Lars Rosager

04/27/11

Research and Analyze Johannes Brahms’s Opus 33

“No one has ever regretted mounting his steed to dash through the world in his

lively youthful days.”1 These words, the opening text to Brahms’s first and last song

cycle (Opus 33) represent typical Romantic sentiment and philosophy. No longer were

artists confining themselves to the classical forms and rigidly enforced rules by which

creativity was expected to take place in years past. Artists of the Romantic era existed as

masters of a new mindset, a fresh and exciting worldview that pitted humans against their

surroundings and the great beyond. Europe’s inspiration had changed, making the arts

more accessible to the middle class. No longer was nobility the primary source of

patronage, though some nobles continued to be central in composers’ lives. Part of the

new generation of European composers’ goal was to express music’s shift from elitist to

popular mentality, from universal and philosophical to personal and emotional.2

The full title of Brahms’s Opus 33 is “Romanzen aus L. Tiecks Magelone”

(“Romances from L. Tieck’s Magelone”)3. The work, dedicated to Julius Stockhausen

and written specifically for his voice, took Brahms over seven years to complete after

much turmoil and frustration. The first four songs were completed, at least in preliminary

form, by summer 1861 just in time to be discovered by the unexpecting Lischen

1 Eusebius Mandyczewski, ed. and Stanley Appelbaum, trans., Johannes Brahms: Complete Songs for Solo Voice and Piano (Series I) (New York: Dover Publications, Inc., 1979), xvii.2 Jan Swafford, Johannes Brahms a Biography (New York: Vintage Books, 1997), 36-40.3 Mandyczewski, ed. and Stanley Appelbaum, trans., Johannes Brahms: Complete Songs…, 107.

Giesemann.4 Giesemann, a friend and piano student of Brahms from his younger days in

Winsen, was the perfect person to find the new works – she and Brahms shared a strong

appreciation for the cycle’s literary model, “Love Story of the Beautiful Magelone and

Count Peter of Provence” by the great German Romantic author Ludwig Tieck (1773-

1853). Tieck, though he was not widely revered by his peers nor generally proud of

himself for his original compositions, contributed incredible works to the German

Romantic literary tradition, a movement which, like musical Romanticism, boasted a

renewed focus on medieval art, fairy tales and folk tradition.5 One could imagine how

setting popular authors’ texts in songs could put music at the fingertips of a society

evolving toward consumerism. Many working professionals were known to be capable

amateur musicians who often attended concerts or played and sang at home.

The genre of Tieck’s tale is important in examining the effect it had on Brahms as

a young man and, later, as a maturing composer. It is a romance, a medieval narration

style that provided the title for the Romanic movement itself. The story is actually a

modernization of the medieval style. Tieck expands the older form with fantastic

settings, other worldly events and characters that might only exist in folklore and fairy

tales. Such an approach to older literary tradition has its parallels in music, especially

Brahms.2 At a time when new music by living composers was premiered and critiqued in

periodicals as a mainstay in cultured life, Brahms often concerned himself with musical

masters of the past. Conducting positions he held were put to good use. He tended to

4 Swafford, Johannes Brahms…, 222.5 “Ludwig Tieck, German Romantic Writer (1773-1853),” Encyclopaedia Britannica, accessed April 3, 2011, http://www.1902encyclopedia.com/T/TIE/ludwig-tieck.html.2

perform works from the Baroque67 and Renaissance8, historical periods which were

strong influences on his own compositions.9

“Schöne Magelone” takes place in Europe (Provence [Peter of Provence] is a

region in France). The story is built on fantasy and imagination. The work is actually a

mixture of poetry and prose. Brahms’s texts are taken from 15 of the 18 poems Tieck

wrote as interludes to sections of prose. He did not set the introductory, antipenultimate,

nor penultimate poem as they would have impeded the cycle’s progression and

momentum.10 A brief synopsis of the text:

