Friday, October 14, 2016

The Cascading Failures Of The New World Order

(a poem by Mr. Sims)

the parties are trashed
the banks are cashed
the press is smashed

what comes next?
they're all self-hexed
and they're all perplexed

what went wrong?
we hit the gong
it's their swan song

we don't trust politicians
they're legislative morticians
criminal black magicians

the wake-up call
just in time for all
now don't drop the ball

signs of the times
youtube defines
it's war on the mind

we're the facebook horde
turn tables on the sword
with the written word

no more prison planet
we decided to can it
freedom's enflamed and we fan it

get the big-picture view
we've been stuck in the stew
of an evil-witch brew

we're sick of the lies
the poisoned skies
the toxic food dyes

the voting machines
spitting out the green
movies are obscene

military hi-jinx
contractor twinks
proven links

pedos perched
piety besmirched
satan's churched

endless parrots
chasing sticked carrots
here come the ferrets

wikipedia's tweaked
agenda is sneaked
here comes wikileaks

clinton the rapist
was once an escapist
now exposed by tapists

hillary the shill
we've had our fill
she's over the hill

spread the word
you've already heard
we're seen as a herd

we hate the hegemony
the political dronery
the cronies and phonies

The Bushes of crime
have stolen our dimes
and spoiled our times

endless psychophants
with superfluous rants
parade without pants

they took over the schools
made us look like fools
took away our tools

universities rot
the professors are bought
it's all sports jackpot

it's runaway corporatism
creating wealth schism
and statism, statism, statism

the economics of greed
take more than you need
watch the people bleed

pesticide crimes run amok
your essence they suck
then they pass the buck

what conspiracies do
they're nothing new
just now, they're in view

mass mind control
subliminally troll
it's a psycho black hole

and the misleading clergy
with their selective liturgy
needs spiritual surgery

we don't need the dopes
like the ignorant pope
destroying our hope

no matter where you look
you will eventually find a crook
you find them in the good and bad book

to this tyrade there is no end
we know it's always been in the wind
from me, this to you I send

Like (or not)

Wednesday, September 28, 2016

Ann Barnhardt -"Diabolical Narcissism" (SHE DOESN'T HOLD BACK!)

Ann Barnhardt -"Diabolical Narcissism" (SHE DOESN'T HOLD BACK!)
Posted as NEWS: From 15 May, 2016 - This is definitely our most controversial post ever. Her perspective obviously is from a traditional Roman Catholic perspective. If she is right then don't expect to see this video up for very long, though as she says, THEY really don't care and perhaps it suits their purposes to keep people running down rabbit holes that lead nowhere and concern matters they can do nothing about, rather than getting on with it using the proposal outlined here.

Oh and ah, yes. As a mentor of mine said to me once, another lifetime ago, if any stereotype works, it's because there is an element of truth to it.

You know, I can separate this lady's message from her religion. Thanks, I get it. Jim TX

She speaks as if she knows from personal experience to me. Laura, CA

She's talking about s**t everyone knows already. Bad people are bad people. You can find them anywhere. Bob, NY

Thank-you for understanding the message and why it was important.

Thursday, August 4, 2016

Tea Tasting – Newman's Own Organic vs. Lipton

This is going to be a frank taste test based on my opinion only. First, let it be known that these black teas, usually in the form of tea bags rather than loose tea as I prefer, both represent good values. What then would be ordinary tea or tasteless tea? Perhaps we'll get into that on another post.

The test consisted of 2 tea bags of each brewed in a Teavana plastic teapot capable of containing 2 mugs of tea. I simply opened the bags and poured the tea into the teapot. This teapot allows you to instantly see the end of the steep as all the leaves have gone to the bottom.

Newman's Own Organic

I got a large box of bags. You open the box and there are 3 lines of bags in paper wrappers. I figured it would probably be better tea than most, and I have tried some really good teas. Opening the box was promising as the tea had a nice fresh aroma. I presume this is black tea from Assam and Ceylon. I always take mine with milk and nothing else.

This tea had a medium body, some tea is actually thick, other tea is very thin. This affects the texture of the tea as you drink it. There is also of course the aftertaste. This is what is left after you have actually swallowed the tea and this is also one of the qualities where we can acquire persistent memories of various kinds of tea as one can with various kinds of coffee, wine or beer.

For my purposes, I like a smooth malty aftertaste in my morning black tea. Then in the afternoon, I keep the tea in the pot from the morning and add another bag to the pot for my afternoon tea. Much of the character of the morning pot is retained. This practice is a really cheap way to deal with your daily cup.

