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Sechs Gesnge
Seis Cantos
Johannes Brahms, Op. 3
Breves reseas
Brahms' output of vocal music is greater than that of his
instrumental music. Hepublished thirty-one volumes of solo Lieder
(songs), six volumes of duets and five ofquartets. His settings up
to 1860 are either strophic (each verse the same) or
variedstrophic. With the publication of the Songs, Op. 32, in 1864
we find Brahms' firstthrough-composed settings, in which each verse
is set differently. After 1877,through-composed songs nearly
disappear and strophic settings find new life.Varied strophic forms
appear at all points inBrahms' career. Although he set many
poems by Goethe and two by Schiller,Brahms showed a predilection
for the work ofsecond-rate poets, usually choosing texts for their
musical potential.All six of the Op. 3 songs date from 1853 except
"In der Fremde," which wascomposed in 1852. The set was printed in
1854. Brahms revised "Liebe und FrhlingI" in 1882, limiting his
alterations to the re-voicing of a few chords and publishingthe
result in 1883.Brahms introduced himself to the Schumanns in
Dsseldorf with the love-lament,"Liebestreu" (Faithful Love), a
setting of a poem by Robert Reinick. Often cited asthe best
ofBrahms' early songs, "Liebestreu" show the meticulous attention
todetail typical of allBrahms' work. In E flat minor and with a
ploddingaccompaniment, the song features a voice part that
parallels the left hand of thepiano part, usually a beat behind. At
"Ein Stein wohl bleibt auf das Meeres Grund"the voice and piano are
in unison. The varied strophic setting moves poignantly to Eflat
major in the third verse.Both "Liebe und Frhling I" (Love and
Spring I) and "Liebe und Frhling II" arepoems by Hoffmann von
Fallersleben and both are set in B major. Otherwise, thetwo are
completely different textually and musically. The first, in which
the narratorequates creeping vines and tendrils with the way
thoughts of spring creep into hismind, is constructed of repeated
phrases paralleled by the piano part, the first ofwhich returns, at
half tempo, to close the brief song. The second, the cry of a
manwho cannot experience spring without his sweetheart, is cast in
ternary (ABA') formwith a middle section on the dominant and a
reprise of both music and text ofsection A."Lied " (Song) is from
Bodenstedt's poem, "Ivan," and is the wish of a heart-brokenwoman,
who sees eagles and seagulls snatching and consuming their prey, to
be
similarly swallowed by the Earth to end her suffering. In E flat
minor, the onlyslightly varied strophic song closes with a dramatic
coda as the woman tells of herheart breaking from pain and
sorrow."In der Fremde" (In a Foreign Land) and "Lied" (Song) are by
Joseph vonEichendorff(1788-1857). In the first, clouds rolling in
from his former homelandremind the narrator that his parents have
died and he no longer knows anyonethere. He ponders the thought
that soon he too will be laid to rest, and no one in hispresent
home will know him any longer. Each verse becomes extended in
thisvaried strophic song, which moves from a vague F sharp minor to
major. Brahms set"Lied" in A major and in ternary form with a
modified reprise setting new text and acentral section in the
darker key of F major. "Lied," as is "In der Fremde," is thelament
of a displaced person. As he wanders through a valley he hears in
the birds
of the mountain greetings from his homeland.
http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/goethe-mn0001629190http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/schumann-mn0000692077http://www.allmusic.com/artist/robert-reinick-mn0001653733http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/hoffmann-von-fallersleben-mn0002173287http://www.allmusic.com/artist/bodenstedt-mn0002180878http://www.allmusic.com/artist/joseph-von-eichendorff-mn0002341039http://www.allmusic.com/artist/joseph-von-eichendorff-mn0002341039http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/goethe-mn0001629190http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/schumann-mn0000692077http://www.allmusic.com/artist/robert-reinick-mn0001653733http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/hoffmann-von-fallersleben-mn0002173287http://www.allmusic.com/artist/bodenstedt-mn0002180878http://www.allmusic.com/artist/joseph-von-eichendorff-mn0002341039http://www.allmusic.com/artist/joseph-von-eichendorff-mn0002341039http://www.allmusic.com/artist/brahms-mn0000796908http://www.allmusic.com/artist/brahms-mn0000796908
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http://www.allmusic.com/composition/songs-6-for-voice-piano-op-3-mc0002371921
Along with the early piano pieces, Brahms also showed the
Schumanns some of hisearliest song settings for voice and piano.
