0:05 [m. 6]--Stanza 1 (A). The singer enters against the continuing piano motion.

The first phrase, setting the first two lines, is a closed and regular phrase with
a full cadence. The piano’s top line occasionally roughly doubles the vocal line.
The second phrase, setting the other two lines, introduces more chromatic notes
and some mild syncopation in the piano right hand, with some notes held over bar
lines. It is an irregular five bars. The last line is repeated to a new phrase
which introduces a skipping descent in a dotted rhythm that stretches the second
syllable of “verschmachten.” It is also five bars and reaches a full cadence after
a turning vocal flourish.
0:19 [m. 2]--The vocal cadence leads into a repeat of the same music, beginning
with
the introduction. The cadence bar doubles as the first of the repeated
introduction,
and the repeat leads back to the second bar.
0:23 [m. 6]--Stanza 2 (A). Brahms fashions the first two lines as a refrain. He
changed the repetition pattern of the original poem (not shown in the text above)
to accomplish this. The word “Kreis” is the syllable that is lengthened in the
“skipping
descent” when the last line is repeated to the new phrase.
0:38 [m. 20]--The cadence bar now leads into a very animated bridge that shifts the
music from minor to major for the last two stanzas. The left hand here abandons
the steady motion in favor of dotted rhythm, and the right hand introduces harmony
to the previously unadorned line. The volume rapidly increases.
0:40 [m. 23]--Stanza 3, lines 1-4 (B). It is set in a bright major mode. The
piano
continues the perpetual motion. The first two lines are set to a regular phrase
with a joyously leaping voice and wide piano arpeggios. The second line makes a
very brief, but poignant turn to B minor. The third and fourth lines are again
quiet
and secretive. The piano right hand introduces small rests that give the music a
slightly tentative character illustrating the entreaty described in the text. The
third line is repeated to that effect, and the fourth line reaches a half-cadence
that includes tinges from the G-minor key of the first two stanzas.
0:49 [m. 33]--Stanza 3, lines 1-4 repeated (B’). The only variation in this
repetition
is in the opening leaps, which add a leading note, shift the other notes forward,
repeat the middle one, and shorten all of them by half. This serves to add
propulsion
to the upward motion. The remainder of the music is repeated without variation.
The harmony leading out of the half-cadence is changed to lead into the coda.
0:58 [m. 43]--Stanza 3, lines 5-6 (Coda). The last two lines, which simply
reiterate
the fourth line of the stanza, are used by Brahms to create a punctuating coda.
The fifth line shoots joyously upward. The piano varies the rhythm with rests and
dotted rhythms, and adds harmony to the right hand. The first “herzu” of the last
line again makes the same upward motion with a single leap of a fifth, eliminating
a middle note.
1:02 [m. 47]--Brahms adds an extra “komm” before the last “herzu.” This “komm”
enters
on a mild syncopation at a lower level than the previous two leaps. This allows
an even wider leap (a seventh) to the same note for the final “herzu,” which is
sustained
as the piano races upward. The kinetic energy of the piano finally bursts into two
short rolled chords and a final sustained one with a low bass octave.
1:13--END OF SONG [52 mm.]

2. Während des Regens (During the Rain). Text by August Kopisch. Lebhaft
(Lively).
 Modified strophic form (AA’BA”). D-FLAT MAJOR, 6/4 and 9/4 time (Low key B-flat
major).

German Text:
Voller, dichter tropft ums Dach da,
Tropfen süßer Regengüsse,
Meines Liebchens holde Küsse
Mehren sich, je mehr ihr tropfet!
Tropft ihr, darf ich sie umfassen,
Laßt ihr’s, will sie mich entlassen;
Himmel, werde nur nicht lichter,
Tropfen, tropfet immer dichter!

English Translation

0:00 [m. 1]--Lines 1-2 (A). The pattering accompaniment that graphically depicts
the rain is established rather hesitantly in the two-bar introduction, the right
hand establishing its pattern of playing after the beats. These rising lines
become
more assertive under the text, and the right hand begins to incorporate double
notes.
The singer sweeps upward in the first line, then falls back down, as does the
accompaniment.