I was pleased with the tea, it matches my expectations. It was smoother than some other brands. Newman's Own tea might even serve as a good mean example of what's available in America right now.

I look for Lipton loose tea wherever I shop. Usually all that's available are bags. I'll tell anyone in case they don't know; something must have happened to Lipton a while back. We used always to see Lipton served in restaurants for those who preferred tea. But compared with what they sell now, that tea I remember was somehow more bitter and perhaps had additives. Anyway things have changed. Lipton deserves the place as the measure for all black teas because their latest products are better in every way than their predecessors and represent a terrific value.

Finding no loose tea, I bought a little box of bags. It was not quite as fresh as the loose tea is, but they had done a great job of packaging the bags inside the box rather than bothering with individual paper wrappers.

Anyway, what can I say but yes! Lipton beat Newman's Own in the maltiness department, a far fresher taste, a stronger kick too. After all, some of us decided to go from coffee to tea some years ago and loved the variety and never looked back. I avoided Lipton for years, and tried just about everything else too. Then one day I saw they had loose tea and I tried it. There is better and I will get into that anon, but for everyday use, this tea is very hard to beat, though occasionally I do buy all kinds of other brands just to vary it a little.

Stay calm, brew more tea. Enjoy!

Friday, July 15, 2016

How to Download and Build Your Own House

This is a VERY important effort. It represents a genuine trend. It's so important that we had to get it out on ALL of our websites.

Wednesday, July 6, 2016

Natalie Dessay, Emmanuelle Haim and their band do Handel & Bach

Natalie Dessay, Emmanuelle Haim - Il Trionfo del tempo e del disinganno (Handel)

Some have bothered to mention her arm movements (conducting as she sings).  If you can, just listen without watching her.  She is astounding!  And if you liked that, check this out:

Emmanuelle Haim - Bach: Magnificat; Handel: Dixit Dominus HWV 232

Thursday, June 2, 2016

Brahms and the Hungarian Dances

None of these had opus numbers for but a few of them were actually by Brahms. But he arranged them in these timeless masterpieces nonetheless and during his lifetime everyone wanted to hear them and play them so their publication made him money. These pieces are an important statement concerning the actual natural boundary between the classical formalism of serious art music and the popular genres of folk music.

There are 21 Hungarian Dances (German: Ungarische Tänze) arranged in books that were published periodically throughout Brahms' life.

Brahms' usual method was supposedly to begin by arranging the dance for piano four hands. Ten of them he would later reduce to solo piano editions. A few of them were also orchestrated by Brahms and are among the backbone pieces of the orchestral repertoire to this day. For our featured performances we're sticking to piano four hands versions, live and recent wherever possible.
Hungarian Dances
Book 1. (Published in 1869) [Brahms is 36]

1. in g minor: Allegro molto 

We couldn't resist featuring a performance on a Stewart & Sons piano from Australia.

2. in d minor: Allegro non assai –Vivace 
3. in F major: Allegrett 

We particularly like the venues where you can sometimes hear this music played live. This kind of performance is closest to the very spirit of Western music itself. 

4. in f minor: Poco sostenuto –Vivace 

Notice what is required by the pianists.

5. in f♯ minor: Allegro– Vivace

This one of course is famous, but strictly speaking, not by Brahms. It is said that this piece is based on the csárdás by Béla Kéler titled "Bártfai emlék." Brahms had mistakenly thought this an anonymous Hungarian tune.

Book 2. (Published in 1869)
6. in D♭ major: Vivace

A nice Steinway there.

7. in A major: Allegretto – Vivo 

A nice Yamaha is featured there.

8. in A minor: Presto

A nice concert grand that appears to be something other than a Steinway.

9. in e minor: Allegro ma non troppo

Pretty sure this is a Steinway.

10. in E major: Presto

Book 3. (Published in 1880) [Brahms is 47]
11. in d minor: Poco andante [by Brahms]

Certainly among my favourites of the entire set. I'm not somehow surprised to learn that this one was written totally by Brahms. 
12. in d minor: Presto 

An ardent and passionate performance from a past era of pianism. 

13. in D major: Andantino grazioso – Vivace 
14. in d minor: Un poco andante [by Brahms]

This too is one totally by Brahms and the structures of the tunes and the chromatic sliding as well as every other element is typical of Brahms. It's also among the shortest and most terse of these pieces.

15. in B♭ major: Allegretto grazioso 
16. in f minor: Con moto – F major: Presto [by Brahms]

This too is a conservative piece in this set. The presto and other short themes are among the finest in the whole set and of course they are completely Brahms.