The young knight Peter is full of unformulated dreams until a wandering minstrel sings No. 1 [“Keinen hat es noch gereut” see page four for analysis]. Then Peter asks his parents to let him travel in search of adventure. His mother gives him three rings for his future bride. On leaving home, Peter sings No. 2, described as an “old song.” In Naples, he and Magelone, the king’s daughter, fall in love at a distance as he wins tourneys in cognito. In his ardor he sings No. 3. He sends Magelone two of the rings, one with No. 4 and one with No. 5 in the form of written poems. Finally granted a personal meeting, he sings No. 6. At the tryst he presents the third ring and vows eternal fidelity; they kiss. Back in his lodging, he sings No. 7. Threatened with an unwanted bridegroom, Magelone asks Peter to run off with her to his homeland. Before meeting her he sings No. 8. In the course of their escape, they rest in a forest and he sings No. 9. A raven flies off with the three rings while Magelone sleeps and, trying to recover them when they fall into the sea, Peter is blown far from shore in a small boat; he sings No. 10. Magelone rides on sadly and goes to live in the hut of an old shepherd and his wife; she sings No. 11. Peter is found by Moors, who sell him to the Sultan; he sings No. 12. After nearly two years, Sulima, the Sultan’s daughter, asks him to run away with her and he agrees, merely on the chance of reaching home again. Repenting, he sets out alone in a small boat as Sulima sings No. 13 in the distance. As his voyage gets under way, he sings No. 14. Eventually, fishermen lead him to the shepherd’s hut, where he discovers Magelone. Back in Provence,

6 Walter Niemann, trans. Catherine Alison Phillips, Brahms (New York: Tudor Publishing Company 1945), 86-90.7 Karl Geiringer, Brahms His Life and Work (London: Unwin Brothers Unlimited 1936), 112.8 Swafford, Johannes Brahms…, 277.9 Daniel Beller-McKenna, Brahms and the German Spirit (Harvard 2004), 1-4.10 Mandyczewski, ed. and Appelbaum, trans., Johannes Brahms Complete Songs…, xvii.

the three rings have been found by the royal cook in a fish’s stomach. On every anniversary of their reunion, Peter and Magelone sing No. 15.11

Thus, the connection between the 15 songs is clear. They depict a cornerstone in

literature, one that Brahms had read as a teenager. “Read” is an understatement. Brahms

lived stories like this. As an aspiring composer, such works were his sustenance, his life

force.12 They made him wonder and dream, gave him inspiration beyond measure. For

the rest of his life, Brahms would continue to develop literary knowledge he began during

his youth.13

The song cycle was becoming an established form in composition shortly before

Johannes Brahms. The 19th century saw the development of the lied as a mainstay in

German compositional technique and, as a result, groups of lieder with unifying

characteristics became known as song cycles:

Song cycle (Ger.: Liederzyklus). A group of songs with a common theme, usually setting a single poet. The music may have coherence of key or form and be attached to a narrative, or may more generally serve to express a unifying mood or theme. In the latter case, the German term sometimes used is Liederkreis, though the distinction between the two is not clear-cut. There are antecedents in various national traditions, but the song cycle came to maturity with 19th-century German *lied.14

Though accompanied settings for solo voice can be traced back as far as the Middle

Ages, the notion of the song cycle began with Beethoven’s “An die ferne Geliebte” (To

the Distant Beloved).15

11 Mandyczewski, ed., Appelbaum, trans., Johannes Brahms Complete Songs…, xvii.12 Swafford, Johannes Brahms…, 36-45.13 Niemann, Brahms, 9-18.14 Alison Latham, Oxford Dictionary of Musical Terms (Oxford 2004), 173.15 J. Peter Burkholder, Donald J. Grout, Claude V. Palisca, A History of Western Music Seventh Edition (New York: W.W. Norton & Company, Inc. 2006), 587.