Many of these were published as theopus numbers 3, 6, and 7. Op. 3
was a natural choice for his first set of songs,following the two
piano sonatas and providing a contrast before more piano musicin
Opp. 4-5. The Op. 3 set does not necessarily contain all of the
earliest songs, buthis choice of Liebestreu to introduce himself as
a song composer was a wisemove, since it is in every respect an
excellent and highly effective dialogue song,possibly the best out
of the first three groups. As a complete set, Op. 6 is
probablysuperior to Op. 3, however. The two Liebe und Frhling
settings are subtlysophisticated, nearly on the level of
Liebestreu, but the last three songs are notquite as good. No. 4,
while exciting, seems to stretch its material a bit too far. Inder
Fremde, while an early example of Brahms's great proficiency in
subtly alteringmusical details between mostly similar strophic
stanzas, stands in the shadow of agreat setting by Schumann of the
same text. And No. 6 (along with No. 4, the onlytwo songs that
Brahms ever simply titled Lied, outside of those, usually
making
up a complete set, that have no titles and are typically known
by their first lines) isperhaps a better song than most scholars
give it credit, although its central sectioncertainly contains one
of the most unusual passages in the entire song output. Alltold, he
would compose 196 songs in opus-numbered groups (this counts the
songcycle Op. 33, the quasi-duets Op. 84, and the songs with viola
Op. 91). These sixare a very solid introduction to this body of his
work, and Liebestreu at least isworthy of standing with the best of
the later ones. Brahms produced a revisedversion of No. 2 in 1882
in which the vocal/piano doubling was altered in two placesand
climactic dissonances were made more mild.
http://www.allmusic.com/composition/songs-6-for-voice-piano-op-3-mc0002371921http://www.allmusic.com/composition/songs-6-for-voice-piano-op-3-mc0002371921
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Traducciones de los textos
Liebestreu
Amor Verdadero
Robert Reinick
Liebestreu, "O versenk versenk' dein Leid, mein Kind" (1853), es
el primer lied delopus 3 de Johannes Brahms (1933-1897). El primer
lied que public pero no el
primero que compuso. Est basado en un poema de Robert Reinick
(1805-1852),estructurado como un dilogo entre una madre y su hija,
trata de la desolacin yangustia de sta ante un amor que ha perdido.
Plasma perfectamente el contrastede sentimientos entre ambas, el
lenguaje de la madre es ms incisivo y autoritariomientras que el de
la muchacha es de un vuelo amplio y melanclico.
O versenk, o versenk dein Leid,mein Kind, in die See, in die
tiefe See!
Ein Stein wohl bleibt auf des MeeresGrund,mein Leid kommt stets
in die Hh.
Und die Lieb, die du im Herzen trgst,brich sie ab, brich sie ab,
mein Kind!
Ob die Blum auch stirbt, wenn man siebricht,
treue Lieb nicht so geschwind.
Und die Treu, und die Treu,s war nur ein Wort, in den Wind
damit
hinaus.
O Mutter und splittert der Fels auch imWind,
Oh hunde, hunde tu pena, mi nia, enel mar, en el profundo
mar!
Una piedra descansa bien en el fondodel mar, mi pena, sin
embargo, regresasiempre a la superficie.
Y el amor que llevas en tucorazn, destryelo, destryelo, mi
nia!Al igual que una flor no muere cuando
alguien la arranca, el verdadero amor noperece rpido.
Y tu fidelidad , tu fidelidad es slo unapalabra chala al
viento!
Oh madre, que el viento rompa la roca,mi fidelidad, resistir
bien su asalto.
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meine Treue, die hlt ihn aus.
Liebe und Frhling I
Amor y Primavera I
Hoffmann v. Fallersleben
Wie sich Rebenranken schwingenIn der linden Lfte Hauch,
Wie sich weie Winden schlingenLuftig um den Rosenstrauch:
Also schmiegen sich und rankenFrhlingsselig, still und mild,
Meine Tag- und Nachtgedanken
Um ein trautes, liebes Bild.
As como se balancean los sarmientosde la vid
En el alivio de la suave brisa,As como los vientos blancos se
enredan
Ligeramente alrededor del rosal.
As se acurrucan y entrelazanEn primavera, tranquilos y
suaves,
Mis das y pensamientos nocturnos,Alrededor de la querida, imagen
amada
Liebe und Frhling II
Amor y Primavera II
Hoffmann v. Fallersleben
Ich mu hinaus, ich mu zu dir,Ich mu es selbst dir sagen:
Du bist mein Frhling, du nur mirIn diesen lichten Tagen.
Ich will die Rosen nicht mehr sehnNicht mehr die grnen
Matten;
Ich will nicht mehr zu Walde gehn,Nach Duft und Klang und
Schatten.
Ich will nicht mehr der Lfte Zug,Nicht mehr der Wellen
Rauschen,
Tengo que salir, tengo que llegar a ti,Tengo que decirte a
ti
Tu eres mi Primavera, slo tEn esta clara tarde.
Yo ya las rosas no mas verNo ms el verde prado,
Yo ya no entrar al bosque,Por sus perfumes, sonidos y
sombras.