Book 4. (Published in 1880)
17. in f♯ minor: Andantino – Vivace 

A classic performance from the 1950's by a famous piano duo.

18. in D major: Molto vivace 

Don't try this at home. But this is really the kind of thing you want to achieve if you can do it. Notice the amount of energy minus the volume required. Quite challenging.
19. in b minor: Allegretto
20. in e minor: Poco allegretto – Vivace 
21. in e minor: Vivace – E major: Più presto 

So, you can see that we'd really appreciate seeing more newer fresher recordings of these pieces up on YouTube from today's up and coming pianistic talent.

Tuesday, May 31, 2016

Johannes Brahms – Early Songs

Herein we cover Op. 3, 6 and 7.

Op. 3, Six Songs (1853)

Brahms is 20 and goes to live with the Schumanns. In fact it is safe to say that Brahms had all of these songs (op 3 & 6) composed and newly published by the time he met them. These songs amply demonstrate the fully formed style that would typify Brahms throughout his career. The verses chosen illustrate what was around at the time. These were usually performed privately in the homes of the well to do at their dinner parties or occasionally at recitals, public or private, as taste and style of the mid 19th century in Europe and later in America, would dictate.

No. 1 Liebestreu – Love's Devotion – Alto soprano

Alternate version for piano and cello

by Robert Reinick (1805 - 1852), from Lieder, in Romanzen und Balladen [formerly Bilder], published 1844

O versenk', o versenk' dein Leid,
mein Kind, in die See, in die tiefe See!«
Ein Stein wohl bleibt auf des Meeres Grund,
mein Leid kommt stets in die Höh'.

»Und die Lieb', die du im Herzen trägst,
brich sie ab, brich sie ab, mein Kind!«
Ob die Blum' auch stirbt, wenn man sie bricht,
treue Lieb' nicht so geschwind.

»Und die Treu', und die Treu',
's war nur ein Wort, in den Wind damit hinaus.«
O Mutter und splittert der Fels auch im [Sturm]1,
Meine Treue, die hält ihn aus.

“O sinker, o countersink your sorrow,
my child, into the sea, in the deep sea! "
A stone probably remains on the seabed,
my sorrow is always in the Bottoms Up.

"And the lovers' that you carry in your heart,
break it off, break it off, my child!"
If the flower also dies when you break it down,
loyal love not so swift.

"And the Faithful,' and your constancy,
'Ss only been a word in the wind so that addition."
O mother and shatters the rock in the wind,
My loyalty that keeps him out.

No. 2 Liebe und Frühling 1 – Love And Spring 1 – Baritone tenor

by August Heinrich Hoffmann von Fallersleben (1798 - 1874) , no title, from Lyrische Gedichte, in Liebesleben, in Liebe und Frühling, no. 5

Wie sich Rebenranken schwingen
In der linden Lüfte Hauch,
Wie sich weiße Winden schlingen
Luftig um den Rosenstrauch:

Also schmiegen sich und ranken
Frühlingsselig, still und mild,
Meine Tag- und Nachtgedanken
Um ein trautes, liebes Bild.

As swinging vine tendrils
In the gentle breezes touch,
How twine white winds
Airy to the rosebush:

So snuggle up and entwine
Spring Selig [blessed], still and mild,
My day and night thoughts
To a trautes [sweet], dear image.

No. 3 Liebe und Frühling 2 – Love And Spring 2 – Baritone tenor

by August Heinrich Hoffmann von Fallersleben (1798 - 1874), no title, from Lyrische Gedichte, in Liebesleben, in Liebe und Frühling, no. 7

Ich muß hinaus, ich muß zu Dir,
Ich muß es selbst Dir sagen:
Du bist mein Frühling, Du nur mir
In diesen lichten Tagen.
I must also, I must to thee,
I must say it even to you:
You are my spring, you only me
in these bright days.

Ich will die Rosen nicht mehr sehn,
Nicht mehr die grünen Matten;
Ich will nicht mehr zu Walde gehn
Nach Duft und Klang und Schatten.
I will no longer see the roses,
not the green mats;
I will not go to forest
to scent and sound and shadow.

Ich will nicht mehr der Lüfte Zug,
Nicht mehr der Wellen Rauschen,
Ich will nicht mehr der Vögel Flug
Und ihrem Liede lauschen. --
I do not want the air train ,
No longer the waves rushing ,
I do not want the birds flight
And their songs listening . -

Ich will hinaus, ich will zu Dir,
Ich will es selbst Dir sagen:
Du bist mein Frühling, Du nur mir
In diesen lichten Tagen!

