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BRAHMS — Zwei Gesänge Op 91
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Johannes Brahms: Zwei Gesänge, Op. 91 • Lauren Eberwein, mezzo-soprano • Roberto Diaz, viola • Mikael Eliasen, piano • 0:00 Gestillte Sehnsucht • 6:39 Geistliches Wiegenlied • Performed on Friday, January 15, 2016 • Field Concert Hall, Curtis Institute of Music, Philadelphia • Johannes Brahms (1833–97) wrote these songs for his good friends, Joseph and Amalie Joachim. The famous violinist and violist and his wife, an alto, named their son Johannes in honor of the composer and their deep mutual friendship. In return, Brahms penned the deeply personal cradle song “Geistliches Wiegenlied” (“Lullaby for the Christ Child”) for his namesake, scoring it for alto, viola, and piano so that the three friends could play it together. • • As time passed, the relationship between Joseph and Amalie became rocky, leading Brahms to rework his lullaby and pen a new song, “Gestillte Sehsucht” (“Satisfied Longing”), in hopes of restoring the trio’s friendship. (The effort proved unsuccessful; the Joachims ultimately divorced, and a rift developed between the violinist and the composer that was not healed for many years.) • • The two songs of Op. 91 are united in their use of the viola as an obbligato instrument and also in their musical symmetry: In each, tumult interrupts the serenity of the opening, only to subside as the initial, calmer material returns. In the first song Brahms sets a poem by Friedrich Rückert, musically evoking its images of wind in the trees, birds singing, and leaves rustling. The calm of nature gives way to a longing that will not allow the writer to sleep and will only be satisfied at life’s end. • • The lullaby begins with the viola introducing a well-known Christmas carol, “Josef, lieber Josef mein.” The music shifts into the minor mode, becoming more restless as it foreshadows the pain and earthly sorrow the Christ Child will experience. Mary implores the angels to allow the gusts of wind and fierce cold to subside so that her baby can sleep. Finally, the music quiets and peace is restored, as the viola repeats the beloved old carol.
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