Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos, a Violin Concerto, a Double Concerto for violin and cello, and a pair of orchestral overtures, the Academic Festival Overture and the Tragic Overture.
His large choral work Ein deutsches Requiem ("A German Requiem") is not a traditional, liturgical requiem (Missa pro defunctis), but a setting of texts which Brahms selected from the Lutheran Bible. The work was composed in three major periods of his life. An earlier version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and was later finished and used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was later added after the official premiere in 1868. The complete work was then published in 1869.
Brahms's works in variation form include the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Joseph Haydn in versions for two pianos and for orchestra. The final movement of the Fourth Symphony (Op. 98) is also formally a set of variations.
His chamber works include three string quartets, two string quintets and two string sextets, as well as a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets and three piano trios. He composed several instrumental sonatas with piano, including three for violin, two for cello and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms also wrote about 200 songs and is considered among the greatest of Lieder composers (with Schubert and Schumann). His chorale preludes for organ, which he wrote shortly before his death, have become an important part of the organist's repertoire.
Brahms never wrote an opera, nor did he ever write in the characteristic late-19th-century form of the tone poem, strongly preferring to compose absolute music that does not refer to an explicit scene or narrative.
Despite his reputation as a serious composer of large, complex musical designs, some of Brahms's most widely known and commercially successful compositions during his life were aimed at the thriving contemporary market for domestic music-making, and are small-scale and popular in intention. These included his arrangements of popular dances, in Hungarian Dances, the Waltzes Op. 39 for piano duet, the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied, Op. 49 No 4 (published in 1868). This last item was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber, and is universally known as Brahms' Lullaby.
Feinsliebchen du sollst mir nicht barfuß geh'n
Johannes Brahms Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Du zertrittst dir die zarten Füßlein schön.
Wie sollte ich denn nicht barfuß gehn,
Hab keine Schuhe ja anzuziehn.
Feinsliebchen willst du mein eigen sein,
So kaufe ich dir ein Paar Schühlein fein.
Wie könnte ich euer eigen sein.
Ich bin ein arm Dienstmägdelein.
Und bist du arm, so nehm ich dich doch.
Du hast ja Ehr und Treue noch.
Die Ehr und Treu mir Keiner nahm,
Ich bin wie ich von der Mutter kam.
Und Ehr und Treu ist besser wie Geld.
Ich nehm mir ein Weib, das mir gefällt.
Was zog er aus seiner Tasche fein?
Mein Herz, von Gold ein Ringelein!
The lyrics of Johannes Brahms's song "Feinsliebchen du sollst mir nicht barfuß geh'n" depict a conversation between two individuals, addressing the topic of love and material possessions. The singer urges their beloved not to walk barefoot, as it would harm their delicate feet. However, the beloved responds that they have no shoes to wear. In an attempt to win the beloved's affection, the singer offers to buy them a pair of fine shoes. Yet, the beloved humbly declines, stating that they are a poor servant girl. Nevertheless, the singer insists that they would still accept the beloved even if they are poor because the beloved possesses honor and loyalty. The beloved emphasizes that these virtues are more valuable than wealth. The song concludes with the singer revealing a gold ring, symbolizing their love for the beloved.
This song explores the themes of love, material possessions, and social status. It highlights the modesty and selflessness of the beloved, who prioritizes qualities like honor and loyalty over material wealth. It also suggests that love can exist and flourish regardless of one's economic status.
Line by Line Meaning
Feinsliebchen, du sollst mir nicht barfuß gehn,
My dearest love, please do not walk barefoot,
Du zertrittst dir die zarten Füßlein schön.
As you will hurt your delicate little feet.
Wie sollte ich denn nicht barfuß gehn,
How could I not walk barefoot,
Hab keine Schuhe ja anzuziehn.
For I have no shoes to wear.
Feinsliebchen willst du mein eigen sein,
If you, my beloved, want to be mine,
So kaufe ich dir ein Paar Schühlein fein.
Then I will buy you a pair of fine shoes.
Wie könnte ich euer eigen sein.
But how could I ever be yours?
Ich bin ein arm Dienstmägdelein.
For I am a poor servant girl.
Und bist du arm, so nehm ich dich doch.
And even if you are poor, I will still take you.
Du hast ja Ehr und Treue noch.
Because you have honor and loyalty.
Die Ehr und Treu mir Keiner nahm,
No one has taken away my honor and loyalty,
Ich bin wie ich von der Mutter kam.
I am still the same person as when I was born.
Und Ehr und Treu ist besser wie Geld.
And honor and loyalty are worth more than money.
Ich nehme mir ein Weib, das mir gefällt.
I will take a wife whom I love.
Was zog er aus seiner Tasche fein?
What did he take out of his pocket so fine?
Mein Herz, von Gold ein Ringelein!
My heart, a little golden ring!
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@tritonusgesang
Sehr schön!
@feins_2520
Vielen Dank!
@schlossgeist45
Wer ist denn "feins_"L.G. F.
@feins_2520
Das Liebchen im digitalen Zeitalter eben.
Hochachtung
Feins_
@friedrich-wilhelmtebbe1771
@ Liebchen im digitalen Zeitalter: eig. sollte Hermann Prey den männl. Solopart singen; doch er scheute sich dies alternierend mit unserer besten Solistin Maren H. zu singen, sowohl in Lippstadt als auch bei dieser Aufnahme. Und so besann ich mich meiner früheren Operntätigkeiten und sang selbst! Danke fürs Kompliment!. Dieses Stück hat denn aber auch eine besondere "Fata" beü;gl. einer Tounee in Japan. Doch darüber besser - im digitalen Zeitalter - im privaten Chat auf FB. Friedrich Tebbe
@corikayel
superschone!!!!
@friedrich-wilhelmtebbe1771
Danke! Die Sopranistin Maren Höltke war damls aber auch erst 15 Jahre alt, allerdings sang sie seit ihrem 8. Lebensjahr schon im Konzert-Chor, das übt!
@spackretired
Wo ist der Ton?