Now, Brahms does not follow the traditional idea of the song cycle according to

Beethoven’s consecrating work. Whereas “An die ferne Geliebten” is meant to be

performed as one coherent piece of music without pauses or separations16, individual

Magelone romances, Brahms believed, could be extracted and heard one by one or in

small groupings. “In the case of the Magelone romances one does not need many at one

go, and should not pay any attention to the narrative…. It was only a touch of German

thoroughness which led me to compose them through to the last number.”17

Not only the performance practice and arrangement of these two sets of songs set

them apart. In studying the texts of the music, one will find two very different schools of

thought. Though neither Beethoven nor Brahms wrote the texts themselves, the personal

connection each held to the words was strong. In the case of Beethoven, the text for his

song cycle was written specially for the occasion of his composition. There is much

speculation as to who the actual person could have been that inspired the music. One

theory is that Beethoven’s friend’s (Franz Brentano) wife inspired the longing for a

distant loved one, as the title describes. Many say that the impossible affair with Antonie

Brentano was Beethoven’s one true love that would never cease to haunt the emotional

and romantic sides of his existence.18 Therefore, this late work of Beethoven’s sets the

stage for Romantic sentimentality and intimacy as well as musical style. Unlike classical

era lieder, Beethoven’s new approach welcomed a more involved and florid style of

accompaniment. This new technique was influential for great lieder composers of the

Romantic era. Another groundbreaking aspect of “An die ferne Geliebte” is through

16 “Beethoven Analysis: Geert Wolter,” Geert Woltjer, accessed April 15th, 2011, last updated March 23rd, 2006, http://geertwoltjer.nl/BeethovenAnalysis/Beethoven0a.htm.17 Swafford, Johannes Brahms…, 348.18 “Beethoven Analysis: Geert Wolter,” Geert Woltjer, accessed April 15th, 2011, last updated March 23rd, 2006, http://geertwoltjer.nl/BeethovenAnalysis/Beethoven0a.htm.

composed style. The musical form does not rely on repeated sections for the most part.

The structure is built by thematic similarity between songs and piano interludes, but new

musical ideas conform to the text. Contrasting moods of despair and joyful acceptance

are illustrated beautifully over the course of the song cycle, sometimes juxtaposed within

the same song. Beethoven presents a version of the cycle’s opening material to close.19

Brahms exhibits a unique attitude toward the genre of the song cycle. Tieck’s

texts are used in an original way, and to think Brahms has said that one should not even

pay attention to them! The actual literary model is a German Romantic cultural

cornerstone, and Brahms also has been remembered as such. The work effectively

conveys Tieck’s story through Brahms’s incomplete usage of the text due to the

popularity of the literature. It was assumed that audiences would be more or less familiar

with Schöne Magelone if not through Tieck himself, then by way of the older folk version

of the story. In modern times, the folktale is not so commonplace, hence the inclusion of

an explanatory synopsis of the plot or maybe Tieck’s version word for word.20 Adding

narratives was a debatable issue between Brahms and his peers.21 The fact that Brahms

uses only fragments of the complete literature is a testament to his artistry. Known for

his tendency to insinuate moods and musical codes, Brahms hardly ever offered a work

that was not left open for interpretation by the listener, reader or musician.

“I always write only half-sentences, and the reader himself must supply the other

half,” 22 Brahms wrote in a letter to Clara Schumann. He refers here to the writing of

19 “Ludwig van Beethoven ‘An die ferne Geliebte’ (song cycle), Op. 98,” Classical Archives, accessed April 15th, 2011, last updated April 15th, 2011, http://Classicalarchives.com/work/49653.html#tvf=tracks&tv=about.20 Geiringer, Brahms…, 277.21 Swafford, Johannes Brahms…, 346.22 Swafford, Johannes Brahms…, 375.

words, but it is also true of his musical compositions. Many of Brahms’s vocal works are

not particularly extroverted, though powerful emotions and true feeling can be obvious to

the listener. One feels the grandiose and operatic mood of the opening song from the set

of fifteen, but the incomplete text may leave something to be desired. The text is

depicted as effectively in overall musical style as it could be with smaller scale word

painting and musically symbolic cells. Each poetic stanza is illustrated beautifully as

vocal phrases alternate with accompaniment alone. Accordingly, the pianist will have

little time to rest without a single non-terminal fermata or extended pause. A constant

stream of music from the piano was nothing innovative, but the technically demanding

piano part integrates the accompanist’s role with the soloist’s.23 Compared to many other

songs by Brahms, the Magelone romances are quite involved pianistically. Perhaps the

implied separation of the songs will make up for the essentially constant accompaniment.

