Johannes Brahms Liebeslieder Waltzes
Waltzes for four voices and piano for four hands op. 52
- Scoring:
- Coro SATB, 2 Pfte
- Search for works with similar scoring
- Language:
- German/English
- Duration:
- 22 min
The Liebeslieder Waltzes op. 52 and the subsequent New Liebeslieder op. 65 are amongst the most popular works by Johannes Brahms (1833–1897). Alongside the Waltzes op. 39 and the Hungarian Dances, it was these Liebeslieder which made Brahms well-known. At first glance some of the short movements do not seem difficult, but it is a challenge to maintain the dance-like lightness of the waltzes against the considerable vocal demands.
The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:
- Original recording
- Coach: each part is accompanied by the piano, with the original recording sounding in the background
- Coach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.
Performers: Barbara Nußbaum (Klavier), Andreas Rothkopf (Klavier) – Kölner Kammerchor – Peter Neumann
- When your eyes so softly gaze
- No, there is no putting out
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Practice aids voice part alto
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- As the evening's radiant sunset (Choir Coach, Slow mode)
- As the evening's radiant sunset (Choir Coach)
- The green and trailing (Choir Coach)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- How beautiful it was (Choir Coach)
- How beautiful it was (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- By Danube's waters (Choir Coach)
- By Danube's waters (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- Little bird wings through the air (Choir Coach)
- Little bird wings through the air (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- A well dark and deep is love (Choir Coach)
- A well dark and deep is love (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
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Practice aids voice part tenore
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- By Danube's waters (Choir Coach)
- By Danube's waters (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- See, how clear the ripples are (Choir Coach)
- Nightingale she sings so fine (Choir Coach)
- A well dark and deep is love (Choir Coach)
- A well dark and deep is love (Choir Coach, Slow mode)
- Don't wander, beloved (Choir Coach)
- Don't wander, beloved (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
- See, how clear the ripples are (Choir Coach, Slow mode)
- The green and trailing (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- O the Ladies (Choir Coach)
- O the Ladies (Choir Coach, Slow mode)
-
Practice aids voice part basso
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- O the Ladies (Choir Coach)
- O the Ladies (Choir Coach, Slow mode)
- The green and trailing (Choir Coach)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- By Danube's waters (Choir Coach)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- See, how clear the ripples are (Choir Coach)
- See, how clear the ripples are (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- A well dark and deep is love (Choir Coach)
- A well dark and deep is love (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
-
Practice aids voice part soprano
- Tell me maiden (Choir Coach)
- Tell me maiden (Choir Coach, Slow mode)
- O'er the rocks the tide roars on (Choir Coach)
- O'er the rocks the tide roars on (Choir Coach, Slow mode)
- As the evening's radiant sunset (Choir Coach)
- As the evening's radiant sunset (Choir Coach, Slow mode)
- The green and trailing (Choir Coach)
- The green and trailing (Choir Coach, Slow mode)
- A little, pretty bird (Choir Coach)
- A little, pretty bird (Choir Coach, Slow mode)
- How beautiful it was (Choir Coach)
- How beautiful it was (Choir Coach, Slow mode)
- When your eyes so softly gaze (Choir Coach)
- When your eyes so softly gaze (Choir Coach, Slow mode)
- By Danube's waters (Choir Coach)
- By Danube's waters (Choir Coach, Slow mode)
- O how gently (Choir Coach)
- O how gently (Choir Coach, Slow mode)
- No, there is no putting out (Choir Coach)
- No, there is no putting out (Choir Coach, Slow mode)
- Locksmith, up, and make your locks (Choir Coach)
- Locksmith, up, and make your locks (Choir Coach, Slow mode)
- Little bird wings through the air (Choir Coach)
- Little bird wings through the air (Choir Coach, Slow mode)
- Nightingale she sings so fine (Choir Coach)
- Nightingale she sings so fine (Choir Coach, Slow mode)
- A well dark and deep is love (Choir Coach)
- A well dark and deep is love (Choir Coach, Slow mode)
- A trembling stirs the bushes (Choir Coach)
- A trembling stirs the bushes (Choir Coach, Slow mode)
- Purchase additional material as a download product.
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text (without music) for download, html file, Singing text, english translationhtml file, Singing text, english translation (Sample)1. Rede, Mädchen (SATB)
Speak, maiden, whom I love all too much,
2. Am Gesteine rauscht die Flut (SATB)
who hurled into my once aloof heart,
with only one glance,
these wild, ardent feelings!
Will you not soften your heart?
Do you wish to be chaste
and remain without sweet bliss,
or do you want me to come to you?
To remain without sweet bliss –
I would never make such a bitter penance.
So come, dark-eyes,
come when the stars greet you.Against the stones the stream rushes,
3. O die Frauen (TB)
powerfully driven:
those who do not know to sigh there,
will learn it when they fall in love.O women, O women,
4. Wie des Abends schöne Röte (SA)
how they melt one with bliss!
I would have become a monk long ago
if it were not for women!Like the evening’s lovely red,
5. Die grüne Hopfenranke (SATB)
would I, a poor maiden, like to glow,
to please one, one boy –
and to then radiate bliss forever.The green hops vine,
it winds along the ground.
The young, fair maiden –
so mournful are her thoughts!
You –...
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text (without music) for download, html file, Singing text, originalhtml file, Singing text, original (Sample)
1. Rede, Mädchen (SATB) Rede, Mädchen, allzu liebes,
das mir in die Brust, die kühle,
hat geschleudert mit dem Blicke
diese wilden Glutgefühle!
