BRAHMS, Johannes
Zwei Gesänge (Two Songs) for alto, viola and piano op. 91
2. Geistliches Wiegenlied (Lope de Vega, trans. Geibel)
Diemut Poppen, professor
Olga Syniakova, contralto
João Victor Fransozo, viola
Antonia Valente, accompanying pianist
Before the performance begins, the professor suggests starting with a down-bow and “semplice.” They then play the complete song, and the professor intervenes, commenting that she liked it very much but noted a lack of calm (the piano sometimes sounded too loud and fast). The movement should be more fluid and simple, without using too much energy, as it is meant to lull a child to sleep. She also comments to the student about articulation; generally, in Brahms, short notes are not quite so short, and a certain phrase should be sung with more expression and drama. There was also a rhythmic error in the viola that should be corrected, and Brahms’s bowings should be respected as much as possible.
The professor also points out certain more relevant words and moments where one should linger. In Germany, this is a Christmas song.
Returning to the performance, Poppen indicates that the viola’s opening must be entirely legato, and suggests a phrasing more suited to the simple character the song requires. She insists on clarity of execution in the viola and plays it to demonstrate. The important thing is to keep it simple; there should be no rubati, but rather a more consistent pulse throughout the song, and the music should move more. Furthermore, it is very important for the student to understand the meaning of the words; they must emphasize the important ones, such as the word “Qual.” The last note, however, does not need to be emphasized; it is not a crescendo because it completes the piano’s harmony. For the singer, she corrects the pronunciation of the word “schlummert,” and suggests making a certain part with rapid dialogue between viola and singer more active.
Language: English