In fact, this persistent musical density can be viewed as a unifying characteristic

present in all fifteen romances. Considering Brahms’s thoughts on Opus 33 as well as the

opinions of many music critics, one will have to look hard for unity from song to song.

One of the connecting elements is the variety itself. The songs’ contrasts to other Brahms

lieder can strengthen the argument for calling them a song cycle. Jan Swafford calls

them, “lush, expansive, passionate…almost operatic.”24 Eric Sams reports a valuable

insight into Brahms’s inspiration for the work, “The Schubert Ballad, which builds a

coherent musical structure from successive episodes of poetic action or description.”25

With all literature, but especially poetry, the reader’s interpretation is necessary to

attribute real meaning to what the author has created. Consciously or not, Brahms has

23 Eric Sams, The Songs of Johannes Brahms (Great Britain: Biddles, Ltd., 2000), 90.24 Swafford, Johannes Brahms…, 348.25 Sams, The Songs…, 92.

extended Tieck’s original concept of the Magelone story faithfully to the original

intention: to portray the adventures of an individual, but to shape the story as an offering

to people of all nations and classes in search of not only art but also morality and ethics.

The somewhat ambiguous, vague nature of the Magelone songs allows for universality

through originality of interpretation.26

Musical analysis will make the discussion more clear. Formal and structural

breakdown as well as a more minute study of rhythms, motives and word painting can

provide a better basis on which one may get to know the first song from Opus 33,

“Keinen hat es noch gereut”. It begins in Eb Major. The prelude imitates a horn by

alternating between Eb-G thirds and sixths and F#-B fifths and fourths. Imagine a

hunting call, or the epic hero’s call to action. It soon gives way to the galloping rhythm

of a horse (See figure 1* of the score). Being an allegro in a triple meter (fig. 1*), the

song is bound to nicely portray the adventurous, grandiose and triumphant text:

No one has ever regretted mounting his steed to dash through the world in his

lively youthful days. Mountains and meadows, lonely forest, maidens and ladies splendid

in dress, golden jewelry – everything delights him with its beautiful form. Forms flee

miraculously by, desires glow dreamily in his dazzled young mind, in his dazzled young

mind. Fame swiftly strews roses in his path, love and caresses; laurels and roses lead

him upward, lead him higher and higher upward. Round about him, joys, joys;

succumbing, his enemies envy the hero, succumbing, envy the hero; then modestly he

chooses the young woman who alone pleases him above all others. And he wends his

way back over mountains and fields and through lonely forests. His parents in tears, ah,

26 Sams, The Songs…, 90-92.

all their longing – they are all united in charming happiness. After years have slipped

by, he relates his adventures to his son in confidential moments, and shows him his

wounds, the reward of bravery, of bravery. Thus even his old age remains young, even

his old age, a beam of light, a beam of light in the dusk, a beam of light in the dusk.27

The short piano introduction is indicative of the piece’s overall compositional

style. In the left hand, the alternating half-note/quarter-note motive of the first theme is

expanded under the right hand’s preparation of the primary vocal material

(half-note/quarter-note). In the voice, augmented notes are placed strategically on

suitable words. In fact, during the entirety of the first exposition of thematic material

involving the half-note/quarter-note motive, only nouns are placed on notes longer than

two beats with the exception of “Jugend” (“youth”). “Keinen” (“nobody”), Roß (“steed”)

and “Welt” (“world”) are all sung on long notes. Moreover, they happen on the highest

pitch occurring between rests. Arguably, there are three different phrases for the three

accented nouns, but it is logical to say that the first two long notes happen in the same

single phrase (see fig 2*). The text’s first complete idea can help demarcate the first

musical phrase.