0:07 [m. 5]--The second line shifts from 6/4 to 9/4 time, which enables the
lengthening
of the first syllables of “Tropfen” and “Regengüsse.” The vocal line begins at a
high level, and reaches its peak on “Regengüsse.” The phrase makes a motion to the
“dominant” key, A-flat, but the voice does not reach a complete close there. The
pattering accompaniment arches up and back down after the voice, moving back to the
home key.
0:14 [m. 8]--Lines 3-4 (A’). The meter moves back to 6/4, and line 3 is set in the
same manner as line 1.
0:17 [m. 10]--The fourth line is set in 9/4 time, as was the second. The
lengthened
words are the parallel “mehren” and “mehr.” The line is identical to line 2 until
the end, where the voice does come to a full close on A-flat after an embellished
descent. The following piano bridge is static, undulating on the same two notes
in both hands.
0:25 [m. 13]--Lines 5-6 (B). The music slides strikingly to D minor. The first
words of line 5, “Tropft ihr,” remain unexpectedly in the previous 9/4, and are
consequently
lengthened. The right hand harmonies are more full, and include three- and four-
note
chords. The vocal line has a gently pleading quality. The rest of the line moves
back to 6/4 and makes a subtle harmonic shift from D minor to A major, the piano
moving to the static undulation heard before the line, but a half-step higher.
0:31 [m. 16]--The sixth line, like the fifth, begins with a 9/4 bar on “laßt ihrs.”
It also moves to D minor, but now begins with a more dissonant “diminished
seventh”
chord. The rest of the line is in 6/4, and begins in a similar manner as had this
portion of line 5, but the word “entlassen” is suddenly and joyously expanded,
sliding
to the new key of B-flat major. The volume greatly increases, and the singer
soars,
stretching the second syllable of the word to four notes, the first of which is
held
for eight beats.
0:39 [m. 20]--The words “will sie mich entlassen” are repeated, leading to a
climax.
The repetition makes a dramatic motion back to the home key of D-flat. This time,
the second syllable of “entlassen” is stretched even longer, to six notes. The
first
of these is again eight beats, but the last is also a bit longer at three beats.
It is used to quiet the music down for a half-cadence, at which point the steady
pattering finally makes a noticeable break (it had also briefly stopped under the
first “entlassen”).
0:47 [m. 24]--Lines 7-8 (A”). The singer’s melody for line 7 is the same as that
for lines 1 and 3, but the pattering accompaniment is more smooth and flowing,
suggesting
a more steady and heavy rainfall (as pled for by the protagonist of the poem). The
right hand only rests on the first and fourth beats of the two bars.
0:51 [m. 26]--As expected, the meter shifts to 9/4 for the last line. Brahms marks
it animato, and indeed, the pattering becomes more insistent, the right hand now
playing steady notes with no breaks. The first note on “Tropfen” is lengthened in
a manner similar to the first notes of lines 2 and 4, but the rest of the line
diverges
and remains in the home key. Chromatic notes are introduced in the chords of the
left hand to add harmonic color.
0:55 [m. 28]--The words “immer dichter” are repeated. The first syllable of
“immer”
is given the lengthening that it was denied on its first statement. The word
“immer”
is given a third time before the second “dichter.” This statement of “dichter” is
greatly lengthened, and the pattering accompaniment underneath is more tightly
grouped,
becoming excited even as the volume diminishes. The word “dichter” is then given
a third statement with the same lengthening at a higher level. These repetitions
remain in 9/4.
1:01 [m. 31]--The last word “dichter” is given a fourth and final statement as the
meter shifts back to 6/4. The word’s lengthening is the same, however. The shift
to 6/4 affects the accompaniment, whose notes are even more tightly grouped. The
singer seems to trail off after this last statement of the word, avoiding a full
close. The piano continues to happily patter ever upward, suddenly breaking off
with a rolled chord. This is followed by another, suddenly louder rolled chord and
then a final lower, solid chord to end the song.
1:13--END OF SONG [34 mm.]

3. Die Spröde (The Aloof Woman). Text by August Kopisch, after an Italian
(Calabrian)
folk poem. Grazioso. Varied strophic form (AAB). A MAJOR, 2/4 time, with two 3/4
bars (Low key G major).

