Sechs Gesnge

Seis Cantos Johannes Brahms, Op. 3

Breves reseas
Brahms' output of vocal music is greater than that of his instrumental music. He published thirty-one volumes of solo Lieder (songs), six volumes of duets and five of quartets. His settings up to 1860 are either strophic (each verse the same) or varied strophic. With the publication of the Songs, Op. 32, in 1864 we find Brahms' first through-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 in Brahms' career. Although he set many poems by Goethe and two by Schiller,Brahms showed a predilection for the work of second-rate poets, usually choosing texts for their musical potential. All six of the Op. 3 songs date from 1853 except "In der Fremde," which was composed in 1852. The set was printed in 1854. Brahms revised "Liebe und Frhling I" in 1882, limiting his alterations to the re-voicing of a few chords and publishing the 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 as the best of Brahms' early songs, "Liebestreu" show the meticulous attention to detail typical of all Brahms' work. In E flat minor and with a plodding accompaniment, the song features a voice part that parallels the left hand of the piano 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 E flat major in the third verse. Both "Liebe und Frhling I" (Love and Spring I) and "Liebe und Frhling II" are poems by Hoffmann von Fallersleben and both are set in B major. Otherwise, the two are completely different textually and musically. The first, in which the narrator equates creeping vines and tendrils with the way thoughts of spring creep into his mind, is constructed of repeated phrases paralleled by the piano part, the first of which returns, at half tempo, to close the brief song. The second, the cry of a man who cannot experience spring without his sweetheart, is cast in ternary (ABA') form with a middle section on the dominant and a reprise of both music and text of section A. "Lied " (Song) is from Bodenstedt's poem, "Ivan," and is the wish of a heart-broken woman, 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 only slightly varied strophic song closes with a dramatic coda as the woman tells of her heart breaking from pain and sorrow. "In der Fremde" (In a Foreign Land) and "Lied" (Song) are by Joseph von Eichendorff (1788-1857). In the first, clouds rolling in from his former homeland remind the narrator that his parents have died and he no longer knows anyone there. He ponders the thought that soon he too will be laid to rest, and no one in his present home will know him any longer. Each verse becomes extended in this varied 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 a central section in the darker key of F major. "Lied," as is "In der Fremde," is the lament 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/composition/songs-6-for-voice-piano-op-3-mc0002371921 Along with the early piano pieces, Brahms also showed the Schumanns some of his earliest song settings for voice and piano. Many of these were published as the opus 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 music in Opp. 4-5. The Op. 3 set does not necessarily contain all of the earliest songs, but his choice of Liebestreu to introduce himself as a song composer was a wise move, 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 probably superior to Op. 3, however. The two Liebe und Frhling settings are subtly sophisticated, nearly on the level of Liebestreu, but the last three songs are not quite as good. No. 4, while exciting, seems to stretch its material a bit too far. In der Fremde, while an early example of Brahms's great proficiency in subtly altering musical details between mostly similar strophic stanzas, stands in the shadow of a great setting by Schumann of the same text. And No. 6 (along with No. 4, the only two 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) is perhaps a better song than most scholars give it credit, although its central section certainly contains one of the most unusual passages in the entire song output. All told, he would compose 196 songs in opus-numbered groups (this counts the song cycle Op. 33, the quasi-duets Op. 84, and the songs with viola Op. 91). These six are a very solid introduction to this body of his work, and Liebestreu at least is worthy of standing with the best of the later ones. Brahms produced a revised version of No. 2 in 1882 in which the vocal/piano doubling was altered in two places and climactic dissonances were made more mild.

Traducciones de los textos

Liebestreu Amor Verdadero Robert Reinick

Liebestreu, "O versenk versenk' dein Leid, mein Kind" (1853), es el primer lied del opus 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 y angustia de sta ante un amor que ha perdido. Plasma perfectamente el contraste de sentimientos entre ambas, el lenguaje de la madre es ms incisivo y autoritario mientras 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 Meeres Grund, 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 sie bricht, 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 im Wind,

Oh hunde, hunde tu pena, mi nia, en el mar, en el profundo mar! Una piedra descansa bien en el fondo del mar, mi pena, sin embargo, regresa siempre a la superficie. Y el amor que llevas en tu corazn, destryelo, destryelo, mi nia! Al igual que una flor no muere cuando alguien la arranca, el verdadero amor no perece rpido. Y tu fidelidad , tu fidelidad es slo una palabra chala al viento! Oh madre, que el viento rompa la roca, mi fidelidad, resistir bien su asalto.

meine Treue, die hlt ihn aus.

Liebe und Frhling I Amor y Primavera I Hoffmann v. Fallersleben

Wie sich Rebenranken schwingen In der linden Lfte Hauch, Wie sich weie Winden schlingen Luftig um den Rosenstrauch: Also schmiegen sich und ranken Frhlingsselig, still und mild, Meine Tag- und Nachtgedanken Um ein trautes, liebes Bild.

As como se balancean los sarmientos de la vid En el alivio de la suave brisa, As como los vientos blancos se enredan Ligeramente alrededor del rosal. As se acurrucan y entrelazan En 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 mir In diesen lichten Tagen. Ich will die Rosen nicht mehr sehn Nicht 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 t En esta clara tarde. Yo ya las rosas no mas ver No 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,

Ich will nicht mehr der Vgel Flug Und 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 hoch Nach Beute ein mchtiger Geier flog. Am Stromesrande im frischen Gras Eine junge weiflglige Taube sa; O verstecke dich, Tubchen, im grnen Wald! Sonst verschlingt dich der lsterne Geier bald! Eine Mwe hoch ber der Wolga fliegt, Und Beute sphend im Kreis sich wiegt. O halte dich, Fischlein, im Wasser versteckt, Da dich nicht die sphende Mwe entdeckt! Und steigst du hinauf, so steigt sie herab Und macht dich zur Beute und fhrt dich zum Grab. Ach, du grnende feuchte Erde du! Tu dich auf, leg mein strmisches Herz zur Ruh'! Blaues Himmelstuch mit der Sternlein Zier, O trockne vom Auge die Trne mir!

Al otro lado del campo, alto a travs del aire En busca de una presa un poderoso buitre vol. Por la orilla del ro en la hierba fresca Un joven paloma de alas blancas se sent; Oh, escndete, palomita, en el bosque verde! O el pjaro codicioso pronto te devorar! Una gaviota alto sobre el Volgai vuela, Y la presa de espionaje en crculos se sacude. O mantenerse ocultos en el agua, peces pequeos, As no sern descubiertos por el espionaje de la gaviota! Si suben a la superficie, entonces descender Y usted ser su presa y a la tmbalo llevar . Ah, la tierra verde y hmeda! brete, deja a mi atormentado corazn en silencio!

Hilf, Himmel, der armen, der duldenden Maid! Es bricht mir das Herz vor Weh und Leid!

Azul retazo de cielo tachonado de estrellas, O seca las lgrimas de mis ojos! Ayuda, Cielo, a estas pobres, estas tolerantes muchachas! Se me rompe el corazn por el dolor y la 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 stille Zeit, Da ruhe ich auch, und ber mir Rauscht 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 el da 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?

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 Gipfeln Meine 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 rboles Confusos 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 cumbres extranjeras, A mis miles de hogares!

El ro Volga es el ro ms grande y caudaloso de Europa.