During the first vocal entrance, the piano has music unlike any other measure in

the first song. Op. 33 has been considered a Brahmsian experiment in opera, so one

could detect a recitative style during the first vocal phrase. For the remainder, there is a

much more dialogical effect between the voice and piano. Suffice it to say that the music

undergoes blending and building not only between piano and voice, but also between

different melodic moods and rhythmic cells. There are two motivic devices Brahms uses

27 Mandyczewski, ed., Appelbaum, trans., Johannes Brahms Complete Songs…, xvii.

for constructing the vocal melody: a half-note/quarter-note rhythm and a

dotted-quarter/eighth/quarter rhythm. As the first vocal phrase comes to a close at

measure fourteen, the piano introduces the second rhythmic cell in the right hand, though

it soon switches to the left. This galloping rhythm is pertinent to the text’s reference to

the mounting of a steed dashing through the world, but here the way in which Brahms

employs the two motives together and separately is characteristic of his regular use of

developing variation, a term coined by Arnold Schoenberg.28

Brahms was committed to traditional forms and musical discipline such as

counterpoint and voice leading. However, he was a groundbreaking composer in terms

of his ability to create more expansive arrangements of musical ideas. Often, his pieces

show a blending of formal elements or innovative extensions of phrases and motives.

The first Magelone song is no exception. Instead of finding an easily traceable form,

much of the song poses more questions than answers. Is the cadence at measure fourteen

a half cadence or a modulation to Bb Major? There is transitional material with less clear

key centers after this point, though Eb Major can still be implied at measure seventeen.

The best approach is to distinguish themes in the voice and examine the harmony to

discover if the material is expository, transitory, developmental or terminative.

The overall structure of the vocal melody, according to which of the two rhythmic

cells pervades, is ABA. Nevertheless, to analyze the form of this composition with

something as simple as ABA is not sufficient. There are elements of various structures

including compound form, through composition and aria. After the first expository

section involving the first rhythmic motive (half-note/quarter-note), the previous pattern

28 Swafford, Johannes Brahms…, 94.

in the accompaniment appears in the voice (4*). This dotted-quarter/eigth/quarter idea is

developed with an imbedded ABA form.

Here, the compound aspect of the overall ABA motivic organization takes shape.

The B of the overall form is actually divided into its own ABA form. Following the

imbedded rounded binary section (an ABA development of the dotted-

quarter/eighth/quarter motive) there is a developmental section on the first rhythmic

motive (half/quarter). By now one begins to notice Brahms’s new use of traditional

technique. If at first glance the song seemed sporadic and scattered, the formal structure

now becomes more apparent.

Brahms’s organization of musical phrasing is interesting. Expanding on the idea

of Magelone’s operatic nature, the late eighteenth century form of the grand aria appears

with the usual Brahmsian Romantic makeover found in many of his keyboard and

instrumental works. The order of a grand aria: recitative, arioso, cavatina, cabaletta; now,

depending on the composer, time period, and geopolitical region, this form’s order may

be altered.29 However, the da capo (ABA) factor usually remained intact.

Here is how grand aria pertains to “Keinen hat es noch geruet”: mm. 1-14

recitative, mm. 15-41 arioso, mm. 42-101 cabaletta [notice this differs from the

classically established grand aria structure. Brahms places the faster, more spirited aria

first. Also, there is no official change of tempo to separate the double aria. However, the

accompaniment gradually leaves the galloping figure behind, evolving into a more

subdued, lyrical style a la classical cavatina.], mm. 102-120 arioso [again breaking with

the more classically established form, Brahms interjects with a transitory section blending

29 Don Michael Randel, The Harvard Dictionary of Music Fourth Edition (Cambridge, Mass.: President and Fellows of Harvard College: 2003), 54-55.

the two primary rhythmic motives. There was a similar practice in nineteenth century

Italian opera called Tempo de mezzo in which other characters or the chorus would enter

into the scene to alter the mood.29 Brahms also blends the galloping, adventurous

character with what is to come, a softer, lyrically arpeggiated accompaniment and a vocal

part built from augmented rhythms that give rise to more melodious, liberated phrases.],

mm. 121-242 cavatina [the A section is drastically smaller than the B if one considers the

accompaniment a defining factor of the sections. In fact the return of the original

material occurs in the accompaniment as the vocal part comes to close before the short

postlude. Brahms’s alternative to strict da capo form is to develop the A section’s

rhythmic and melodic material, creating an extended developmental section. While this

example of cavatina is not clearly ABA, it does exemplifiy Brahms’s tendency to blur

formal boundaries and blend sections into each other. Similar practices are found in his

Symphony No. 3.], mm. 243-258 postlude [reiteration of opening material].