Willst du nicht dein Herz erweichen,
willst du, eine Überfromme,
rasten ohne traute Wonne,
oder willst du, dass ich komme?
Rasten ohne traute Wonne,
nicht so bitter will ich büßen.
Komme nur, du schwarzes Auge.
Komme, wenn die Sterne grüßen.2. Am Gesteine rauscht die Flut (SATB) Am Gesteine rauscht die Flut,
heftig angetrieben;
wer da nicht zu seufzen weiß,
lernt es unterm Lieben....
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text (without music) for download, html file, Introductory text, Englishhtml file, Introductory text, English (Sample)Text from the CD 83.319
Roland Kunz
Translation (abridged): John Coombs“The earnest, taciturn Brahms, the true disciple of Schumann, a north German, a Protestant, and as unworldly as Schumann himself, writing waltzes? A single word solves the riddle; it is: Vienna.”
The music of Brahms’s maturity would probably have been of an entirely different character had he not settled in Vienna in 1862. He came into contact there with an entirely unfamiliar musical culture, and Eduard Hanslick, the dreaded Viennese music critic, was understandably surprised by the waltzes of this “unworldly Protestant.” In Vienna conservative minded artists and critics set the tone; the tradition of Haydn, Mozart, Beethoven and Schubert was still flourishing, and Brahms became familiar there with Schubert’s ländler, Strauß waltzes, Austrian folk music and the music of the gipsies. No wonder that he was inspired to write waltzes, the
...
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text (without music) for download, html file, Introductory text, Germanhtml file, Introductory text, German (Sample)Booklet-Text der CD Carus 83.319
Roland Kunz
Der ernste, schweigsame Brahms, der echte Jünger Schumanns, norddeutsch, protestantisch und unweltlich wie dieser, schreibt Walzer? Ein Wort löst uns das Rätsel, es heißt: Wien. Die Kaiserstadt hat Beethoven zwar nicht zum Tanzen, aber doch zum Tänzeschreiben gebracht, Schumann zu einem Faschingsschwank verleitet, sie hätte vielleicht Bach selbst in eine läßliche Sünde verstrickt. Auch die Walzer von Brahms sind die Frucht seines Wiener Aufenthaltes und wahrlich von Süßester Art.
(Eduard Hanslick)Brahms’ reifes Schaffen hätte wahrscheinlich ganz anders ausgesehen, hätte er sich nicht 1862 in Wien niedergelassen; nun kam er mit einer anders gearteten Musikkultur in Berührung, und zu Recht verwunderte sich Eduard Hanslick, der gefürchtete Wiener Musikkritiker, über die Walzer des »unweltlichen Protestanten«. In Wien gaben eher konservativ
...
Contents
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Composer
Johannes Brahms
| 1833-1897Johannes Brahms' study of musical tradition was of crucial importance to his output: he combined church modes, canonic technique, Baroque style and diction, Bach's counterpoint and Beethoven's thematic-motivic work with the harmonic and expressive achievements of Romanticism to form his own distinctive style. In this respect his choral songs and vocal quartets (e.g. the “Liebeslieder Waltzes” and “New Liebeslieder Waltzes”), often to folk song texts, in which a musical microcosm unfolds, are examplary. His “Deutsches Requiem”, available from Carus in several different versions, constitutes one of the most fascinating confessions of faith in the history of music. Personal details
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Choir
Kölner Kammerchor
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Conductor
Peter Neumann
| 1940In recent years Peter Neumann, born in Karlsruhe, has made a name for himself particularly as a conductor of Handel’s music. This is demonstrated both by the concert series “250 Years Handel Oratorios” which he initiated – performing nine music dramas in accordance with Handel’s concert schedule of 1749–1752 – and by his numerous CD recordings. He has performed masterworks from vocal and orchestral music in the European musical capitals and at many renowned festivals, ranging from Monteverdi’s L’Orfeo and Vespers for the Blessed Virgin (Palais Garnier, Paris) through J. S. Bach’s passions (last in Moscow, Oslo and Versailles) and Mass in B minor (BBC Proms) to Debussy’s Le Martyre de Saint Sébastien at the MusikTriennale in Cologne. 2010, Peter Neumann and his ensembles Kolner Kammerchor and Collegium Cartusianum were guests at the Rheingau Music Festival with Schumann’s Das Paradies und die Peri and at the Schumann Festival in Dusseldorf as well as the Leipzig Bach Festival in 2011. In June 2012 he made his highly acclaimed debut at the Cologne Opera with Handel’s Alcina. As a guest conductor, Neumann has collaborated with, among others, ChorWerkRuhr, the Netherlands Chamber Choir, the SWR Vokalensemble Stuttgart, the NDR Choir, the Schola Cantorum Tokyo, the Concertgebouw Orchestra Amsterdam, the Jerusalem Symphony Orchestra, the Junge Deutsche Philharmonie and Concerto Koln. Highlights of his extensive discography include the complete recording of Mozart’s masses (Gramophone “Crown of Crowns”), Schutz’s Musical Vesper, Schumann’s Missa sacra (Diapason d’Or) and recordings of Bach’s St. John Passion and Handel’s Alexander’s Feast and Brockes Passion (Carus). Personal details
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Soloist - piano
Andreas Rothkopf
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Soloist - piano
Barbara Nußbaum
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