Johannes Brahms:
9 Lieder und Gesänge, Op. 32 (with Score)
Composed: 1864
No. 1, 8 and 9: Christoph Prégardien and Ulrich Eisenlohr
No. 2, 3, 4 and 5: Janina Baechle and Markus Hadulla
No. 6: Julie Kaufmann and Donald Sulzen
No. 7: Lenneke Ruiten and Hans Adolfsen
00:00 1. Wie rafft ich mich auf in der Nacht (F minor)
04:04 2. Nicht mehr zu dir zu gehen (D minor)
07:27 3. Ich schleich umher betrubt und stumm (D minor)
09:06 4. Der Strom, der neben mir verrauschte (C-sharp minor)
10:31 5. Wehe, so willst du mich wieder (G minor, original B minor)
12:33 6. Du sprichst, daß ich mich täuschte (C minor)
15:01 7. Bitteres zu sagen denkst du (F major)
16:53 8. So stehn wir, ich und meine Weide (A-flat major)
18:43 9. Wie bist du, meine Königin (E-flat major)
This set of introspective songs was written at about the same time as the substantially different Magelone Romanzen, Opus 33. Only two of the songs are Lieder in the strictest sense, Numbers 3 and 5, both simple strophic settings. The rest are Gesänge, but remain in relatively simple modified strophic (the verses are varied) or A B A designs. Brahms preferred that these be performed as a set, as there is a small amount of motivic relationships in adjacent songs as well as a relatively high degree of tonal inconclusiveness at the end of most of the interior songs. Textually the songs can be grouped into three sets representing something of a psychological journey for the unspecified protagonist of the poems: 1-4, the laments over lost or unapproachable love; 5-6, the attempt to escape from the ties of sensual love; and 7-9, the beloved as an object of adoration. Overall this is a more serious and highly developed collection, musically, than any of the previous sets of songs. Perhaps as an indication of their intention as a cohesive set, Brahms did not provide individual titles.
1. [Untitled] in F minor. The march-like rhythm of the opening depicts the inexorable passage of time, while the accompanying triplets in the piano later represent the millstream. The song speaks of the singer's regretful squandering of time.
2. [Untitled] in D minor. This dirge-like song speaks of an unapproachable love. Its halting lines and frustrated rising scales illustrate the singer's thwarted passions.
3. [Untitled] in D minor. The descending line in the bass of the preceding song is echoed here in the accompaniment, where it represents the decay of autumn. This is one of two Lieder in this set, and as such is in a simple strophic form.
4. [Untitled] in C-sharp minor. Similar to Number one, this song uses the imagery of a stream as a metaphor for the passage of time and the loss of a love. Brahms once again uses triplet figuration in the piano to illustrate this.
5. [Untitled] in B minor. In this intensely emotional and stirring song the singer attempts to overcome feelings of lust and physical desire. This is illustrated effectively by fanfares and propulsive triplets in the piano.
6. [Untitled] in C minor. This song depicts the realization of a lost love. This is a logical aftermath of the previous song, not only in its poetic resignation, but in the quietly echoed diminished seventh chords borrowed from it.
7. [Untitled] in F major. Here, the lover's bitter words are interpreted by the singer to be meaningless in his idealized view. The mild and gentle setting illustrates his blithe disregard.
8. [Untitled] in A -flat major. Again, as in the previous song, a blithe acceptance of the lover's angry words is illustrated by the steady and rocking gait of the accompaniment.
9. [Untitled] in E-flat major. This is by far the most familiar song of the Opus. It is a seeming depiction of the actual realization of blissful union, but by a subtle twist of harmony near the end, Brahms presents an ironic reading: the consummation is an illusion.
(www.allmusic.com/composition/songs-9-for-voice-piano-op-32-mc0002371938)