German Text:
Ich sahe eine Tig’rin
Im dunkeln Haine,
Und doch mit meinen Tränen
Konnt’ ich sie zähmen.

Sah auch die harten Steine,

Ja Marmelsteine,
Erweicht vom Fall der Tropfen
Gestalt annehmen.

Und du, so eine zarte,

Holdsel’ge Kleine,
Du lachst zu meinem Seufzen
Und bittern Grämen.
English Translation

0:00 [m. 1]--Introduction. The lilting, graceful two-note figures begin on an

upbeat.
The fast arching triplet groups in the left hand initially contribute to this
gracefulness.
The music suddenly includes surprising borrowings from the minor, along with a
more
agitated dotted rhythm in the right hand. The left hand triplets become more
forceful,
and clash with the right hand rhythm. They settle on an arching A-major arpeggio,
dissipating the tension before the entry of the singer.
0:09 [m. 5]--Stanza 1 (A). The singer enters with another lilting melody beginning
with a dotted rhythm. At the mention of the tigress (“Tig’rin”), the borrowings
from the minor as heard in the introduction assert themselves. The accompaniment
is now completely in triplet arpeggios, with both wide and shorter sweeping motion.
The second line, “im dunklen Haine,” is repeated, the first time moving straight
upward, the second time using the dotted rhythm to propel itself.
0:21 [m. 11]--As the second line finishes, the piano begins a reminiscence of the
introduction, restoring the full major mode. The third line has a brief chromatic
descent. The triplets are now passed between the hands. The last line comes fully
to the lilting and graceful mood heard at the beginning, with its light downward
leaps. The piano introduces a short three-note countermelody under “zähmen.” The
line is repeated, with a lengthened cadence on “zähmen.” The voice does note come
to a full close.
0:36 [m. 1]--The piano leads smoothly into a repetition of the introduction.
Repeat
signs are used for the second stanza.
0:43 [m. 5]--Stanza 2 (A). The music is as in stanza 1. The minor-key
borrowings
are now used to illustrate the marble stone (“Marmelsteine”). Brahms goes back to
line 1 and repeats “die harten Steine” rather than the second line on the dotted
rhythm.
0:55 [m. 11]--The last two lines, including the reminiscence of the introduction
and the repetition of the final line, are as in stanza 1. The countermelody and
lengthened cadence are both heard under “annehmen.”
1:09 [m. 19]--The introduction is again reprised, this time without repeat signs,
since the last stanza will be set to quite different music.
1:17 [m. 23]--Stanza 3 (B). The new material begins with an inserted 3/4 bar.
This
allows for an expressive pause after the meaningful word “du.” The borrowings from
minor again begin to be heard. The 2/4 meter is restored, and the descending
pattern
on “so eine zarte” is repeated for “holdsel’ge Kleine.” This time, the top notes
of the continuing piano triplets harmonize the sung melody a third above.
1:26 [m. 27]--Another 3/4 bar is inserted here for a parallel passage on the last
two lines that seems to begin in the same way. The descending pattern is suddenly
wrenched up a half-step, however, and the key itself is also shifted up to B-flat
major. This greatly increases the agitation. The pattern on “bittern Grämen” is
a rhythmic variant of that at “zu meinmen Seurzen.”
1:36 [m. 31]--The B-flat major harmony is artfully used (as the “Neapolitan” chord)
to pivot back to the minor key on A. The last two lines are conflated together in
an unambiguous minor. The text is abbreviated to “Du lachst zu meinem bittern
Grämen.”
Both the voice and piano arrest their motion, the former with a pause after
“lachst”
followed by the rhapsodic arch on the rest of the words that descends to an A-minor
cadence. Brahms marks it ad libitum. The piano inserts pauses during this arching
line.
1:48 [m. 35]--The expressive descent and cadence on “Grämen” leads to a final
reminiscence
of the introduction in the bleak minor key. The gracefully leaping descents are
now given in a syncopated rhythm within single bars, turning them into dirge-like
sobs above the left hand triplets, which are now separated by rests. The last two
chords in this recording remain in the minor key. The first edition and several
others, including Peters, retained this ending. Brahms himself changed the last
two chords to major in his personal copy, an alteration reflected in the Complete
Edition reprinted by Dover. He was apparently undecided as to how dark he wanted
the ending of such a mostly gentle song to be.
2:07--END OF SONG [39 mm.]

