Neue Liebeslieder

Neue Liebeslieder, Op. 65 (New Love Songs), also known as Neue Liebesliederwalzer, written by Johannes Brahms, is a collection of Romantic pieces written for four solo voices and four hands on the piano. The Neue Liebeslieder were written during the Romantic period between 1869 and 1874. The text of the songs is adapted from folk songs of various areas of Europe including Turkey, Poland, Latvia, and Sicily. The text for songs 1 through 14 were translated and compiled by Georg Friedrich Daumer in his poem series, Polydora; the text for the fifteenth and final song, entitled Zum Schluß (In Conclusion), was written by Johann Wolfgang von Goethe.

The Neue Liebeslieder were written following the success of the popular Liebeslieder Walzer, Op. 52.

Musical aspects

The Neue Liebeslieder differs from the conventional Liebeslieder in the fact that the ensemble sections of the work are separated by two solo songs for the individual members of the quartet. Although this piece was originally written for a quartet, the Neue Liebeslieder is often performed by a larger chamber ensemble and soloists.

The better known and more liked portion of this fifteen song cycle are the seven quartets. Throughout these ensemble sections, Brahms uses innovative techniques to portray a central idea. For example, in the first song, measures 16–21, he depicts the rocky shores by the repeated cry of "zertrümmert", which, translated into English, means "wrecked". Brahms also enhances the text "Well auf Well" (wave after wave) with octave leaps in all four parts in measure 4 and 29. In song number 8, Brahms's use of the musical rest in the middle of the words mixed with the chorus singing dolce helps to create a gentle atmosphere.

The eight solo sections of the Neue Liebeslieder differ from the ensemble parts in that the soloists illustrate different characters who behave in certain ways when it comes to love. The soprano is a female who continuously has no luck when it comes to men; the alto is depicted as a female who has suddenly abandoned her lover; the tenor is portrayed as a male who is selfish and irresponsible when it comes to sexual relationships with women; and the bass is one who is hopelessly in love with his married lover.

The final song in this cycle, Zum Schluß, moves away from the subject of lovers and puts the spotlight on the muses and thanks them for inspiring not only the author (Goethe), but also all of the artists in the world. With this change in subject comes the change in meter. While Brahms changes the standard 3/4 meter to 9/4, the 9 beats are grouped into three groups of 3; thus, it is waltz within a waltz. In addition, Zum Schluß has a Baroque influence in two respects: the music is much more contrapuntal than the previous songs in this cycle, and the song is actually a passacaglia, with the theme (F-C-Bb-A-D-C) running throughout the outer sections. At the climax of this song in measure 16, the piano drops out and the choir sings a cappella and moves from the dominant key back to the tonic key of F. J. A. Fuller Maitland, in Grove's Dictionary, wrote:

One of the most beautiful of all the quartets not in waltz-rhythm, is the epilogue to the second set of ‘Neue Liebeslieder’, a true lyric for four voices, with a gentler style of accompaniment than is provided for the rest. (Maitland 1904, 390)

It is self-evident that Zum Schluß, whose text and music are in stark contrast to all of the other waltzes in both Op. 52 and Op. 65, is a personal statement by Brahms,[1] who throughout the troubled relationships in his life (sich Jammer und Glück wechseln in liebender Brust) found solace in music (Linderung kommt einzig, ihr [Musen], von euch).[2]

See also

References

  1. ↑ Swafford, Jan, 1999. Johannes Brahms: A Biography.
  2. ↑ Swafford, Jan, 1999. Johannes Brahms: A Biography.

Further reading

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