BRAHMS MARIENLIEDER PDF

Folksong text. Con moto. Simple strophic form with varied final strophe. O Engel, wie mag ich das erleben, Ich habe mich noch keinem Manne ergeben In dieser weiten und breiten Welt.

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Folksong text. Con moto. Simple strophic form with varied final strophe. O Engel, wie mag ich das erleben, Ich habe mich noch keinem Manne ergeben In dieser weiten und breiten Welt.

English Translation [m. After one bar, the sopranos enter in near-contrary motion. It is then repeated in its entirety, with a pause indicated at the end. The voices sing strongly from the beginning, only diminishing a bit at the end of each statement. The voices sing line 2 to a more tension-filled four-bar phrase that moves to B-flat major and F major through the circle of fifths.

The basses, then the tenors, have prominent long-short rhythms. The last line shifts immediately back to E-flat and begins at a sudden quiet level. It is another five-bar phrase. The verse closes joyously with the sopranos soaring upward. In fact, the first stanza is the only one where these notes set two syllables. In most editions, new notes are printed for stanzas The music for these stanzas has more slurs, suggesting a smoother presentation than in stanzas 1 and 2. In this performance, it begins more quietly, perhaps to distinguish the words of Mary.

Also in stanzas , the penultimate measure has only one syllable on the first two beats in contrast to stanzas The basses enter with that word, this time a beat behind the altos and tenors since they lengthen that word , but still with the sopranos.

This makes the straight notes in the basses particularly effective in this verse. Here, the second line is two syllables shorter than in stanzas 3 or 4. Surprisingly, Brahms varies the last stanza.

With the voices together, there is an unexpected, brilliant, and dramatic shift to C major and a rapid swell in volume. There is then a radiant pause.

The latter is accomplished by a new minor-key harmony on the upbeat, after which the music is identical to the last lines of the other strophes. Marias Kirchgang Mary on her Way to Church.

Andante con moto. Simple strophic form with contrasting passage. German Text: Maria wollt zur Kirche gehn, da kam sie an den tiefen See. Als sie wohl an den See hinkam, der Schiffmann jung stand fertig da. Maria kniet auf einem Stein, dem Schiffmann sprang sein Herz entzwei. The sopranos are divided for the main strophic portion. The basses do not sing in this song except for the contrasting passage.

In the main musical strophe, the altos and tenors lead on an upbeat, again on horn fifth harmony, as in the first song. The divided sopranos enter two beats later. They lag behind the lower two parts until the end of the short strophe, when they catch up by singing four shorter notes. The beginning of the melody has the flavor of the Dorian mode, but the true minor is restored at the end. The final cadence arrives on a jarring and hollow open fifth.

The dynamic level is very soft, with a small swell and receding at the end. Music and declamation are as in strophe 1. Here, an extra repeated note is added midway through the strophe. Music and declamation are as in strophe 3.

Lines In a dramatic departure from the static motion of the five strophes, the contrasting passage is in the bright home major key. The tenors also use the same notes, leaping at different times and in different directions. There is some difference in declamation to accommodate the missing syllable in line 14 compared to line It is declaimed the same way as strophes 1 and 2. Simple strophic form with new music for the final stanza. German Text: so fern ins fremde Land, bis sie Gott den Herren fand.

Was trug er auf seinem Haupte? The music, like the first two songs, begins on an rising upbeat. It flows gently, but not without a sense of pathos. The first two lines vacillate between C minor and E-flat major. The first line arches in block harmony with internal motion, and the second line descends. The second line is then repeated with a longer upbeat on a rising, swelling line that seems to move to B-flat major.

Finally, after a strong emphasis on the second word, the last line descends again and diminishes, making a clear motion to a fourth key center, G minor, where it reaches a cadence albeit on a G-major chord.

The music is repeated. Stanzas 3 and 4 are given new notation in the score, primarily because their last lines are a syllable shorter, allowing for even greater emphasis on the second words of those lines.

In stanza 3, the second line is two syllables longer than in stanza 1 and one syllable longer than in stanza 2. In the third line, the emphasized second word is stretched to two notes in all parts, crossing the bar line.

In this verse and the next, the last line does not diminish, emphasizing the torture and the cross. In this stanza, the first line has an extra syllable for the only time. The final stanza, one line longer, is given completely new and contrasting music, emphasizing its stern and aphoristic nature.

It shifts to a mixed compound meter. The soprano part is the same in both lines, but there is some variation in the lower parts, both through exchange of notes in the middle parts and a higher octave in the basses. There is a clear, strong return to C minor, confirming it as the home key. This line makes a strong move to the home major key C major which as yet has been unheard. Here, the major key continues, but on the last syllable, the middle voices alto and tenor trail on a moving line that mixes major- and minor-key notes.

The last chord is a major chord with the basses splitting into two notes an octave apart. Allegro, ma non troppo. Combination of strophic and ternary forms. Like the previous three songs, it begins with an upbeat on a rising gesture. The purely harmonized first line pair establishes the joyous, almost lusty mood.

The second line pair is more hesitant and adds some chromatic notes. After the repeated name, the melody descends to a cadence. It is set to the same music as stanza 1. The central section in C major is highly evocative of the hunting horn. The arching third line briefly moves to F major and slightly builds. This completion happens as the women sing line 4 and move back to C major for the cadence, in which the men participate.

Since this line is now the first rather than the third line of the stanza, there is more conflicting text between the parts than there was in stanza 3. As the men had before, the women complete the line as the men move to the C-major cadence on line 4. At the very end, there is some voice exchange as the sopranos move to the trailing former alto part, and the altos to the former tenor part.

The tenors stay on the melody and the basses return to their original final note. The sopranos and altos sing their original parts from stanza 3. Note the text repetition from the end of stanza 4.

The opening of the verse is much louder than the previous two, but the arching third line is suddenly quiet before building slightly. The trailing parts at the end heard from altos and tenors in stanza 3 and sopranos and altos in stanza 4 are omitted, creating a solid cadence in C major.

A Section--Stanzas , G major [m. In an abrupt motion back to G major, the original strophe returns for stanza 6. The declamation of the first two lines is as in stanza 1. The third and fourth lines are similar to stanza 2 in declamation until the end. The declamation of the first line pair is as in stanza 2. Line 3 is as in stanza 1. This performance slows at the end. Ruf zur Maria Cry to Mary. Poco Adagio.

Strophic form with varied last strophe. This song begins with an upbeat, as all the previous four songs had done. The third line is similar to the first, but at the beginning the alto and bass parts are exchanged.

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Marienlieder (7) for chorus, Op. 22

Samunos Contents 1 Performances 1. Jazz Latin New Age. Marias Wallfahrt [ sung text checked 1 time ] Language: Brahms seems to look back the medieval compositional techniques in his placement of the main melody in the alto, with the soprano providing accompaniment above. Thus, we find numerous imitative passages and strict canons in his a cappella choral works. Brahms wrote little music for chorus until he took up his first official position at Detmold, where part of his duties included conducting the choral society.

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BRAHMS MARIENLIEDER PDF

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