Following the second arioso section, there is a new accompaniment. Having

modulated during the arioso’s development to G Minor, the voice enters in G Major and

moves into Eb Major with the same melody from a different scale degree (5*). Still in Eb

Major, an elaborate vocal melody is stated over yet another accompaniment style (this

can be seen as the move from A to B in what would traditionally be the second aria). The

melody showcases many major-minor shifts and elaborate modulations until the end of

the piece, which ends in Eb Major. The last sixty measures of the song indicate it has

truly been transformed since the beginning. This harmonic journey is owed in large part

to the text. By the end of the poem, the adventurous hero is old but still young at heart.

He tells his story to his son and shows his battle scars. Now, once the lyrical

2

transformation has ended, the postlude plays the two primary motives at a tempo (6*).

The return of the first motives represent the triumph of the story’s hero and his

everlasting youth. During the travels of the young man, the music illustrates the vast

countryside and fascinating encounters with friends and foes. The music between the

compounded ABA section of the second motive (cabaletta) and the piano postlude

resembles a very long and involved development section. The harmony staggers from

major to minor around many keys for nearly half of the song. Cells grow and fuse into

new accompaniments and lyrical textures. Modulations take place frequently during the

last half of the song, at times surprising the ear with the distant relationships: Bb Major

(7*), G minor (8*), G Major (5*), Eb Major (9*), Eb minor (10*), Eb Major (11*), F

minor (12*). These key centers are exemplary of Brahmsian approach to tonality. Even

if not every aforementioned key center is stable for very long, it is safe to say that in

general, a more emancipated treatment of key centers and their relationship was

happening with Brahms. Whereas one might expect more consistency in just one song,

Brahms offers an array of matices that makes the Magelone romances, and “Keinen hat

es noch gereut” in particular stand out as one of his unique works.

Brahms does not follow the trend of a more involved accompaniment. In fact, the

voice is still the center of attention in his songs, a quality derived from Schubert.30 It was

Schumann who promoted the piano’s role in songs during the Romantic period. He was

known for composing long preludes, interludes and postludes, trying to equalize the

genre of song: giving the same amount of creative influence to poet, composer, vocalist

and pianist.31

30 Burkholder, Grout, Palisca, A History of Western…, 723.31 Burkholder, Grout, Palisca, A History of Western…, 611.

For Brahms, everything new was suspect. Though he is credited with being an

innovator of the highest stature, he was eternally conservative. Most of his songs are

serious, but Brahms’s expansive melodic writing stands out as a defining element. The

texts tend toward an emotional realm of much love and intensity, but just as much loss

and suffering.32

Curiously, the Magelone romances were not really a huge success.33 They were

performed and published, but there was no definite consensus regarding standardizing the

song cycle. Some suggested a narrative of Tieck’s prose between songs. The unity of the

songs was slow to manifest. Musically, there is a thread to be followed throughout the

fifteen songs. The work begins and ends in Eb Major. Most key changes between songs

move by third or fifth, and, if not for the terminal double bar lines separating each song,

the music could be connected fluidly. The descending Eb Major arpeggio with which the

voice enters in the first song has been traced in other songs.34

To some, Brahms completed the project as a way to test the operatic waters35, an

experiment into which he had delved with his one cantata, Rinaldo (Op.50). Both pieces

are set to texts about medieval legends, and, pondering the daunting endeavor of

composing an opera, Brahms had several similar pieces of literature in mind. Brahms

hinted at the dramatic nature of the music, “Aren’t the Magelone romances, after all, a

kind of theater?”36

32 Niemann, Brahms, 349-355.33 Swafford, Johannes Brahms…, 347.34 Haddon Craftsmen, Inc., ed. Leon Botstein, The Compleat Brahms (New York: 1999), 225-229.35 Swafford, Johannes Brahms…, 348.36 Haddon Craftsmen, Inc., The Compleat…, 225-229.

