Brahms 5 Poems Op.19 No.5 19-5 An eine Äolsharfe 布拉姆斯 詩歌 作品19 ブラームス 歌曲 Score Sheet 譜 乐谱 楽譜付き 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Brahms 5 Poems Op.19
No.5 19-5 An eine Äolsharfe. Poco lento
布拉姆斯 5首 詩歌 作品19
布拉姆斯 5首 诗歌 作品19
Brahms Cinco poemas para voz y piano
ブラームス 5つの 歌曲
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Brahms #Poems #布拉姆斯

No.1 19-1 Der Kuss. Poco adagio
No.2 19-2 Scheiden und Meiden. Nicht zu langsam und mit starkem Ausdruck
No.3 19-3 In der Ferne. L'istesso tempo
No.4 19-4 Der Schmied. Allegro
No.5 19-5 An eine Äolsharfe. Poco lento

This set is the only instance of Brahms not using either of the words “Lieder” or “Gesänge” (essentially synonyms) in the heading to a set of solo songs. The word “Gedichte” means “poems,” and it seems to be used here as a pointed contrast to the folk text settings of Op. 14, since the texts here are all by German romantic poets. Ironically, some elements of folk song remain in the set, particularly in Nos. 2 and 4, songs of unusual brevity that both set poems by Ludwig Uhland, who coincidentally was known for his folksong collection. These two songs, with their memorable melodies, are among Brahms’s most popular for both amateur and professional singers. The onomatopoeic effects in the piano part of No. 4, which marvelously portray the sparks of the blacksmith’s anvil, combine with the widely leaping vocal melody to create a 50-second masterpiece. No. 3 is also by Uhland. While musically related to No. 2, even beginning as if it were a new stanza of that song, it is more substantial and formally complex. The poems are consecutive in the collection in which they appear. Framing the trio of Uhland songs are two that are harbingers of the style seen in the “first maturity.” The opening song sets a text by Hölty, the eighteenth-century poet whose texts were the basis for several great songs in the Op. 40s from around 1868. Though the version Brahms set is an adaptation, it retained Hölty’s asclepiadic ode form. This same meter is found in Brahms’s finest Hölty setting, “Die Mainacht” (Op. 43, No. 2), and the musical language foreshadows that of the later settings of the poet. Brahms established his most important precedents in the final song of the opus. The long, through-composed setting of blank verse, complete with passages of recitative, is completely unlike any of the other early songs, and effectively places a closing bookend on the solo Lieder of the first compositional period. Its unusual nature may also be behind the distinctive titular designation of the opus as a whole. In several later sets, Brahms would include a final song that was much larger and more substantial than those preceding it in the group, and this is the first clear example of the practice. Mörike, one of the great German lyricists, wrote the poem in memory of his deceased younger brother.