Yo ya no quiero ms el aire que sopla,No ms el ruido de las
olas,
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Ich will nicht mehr der Vgel FlugUnd ihrem Liede lauschen.
Ich will hinaus, ich will zu dir,Ich will es selbst dir
sagen:
Du bist mein Frhling, du nur mir
In diesen lichten Tagen.
Yo ya no quiero ms pjaros volando,Ni escuchar sus canciones.
Yo quiero salir, quiero llegar a ti,Yo quiero decirte a ti
Tu eres mi Primavera, slo t
En esta clara tarde.
Lied
Cancin
Texto extrado del poema Ivn de Bodenstedt
Weit ber das Feld durch die Lfte hochNach Beute ein mchtiger
Geier flog.
Am Stromesrande im frischen Gras
Eine junge weiflglige Taube sa;
O verstecke dich, Tubchen, im grnenWald!
Sonst verschlingt dich der lsterne Geierbald!
Eine Mwe hoch ber der Wolga fliegt,Und Beute sphend im Kreis
sich wiegt.
O halte dich, Fischlein, im Wasserversteckt,
Da dich nicht die sphende Mwe
entdeckt!
Und steigst du hinauf, so steigt sieherab
Und macht dich zur Beute und fhrt dichzum Grab.
Ach, du grnende feuchte Erde du!Tu dich auf, leg mein strmisches
Herz
zur Ruh'!
Blaues Himmelstuch mit der SternleinZier,
O trockne vom Auge die Trne mir!
Al otro lado del campo, alto a travs delaire
En busca de una presa un poderosobuitre vol.
Por la orilla del ro en la hierba frescaUn joven paloma de alas
blancas se
sent;
Oh, escndete, palomita, en el bosqueverde!
O el pjaro codicioso pronto tedevorar!
Una gaviota alto sobre el Volga i vuela,Y la presa de espionaje
en crculos se
sacude.
O mantenerse ocultos en el agua,peces pequeos,
As no sern descubiertos por elespionaje de la gaviota!
Si suben a la superficie, entoncesdescender
Y usted ser su presa y a la tmbalollevar .
Ah, la tierra verde y hmeda!brete, deja a mi atormentado
corazn
en silencio!
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Hilf, Himmel, der armen, der duldendenMaid!
Es bricht mir das Herz vor Weh undLeid!
Azul retazo de cielo tachonado deestrellas,
O seca las lgrimas de mis ojos!
Ayuda, Cielo, a estas pobres, estastolerantes muchachas!
Se me rompe el corazn por el dolor yla tristeza.
In der Fremde
En el extranjero/ Lejos de casa
J. Eichendorff
Aus der Heimat hinter den Blitzen rot
Da kommen die Wolken her,Aber Vater und Mutter sind lange tot,Es
kennt mich dort keiner mehr.
Wie bald, ach wie bald kommt die stilleZeit,
Da ruhe ich auch, und ber mirRauscht die schne
Waldeinsamkeit,
Und keiner kennt mich mehr hier.
Desde mi tierra, tras los resplandores
rojizos,vienen acercndose las nubes.Pero padre y madre llevan ya
tiempo
muertos,y nadie ms all me conoce.
Qu pronto, pero qu pronto llegar elda callado
en que tambin yo descanse,y sobre m se oiga el rumor
de la hermosa soledad del bosque,y nadie ms aqu me conozca.
Lied
Cancin
J. Eichendorff
Lindes Rauschen in den Wipfeln,Vglein, die ihr fernab
fliegt,
Bronnen von den stillen Gipfeln,
Sagt, wo meine Heimat liegt?
Dulce murmullo en la cima,Pjaros, que lejos vuelan
Manantiales de las silenciosas cumbres,
Dganme, dnde est mi patria?
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Heut im Traum sah ich sie wieder,Und von allen Bergen ging
Solches Gren zu mir nieder,Da ich an zu weinen fing.
Ach! hier auf den fremden Gipfeln:
Menschen, Quellen, Fels und Baum -[Wirres Rauschen in den
Wipfeln]*Alles ist mir wie ein Traum!
Muntre Vgel in den Wipfeln,Ihr Gesellen dort im Tal,
Grt mir von den fremden GipfelnMeine Heimat tausendmal!
Hoy en un sueo la vi de nuevo,Y de todas las montaas,
Tantos saludos venan hasta m,Que comenc a llorar.
Ay! Aqu en las cumbres extranjeras,
Personas, arroyos, rocas y rbolesConfusos murmullos en la
cima,Todo es como un sueo para m!
O pjaros en la cima,Hombres jvenes en el valle,
Lleven mis saludos desde estas cumbresextranjeras,
A mis miles de hogares!
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iEl ro Volga es el ro ms grande y caudaloso de Europa.