The song cycle is relatively obscure. It certainly contradicts some defining

elements of the traditional Liederzyklus, and does not clearly relate to Brahms’s other

more popular song sets in terms of compositional technique. Whereas many Brahms

lieder display a stripped down, folk inspired style with dark, passionate texts, the

Magelone cycle may resemble the elaborate style of his instrumental works.37

Brahms’s career as a song composer was long and busy. His extant works in the

genre span some forty-five years, and he has undoubtedly been wedded to history as a

premier composer of the German lied. Above all, his willingness to evolve established

practices makes him great. He did not always set songs to poems by the most famous

masters of verse. He was willing to risk public criticism if he believed a text could be

made more beautiful by music. In reference to the poetry of Goethe, Brahms has said

that it is all complete, self-sufficient, that the poems are “So perfect in themselves that no

music can improve them.”38 May one be thankful that Brahms was not entirely

conservative. Of course his old fashioned attributes made him an innovator during a

period of such radical artistic change. As the world became more modern and transient,

Brahms was an original by way of his traditionalism. Be it groundbreaking success or

banal mediocrity, the Magelone song cycle symbolizes an important aspect of Brahms’s

life and personality. Always thoughtful and committed, Johannes Brahms stayed true to

his artistic agenda by creating a piece of music with intellectual worth and personal

37 Haddon Craftsmen, Inc., The Compleat…, 225-229.38 “Brahms, Johannes: Lieder and Soli Vocal Ensembles”, George S. Bozarth,

Oxford Music Online, accessed April 15th, 2011, http://www.oxfordmusiconline.com.libportal.hnu.edu:2048/subscriber/article/grove/music/51879pg11?q=Brahms+magelone&hbutton_search.x=25&hbutton_search.y=16&hbutton_search=search&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=3&_start=1#firsthit.

relevance that will lead to a substantial amount of discovery regarding composition,

literature and musical history.

Bibliography

1. Mandyczewski, Esebius, trans. Appelbaum, Stanley, ed. Johannes Brahms: Complete Songs for Solo Voice and Piano (Series I). New York: Dover Publications, Inc., 1979.

2. Swafford, Jan. Johannes Brahms: a Biography. New York: Vintage Books, 1997.3. Encyclopaedia Britannica. “Ludwig Tieck, German Romantic Writer (1773-

1853),” Accessed April 3rd, 2011. http://www.1902encyclopedia.com/T/TIE/ludwig-tieck.html.

4. Niemann, Walter. Brahms. Translated by Catherine Alison Phillips. New York: Toudor Publishing Company, 1945.

5. Geiringer, Karl. Brahms His Life and Work. London: Unwin Brothers Unlimited, 1936.

6. Beller-McKenna, Daniel. Brahms and the German Spirit. Harvard, 2004.7. Latham, Alison. Oxford Dictionary of Musical Terms. Oxford, 2004.8. Burkholder, J. Peter. Grout, Donald J. Palisca, Claude V. A History of Western

Music Seventh Edition. New York: W.W. Norton & Company, Inc., 2006.9. Geert Woltjer. “Beethoven Analysis: Geert Wolter,” Accessed April 15th, 2011.

Last updated March 23rd, 2006. http://geertwoltjer.nl/BeethovenAnalysis/Beethoven0a.htm.

10. Haddon Craftsmen, Inc. Edited by Leon Botstein. The Compleat Brahms. New York: 1999.

11. Bozarth, George S. Oxford Music Online. “Brahms, Johannes: Lieder and Soli Vocal Ensembles,” Accessed April 15th 2011.

http://www.oxfordmusiconline.com.libportal.hnu.edu:2048/subscriber/article/grove/music/51879pg11?q=Brahms+magelone&hbutton_search.x=25&hbutton_search.y=16&hbutton_search=search&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=3&_start=1#firsthit.