OP. II/, THREE INTERMEZZI.

229

708.The two stanzas corresponding to the two musical

subjects are as follow :

(a) Schlaf sanft mein Kind, schlaf sanft und schon !

Mich dauert's sehr, dich weinen sehn,

Und schlafst du sanft, bin ich so froh,
Und wimmerst du das schmerzt mich so !

Schlaf sanft, du Kleines Mutterherz,

Dein Vater macht mir bittern Schmerz.
Schlaf sanft, etc.

( b) Dein Vater, als er zu mir trat

Und suss, so suss um Liebe bat,
Da kannt' ich noch sein Truggesicht,
Noch seine siisse Falschheit nicht,
Nun leider! seh* ich's, seh ich's ein,
Wie nichts wir ihm nun beide sein.
Schlaf sanft, etc.*

709. The characteristic of the first subject is the situation

of its melody in the alto; that of the second, its sobbing
rhythm. The commencement of each is here shown :

* follows:
The corresponding text in Percy's "Reliques" as as
Balow, my babe, lye still and sleipe,
It grieves me sair to see thee weipe,
If thoust be silent Ise be glad,
Thy maining maks my heart ful sad.
Balow, my babe, lye still and sleipe,
It grieves me sair to see thee weipe.

When he began to court my luve,

And with his sugred words to muve,
His faynings fals, and flattering cheire,
To me that time did not appeire.
But now I see most cruell, hee
Cares neither for my babe nor mee.
230 HANDBOOK TO BRAHMS (PIANOFORTE).

710.Melody. This melody is so universally admired that

littleneed be said. It is of the plaintive Scottish type and
has a distinctively "old-time" character which, though it is
quite original, makes it
at once familiar.
711.Harmony. The harmonies of this piece notwith
standing that they have so rich an effect are really very simple.
A false impression is no doubt often produced in consequence
of two descriptions of touch being simultaneously required
from the right hand throughout.
712. Rhythm. The rhythm of the first section is duple;
and, even at that, so plain as to require no remark.
That of
the "piu adagio" has been characterised as "sobbing"; and
an attempt will be made to show the reader how completely the
of how the words of the
expression is justified, by a suggestion
poem may be taken as expressed, in the shape of an example.

jfrA A'iwrA j<?^ sf/sse Falscheit nicht. Nun

love or dream that he so false could prove. Now-

The expression is too natural and pathetic to have hap

pened accidentally, as the reader will perceive by bearing the
above ideas in mind as he plays this section.
713. Form and Figuration. The form is lyric and of
figuration there is none.
714. General characteristics. Grove has it that this piece
is a "deliberate assumption of the style of an old ballad";
and has Brahms' "favourite device of a melody in an inner