Meine Liebe ist grün Op. 63 No. 5 - Score

Free sheet music for members. If you have fixed a notation mistake, then we would be grateful if you could inform us as such. Please indicate here which file and what have you improved. Musicalion Player Add new! You must be logged in to use this feature. You must have paid membership or be a no cost-registered participant of the Musicalion web page. Editor Max Friedlaender Edition Peters , Nos.

Plates , , Brahms-Album tiefe Stimme Berlin: Plates 7, 9 , , 6 , 5, 8. Edition transposed for Low Voice Scanned at dpi, cleaned with 2-point algorithm , plus manual cleaning 5, 8. Brahms-Album mittlere Stimme Berlin: Edition Peters , No. Edition transposed for Medium Voice Scanned at dpi grayscale, converted to monochrome.

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This left him depressed and vulnerable, and it seems he was unable to envisage sharing such humiliations and crises in his life with another person. This poem of Schenkendorf seems to have summoned memories in the composer that bypassed Clara in favour of another woman—and we remember that other works like the second string sextet, Op 36, and earlier songs like Von ewiger Liebe , have special connections to Agathe.

The first four notes are either a step or half-step away from each other, and the final E flat either rises a perfect fourth, or descends a perfect fifth. Many further appearances of these musical letters bind the whole song together: Seeing under the surface of the workmanship in this way, we realize that many of the songs by this composer have deeper and more complicated stories behind them than is generally understood by most singers and performers.

In this case, the assiduous creation of a ingeniously crafted cryptic riddle has perhaps interfered with the musical spontaneity that might have permitted this admirable song to enter the ranks of other out-and-out masterpieces. Wird sie von den Bergen steigen Endlich in das Niederland? Wird sich mir die Sonne zeigen, Die zu lange schon verschwand? Suche ihn im Reich der Toten, Liebchen, oder komme schnell. You can fly, you can hasten, pigeons, joyously uphill and down; I must dwell in a foreign land, an eternally tormented man. My letter, my loving greeting, must also go to her today, it should seek her on the hills, by the beautiful green river.

Will she come down from the mountains into the lowlands at last?

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Shall I be shown the sun that vanished too long ago? Birds, letters, messengers, song and sighs, tell her clearly: Brahms is seldom encountered in this kind of quicksilver mood, although the triplet exhilaration and light touch of O komme, holde Sommernacht , Op 58 No 4, composed three years earlier, had already shown the way for this kind of fast and airy scherzo. Perhaps it is virtuosity allied to an element of self-pity in this song as well as a stab at emotional blackmail at the end—he says he will be dead if she does not come soon that makes it less moving than the selfless Die Taubenpost.

But then, Brahms would have been the first to agree that no song composer could rival Schubert at his greatest. Both songs, the old and the new, are essentially in F sharp major and begin in D sharp minor; both piano parts bristle with semiquavers that palpitate under the hands and generate a great deal of excitement this can easily get out of hand in terms of balance with the voice. Another advantage in the Brahms is its length: As a result the proportions of the song are most satisfying—there is all the excitement necessary, as well as a Brahmsian grandeur.

When he saw his own words on the manuscript he went quite pale; it is clear that nothing so wonderful had ever happened to him. And when the bell tolls from the village And the lark cries aloud its evening prayer, Then we too are silent, and our souls are dissolved By the divine god-given power of love. Wherever a flower bloomed, My dreams bloomed too, And all things sang and glowed For me at each step I took. Never would I have gone away, Not for all the world! My longing, my desires— Here they dwell in forest and field. This is essentially a strophic song with modifications, very much in Schubertian style.

The cradle-like semiquavers between the hands now suggest an older child tripping merrily through a countryside rich with flowers. With the third strophe the boy has grown old enough to leave the landscape dear to him, but he is unwilling to do so. The return to the home key and the wistful postlude all new material seem to suggest a last rueful glance at the places that have made the singer happy, and from which he is now torn away. And search for nothing, watch for nothing, Dream only light and gentle dreams, Not to see the times change, To be a child a second time!

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I seek happiness in vain, Ringed round by barren shores. This refers with typical Grothian—and Brahmsian—foreboding to the adult outcome of a life that has been sadly disappointing in comparison to the early promise of childhood, when the seashore had promised infinitely roseate horizons. And in moving on, new harmonies replacing old, lies the inevitable tragedy: We are made aware of this with the fluidity of ever-changing arpeggios, wafting up and down the keyboard in great and noble sequences, continual metamorphosis, evolving experience, gradual ageing. Over its pages the song, initiated by sweet memories, builds and thickens into a heartfelt lament for lost youth and wasted opportunity.

The interpreters who have had to ward off nursery sweetness at the beginning must finally resist geriatric self-pity.

O, how I long to rest, With no travail to wake me up, To close my weary eyes, Under the soft cover of love. Just show me the way to go back, The precious way to the land of my childhood! Es war ein Duft, es war ein Glanz, Die Seele sog ihn durstend ein. Ich suchte meinen alten Kranz. Er war so frisch, so licht, so lieb— Es war der Jugendglanz.

There was a fragrance and a glow That my parched soul drank in. I picked the flowers to make a wreath— What can have become of it? You never knew what I was after?