sider it a picture of a knight-errant in medieval times setting
out on his adventures. Observe the vigorous swing of the open-
ing theme in that five-measure rhythm so dear to Brahms. But
in the middle portion, in the romantic key of B major,[268] the
woman appears—perhaps some maiden imprisoned in a tower—
and she sings to the knight a song of such sweetness that he
would fain forsake duty, battle, everything! The contrast of
opposing wills[269] is dramatically indicated by an interpola-
tion, after the maiden’s first appeal, of the martial theme of
the knight, as if he felt he should be off instead of lingering,
enchanted by her song. Notwithstanding a still more impas-
sioned repetition of the song, the Knight is firm, tears himself
away and continues on his course; how great the wrench, being
clearly indicated by the unusual modulations in measures 72-
- The enchanting song, however, still lingers with him and he
dwells with fond regret upon bygone scenes and dreams which
were unattainable. In this piece is seen Brahms’s aristocratic
distinction in the treatment of program music. The subject is
portrayed broadly—there are no petty details—and the music
itself, to anyone with a sensitive imagination, tells the story
clearly. Hence a detailed poetic interpretation is out of place,
since only to the suggester would it have meaning.
[Footnote 267: It is to be understood that this is a purely per-
sonal interpretation and if any one wishes to consider the piece
merely as absolute music with a strong masculine theme in the
minor, a lyric melody in the major for the natural contrast, and
a coda referring in a general way to the first theme, there is no
way to disprove the contention. That Brahms, however, was not
entirely averse to out and out programmistic treatment is seen
from his two pieces on specific poetic texts,i.e., the first number
in op. 10 on theScottish Ballads of Edwardand theLullabyin
op. 117 on the Scottish Folk-songSleep Soft, My Child.]
[Footnote 268: The same key that Wagner uses for the end of
Tristan and Isoldeand César Franck for the gorgeous Finale of
thePrelude, Chorale and Fugue.]
[Footnote 269: The subject is the same as the story of the Sirens
in theOdysseyor of theLoreleiin German Legend.]
So many of Brahms’s pianoforte compositions are of great beauty
and significance that, although space is lacking for further com-
ment on definite examples, we urge the music-lover to study