Talk:Fünf Gesänge, Op. 104 (Johannes Brahms)

Score errors in ed. Hold (2016), part 4: Verlorende Jugend

Bar 2, Soprano: 1st quaver should be d, not f (same theme as the Alto's in bar 1) – Jens Gyldenkærne Jensen 17 September 2021 12:08

Bar 3, Alto: 1st quaver should be d, not f (same theme as in bar 1)

Bar 11, Bass 1: Should be f instead of d (the chord is this bar is a d minor - not an open 5th)

Bar 25, Bass 1: 1st quaver should be d, not f (same theme as in bar 1, 3 and 23)

Editorial notes for ed. Kouhia (2025)

Sources

• A: Berlin: N. Simrock, 1889. Plate 9053.
• B: Sämtliche Werke, Band 21: Mehrstimmige Gesänge ohne Begleitung Leipzig: Breitkopf & Härtel, 1926-27. Plate J.B. 118.
• C: Breitkopf & Härtel ChB 3418, ISMN: 979-0-004-40375-4. This is mostly a facsimile of source B, with lyrics added below each staff.

Notes

• Lyrics extenders are added according to modern conventions
• Lyrics are aligned mostly with spelling in source A:
  • Part 1: ob sich euch _öffen'_ ein Ohr (A), instead of _öffen_ (B)
  • Part 2: _Ruh'n_ sie? (A), instead of _Ruhn_ (B); punctuation _dich ein._ (A) instead of _dich ein!_ (B)
  • Part 3, bar 30-31: slurring in (A&B) suggest tenor spelling of _Frühlingsträumen_ to follow the alto line, whereas in (C) the lyrics for the tenor line follow the basses.
  • Part 5: _Aug'_ (A) instead of _Aug_ (B)
  • Some spelling is modernized (th/t, ss/ß):
    • Part 3 süssen (A) -> süßen (B)
    • Part 4 theure (A) -> teure (B), Fluth (A) -> Flut (B), thut (A) -> tut (B); BUT daß (B) -> dass(A)
    • Part 5: Schluß (B) -> Schluss (A), Erguß (B) -> Erguss (A)
• Part 1, bar 3 slurs for beamed quavers for S, A1, A2 omitted for consistency in slurring and beaming (present in A, not in B&C)
• Part 1: allow staccato dots and slurs follow their natural position, in bars 5, 6, 7, 15, 16; the originals the dots are nearly always above the notes (but not always).
• Part 2: bar 11-12 aligned SAT hairpins and B1&B2 hairpins, slight variation in the originals.
• Part 3, bar 26, bass 1: added cautionary es-accidental
• Part 3, bar 48, aligned all hairpin ends at last eight note
• Part 3, bar 49, tenor: added cautionary as-accidental
• Part 3, bar 50, soprano: in (A) there is "dim" above the hairpin, but (B) omits the text. Following (B), as the diminuendo is redundant.
• Part 4, bar 13, bass 1: in (A&B), the crescendo hairpin starts at second beat, but this is not aligned with the unisono bass 2, or the other voices. This is regarded as a misprint and the crescendo hairpin is set to start at first beat, similarly to the other voices.
• Part 5: within the repetition, modern typesetting practices as in Elaine Gould's Behind Bars are followed: where there are more words in the second verse lyrics, the alternative rhythm is indicated with small notes (bars 5 & 17), and when there are less words, a dashed slur is employed (bar 7).
• Part 5, bar 26 A&T: in (A) there is a diminuendo from "f" to "p", in (B) this is missing. Following (A).
• Part 5: allowed final dynamics and espressivo signs take their natural position

Mkouhia (talk) 13:14, 18 September 2025 (UTC)