles the soprano in
octaves, with the right hand displaced by syncopation. The left hand continues its
faster oscillation in the left hand, with the right hand doubling the tenor when
he enters. [Op. 52a: 0:23]
0:31 [m. 23]--As the tenor completes his line, the alto now enters with the
“inverted”
version. The fast oscillation moves to the primo right hand, its left hand
doubling
the alto. The secondo roughly follows the tenor’s completion in octaves using the
slower “inverted” oscillation. Here, the soprano repeats “an meine Wonnen” in long
notes. Finally, the bass enters with the original version. At that point, the
tenor
has the first anticipation of the last line with an early statement of “nur
stöhnen.”
The right hands of both piano parts now have the fast oscillation, their left
hands
moving in slower notes. The bass has not yet completed the line as the primo right
hand shoots upward, ending the phrase. [Op. 52a: 0:27]
0:35 [m. 27]--The top three voices come together on two repeated statements of the
colorful text “nur stöhnen,” singing in harmony on a dissonant “diminished seventh”
chord and “sighing” downward. The primo follows them while the secondo has an
upward
arpeggio moving to octave oscillations. The bass completes “Wonnen” under the
first
statement, and sings with them on the second statement. The first statement has
an arrival on the F major of the preceding music, and the second statement lands
on F minor. [Op. 52a: 0:30]
0:39 [m. 31]--A final statement of “nur stöhnen” in all four parts completes the
line. The notes are longer in all voices but the alto, who has a final oscillation
on the “inverted” version. The primo follows the voices in long notes while the
secondo continues its arpeggios and octave oscillations (doubling the alto’s
oscillations).
The final F-minor cadence is tortured by the addition of dissonance. In all, the
soprano and alto state “nur stöhnen” three times, the tenor four times, and the
bass
twice. After the cadence, secondo arpeggios lead to the complete repeat of Part
2. [Op. 52a: 0:34]
0:45 [m. 9]--Part 2 repeated. Third and fourth lines, as at 0:17. [Op. 52a: 0:40]

0:55 [m. 19]--Soprano and tenor entries in counterpoint on the fifth line (F
major),
as at 0:27. [Op. 52a: 0:49]
0:59 [m. 23]--Tenor and bass entries in counterpoint, as at 0:31. [Op. 52a: 0:52]

1:03 [m. 27]--Two “sighing” statements of “nur stöhnen,” as at 0:35. [Op. 52a:
0:56]

1:07 [m. 31]--Final statement of last line and last cadence, as at 0:39. The only
variances are the addition of a final loud chord in the primo under the last word,
the prolongation in the voices of that last word (“Wehn”), an upward leap of the
soprano and upward motion of the alto on that last word, and a final punctuating
short chord in the secondo on the last beat. Brahms also indicates an extra
accentuation
of the word “meinen” at the beginning of the second ending (m. 33). [Op. 52a: 1:00]

1:16--END OF WALTZ-SONG [36 mm.] [Op. 52a: 1:08]

17. “Nicht wandle, mein Licht” (“Do not wander, my light”). Hungarian source. Mit
Ausdruck (With expression). Binary form. D-FLAT MAJOR, 3/4 time. Tenor solo.

German Text:
Nicht wandle, mein Licht, dort außen
im Flurbereich!
Die Füße würden dir, die zarten,
zu naß, zu weich.

All überströmt sind dort die Wege,

die Stege dir;
so überreichlich tränte dorten
das Auge mir.

English Translation

0:00 [m. 1]--The piano parts set up the initial rocking accompaniment in a two-bar
introduction. [Op. 52a: 0:00]
0:04 [m. 3]--Part 1 (Stanza 1). The tenor sings short, almost breathless, but
still
gently subdued figures for the first two phrases. He leaps between lower and
higher
figures that also move in opposite directions. The piano parts artfully reflect
this when they alternate in doubling the vocal line. They also pass the off-beat
figures of the accompaniment between the primo left hand and the secondo right
hand.
[Op. 52a: 0:02]
0:17 [m. 11]--The third phrase becomes slightly darker through the use of a note
(F-flat) borrowed from the minor key. The phrase is also prolonged to a fifth bar
by holding out the word “dir” before moving up to “die zarten” on the “dark” F-
flat.
Here, the primo mostly plays counterpoint to the vocal line in octaves.
Approaching
the last phrase, the primo moves to full chords, still following the tenor, who
moves
back to the short units on “zu naß” and “zu weich.” The secondo continues the
rocking
accompaniment. The last phrase moves to the “dominant” key, A-flat. Flowing
chords
in the secondo right hand lead to the repeat. [Op. 52a: 0:14]
0:31 [m. 3]--Part 1 repeated. The tenor’s opening upbeat is shorter than it was
the first time. [Op. 52a: 0:28]
0:41 [m. 11]--The last two phrases are played and sung as before. The flowing
chords
in the secondo at the end are slightly changed to lead into the second part. [Op.
52a: 0:40]
0:56 [m. 21]--Part 2 (Stanza 2). The first half of the stanza is compressed into
a forward-pressing six-bar phrase. The singer works upward to his highest note.
The flowing chords from the lead-in continue now in both piano parts. These
smoothly
and gradually build. The end of the phrase moves to the new key of G-flat. The
primo echoes the rhythm and contour of the tenor’s last notes in a bridge to the
last phrase. [Op. 52a: 0:56]
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