4. O komme, holde Sommernacht (O Come, Lovely Summer Night). Text by Melchior

Grohe.
Lebhaft und heimlich (Lively and secretively). Through-composed form with
elements
of ternary design. F-SHARP MAJOR, 4/4 time (Low key E major).

German Text:
O komme, holde Sommernacht,
Verschwiegen;
Dich hat die Liebe recht gemacht
Zum Siegen!

Da brechen manche Knospen los,

Verstohlen,
Da öffnen ihren süßen Schoß
Violen;

Da neigt ihr Haupt im Dämmerschein

Die Rose,
Da wird mein Liebchen auch noch mein,
Das lose!

English Translation

0:00 [m. 1]--Stanza 1. The song begins on an upbeat with a downward-winding series
of notes in triplet rhythm, a rhythm that will persist throughout the song. They
are marked molto piano. When the voice enters after a bar, it has a joyous, but
secretive quality, leaping happily in an extremely bright melody with dotted
rhythm.
It is supported by the continuing triplets, now somewhat lower and wider and
marked
leggiero, as well as a bass line with rustic “horn fifth” harmonies. This is
marked
sotto voce. This harmonized bass becomes more fragmented in the second phrase
after
“verschwiegen.” Brahms went out of his way to convey the light, secretive quality.
He also exploited the short three-syllable lines throughout the poem with
strategically
placed long notes, such as here on “verschwiegen” and “Siegen.”
0:15 [m. 10]--Brahms adds to what would have been a very short song by repeating
the entire text and melody of stanza 1. The accompaniment is varied, placing the
shimmering triplets in the low left-hand bass and the “horn fifth” harmonies in the
right hand.
0:28 [m. 18]--Stanza 2. For this middle section, the triplets move back to the
right
hand. Every other note is harmonized with a double third, making the texture
thicker.
The bass now plays in octaves, still in the prevailing dotted rhythm. The harmony
makes a colorful motion, first to the home minor and then to the much brighter key
of D major. The word “verstohlen” is given a decorative turn, under which the
triplets
now include full three-note chords and a delayed harmonic resolution (a
“suspension”).
They move back to the double thirds before the next line.
0:35 [m. 22]--The next lines are almost parallel to the last two. The word “süßen”
is given a decorative, but somewhat dissonant falling line. The last word,
“Violen,”
is extremely evocative. The first note is held for six full beats, delaying by two
the expected arrival of the last syllable. In addition, the harmony in the
triplets
under the long note includes an inner voice with a wonderful suspended resolution.
The harmony seems as if it is moving back home to F-sharp, but it “overshoots”
this
and arrives instead on B major as the word “Violen” is finally completed.
0:42 [m. 26]--Stanza 3. The first two lines are analogous to those of stanza 1,
but they are sung higher, in B major. The left hand has the “horn fifths,” the
right
the triplets. The vocal line is varied at the end with the lengthened word “Rose,”
which does not leap as high as expected, resulting in a somewhat gentler sound.
0:48 [m. 30]--The last two lines slide back down to the home key of F-sharp, which
is helped by the previous alteration on “Rose,” as the voice moves down by half-
steps
to reach the home key. The upbeat on “da” is lengthened by a beat to emphasize the
shift. The melody itself is also altered so that it has a more generally
descending
contour. In an opposite motion to the first two lines of the stanza, the final
lengthened
word, “lose,” reaches higher than expected, leading into the small coda. Low bass
octaves are again heard.
0:55 [m. 34]--The coda consists of a repetition of “das lose,” under which the
triplets,
having already moved to the left hand under the previous syllable, move back to the
right as “lose” begins again. They are at a lower level, however, as are the left
hand bass octaves. The first syllable of “lose” is held six beats, and as it is
completed, the triplets move again to the low left hand, where they remain through
the postlude. The hesitant voice does not reach a full close. The right hand
floats
steadily upward in the dotted rhythm, becoming ever softer and slower until it
reaches
a transfigured cadence on F-sharp.
1:17--END OF SONG [38 mm.]

BOOK II:
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