Wahre, wahre deinen Sohn,
Nachbarin, vor Wehe,
weil ich ihn mit schwarzem Aug'
zu bezaubern gehe.
O wie brennt das Auge mir,
das zu Zünden fodert!
Flammet ihm die Seele nicht --
deine Hütte lodert.
j'ai osé une traduction qui respecte la structure 7/6/7/6 et la distribution des mots dans chaque vers .
garde, garde bien ton fils,
voisine, des douleurs
car d'un coup de mon œil noir
je vais l'ensorceler
o que l'ardeur de mon œil
sache allumer son feu
si son âme ne s'embrase
ta hutte brûlera
ici une analyse qui peut intéresser voire aider le téméraire interprète . (oui ! je dois encore retrouver la référence)
0:00 [m. 1]--Part 1. Lines 1 and 2 are set first. The piano leads in sotto voce on an upbeat with a three-note figure, one note slurring down to two detached repeated notes. The vocal line and the piano primo repeatedly use the three-note upbeat following a long note. This was heard in both the previous song (#4) as well as #1. The sharp accent and large upward leap on “Wehe” further emphasize the dissonant chord (a “diminished seventh”). Brahms provided an option for a smaller leap (a third lower) for altos concerned about range, but it is highly ineffective. The section moves to the “dominant” key of A major. 0:10 [m. 1]--Part 1 repeated. The same music is used for the setting of lines 3 and 4. 0:19 [m. 9]--Part 2. For line 5, the vocal line arches upward, with the three-note upbeats soaring up and then falling precipitously in the primo. The piano and voice both come to a powerful arrival on the word “zünden” in line 6. The voice arrives at a strong downward leap and the piano parts return to the opening sotto voce three-note figure, which contrasts strikingly with the voice. The words “das zu zünden” are repeated, leading a motion to the key of C-sharp minor, where the word “fodert” reaches a cadence. 0:27 [m. 17]--The last two lines (7 and 8) begin as had the fifth and sixth lines, a step higher in pitch level (on B major), but at the end of line 7, on “Seele nicht,” the pianists break into cross rhythms and the volume increases dramatically. The words “die Seele nicht” are repeated using the descending three-note upbeat and another harshly accented diminished seventh chord. The voice suddenly breaks off, and a cascading piano arpeggio on the same chord leads back to D minor. The last line is similar to the sixth, but set a half-step higher, with repetition of “deine Hütte,” the sotto voce three-note figure, and the strong downward leap. The lead-in to the repeat is the three-note upbeat. 0:40 [m. 9]--Part 2 repeated. Restatement of lines 5 and 6 from 0:19. 0:48 [m. 17]--Restatement of lines 7 and 8 from 0:27. 1:02--END OF WALTZ-SONG [28 mm.]