I want out, I want to you,
I want it even tell you:
You are my Spring, you only me
In these bright days!

No. 4 Lied – Song – Baritone tenor

by Friedrich Martin von Bodenstedt (1819 - 1892), first appeared in Ivan, der Sohn des Starost, Poetische Farbenskizze aus Rußland, published 1842

Weit über das Feld durch die Lüfte hoch
Nach Beute ein mächtiger Geier flog.
Far across the field high through the air
After a powerful prey a vulture flew.

Am Stromesrande im frischen Gras
Eine junge weißflüglige Taube saß;
On Stromesrande in fresh grass
A young white winged pigeon sat;

O verstecke dich, Täubchen, im grünen Wald!
Sonst verschlingt dich der lüsterne Geier bald!
O hide yourself, dove, in the green forest!
Otherwise, swallows you up, the lecherous vultures soon!

Eine Möwe hoch über der Wolga fliegt,
Und Beute spähend im Kreis sich wiegt.
A seagull flies high over Volga river,
And prey circle sways peering.

O halte dich, Fischlein, im Wasser versteckt,
Daß dich nicht die spähende Möwe entdeckt!
O hold you, little fish, hidden in the water,
That you not discovered the peering Seagull!

Und steigst du hinauf, so steigt sie herab
Und macht dich zur Beute und führt dich zum Grab.
And you rise up, so it descends
And makes you prey and shows you the grave .

Ach, du grünende feuchte Erde du!
Tu dich auf, leg mein stürmisches Herz zur Ruh'!
Oh, verdant humid soil, you!
You up, put my stormy heart to rest!

Blaues Himmelstuch mit der Sternlein Zier,
O trockne vom Auge die Träne mir!
Blue sky cloth with star flax ornament,
O dry eye from the tear me! [Dry my eye from my tears]

Hilf, Himmel, der armen, der duldenden Maid!
Es bricht mir das Herz vor Weh und Leid!
Heaven help the poor, the Maid-suffering!
It breaks my heart with grief and sorrow!

No. 5 In der Fremde – Away From Home - Baritone tenor

by Josef Karl Benedikt von Eichendorff (1788 - 1857), title 1: "In der Fremde", from Gedichte, in 5. Totenopfer, first appeared in the novella "Viel Lärmen um nichts" (1833)

Aus der Heimat hinter den Blitzen rot
Da kommen die Wolken her,
Aber Vater und Mutter sind lange tot,
Es kennt mich dort keiner mehr.

Wie bald, wie bald kommt die stille Zeit,
Da ruhe ich auch, und über mir
Rauscht die schöne Waldeinsamkeit,
Und keiner kennt mich mehr hier.
From the home behind the flashes red
As the clouds come from,
But Father and Mother are long dead,
There, knows me no more.

As soon, as soon will that quiet time,
Since I too shall rest, and above me
intoxicated me, the beautiful forest solitude,
And no one knows me here anymore.

No. 6 Lied – Song – Baritone tenor

by Josef Karl Benedikt von Eichendorff (1788 - 1857), no title, from Gedichte, in 1. Wanderlieder, in Erinnerung, no. 1, first appeared in the novella Viel Lärmen um nichts, 1833; fourth stanza omitted in later collection.

Lindes Rauschen in den Wipfeln,
Vöglein, die ihr fernab fliegt,
Bronnen von den stillen Gipfeln,
Sagt, wo meine Heimat liegt?

Heut im Traum sah ich sie wieder,
Und von allen Bergen ging
Solches Grüßen zu mir nieder,
Daß ich an zu weinen fing.

Lindes [lime] noise in the treetops, [Lime trees]
Bird that flies her away,
Bronnen [untranslated] of the silent peaks,
Say, where is my home?

Today in a dream I saw her again,
And went from every mountain
Such faithfully down to me,
That I began to cry.

Ach! hier auf den fremden Gipfeln:
Menschen, Quellen, Fels und Baum -
Alles ist mir wie ein Traum!

Oh! here on the other peaks:
People, resources, rock and tree -
Everything is like a dream!

Muntre Vögel in den Wipfeln,
Ihr Gesellen dort im Tal,
Grüßt mir von den fremden Gipfeln
Meine Heimat tausendmal!

Sprightly birds in the treetops,
Your fellows there in the valley,
Greet me of the strange peaks
My homeland a thousand times!

Op. 6, Six Songs

These were written in 1852 (Brahms is 19), except for #5 and #6 from 1853.

No. 1 Spanisches Lied – Spanish Song – Alto soprano


In dem Schatten meiner Locken
Schlief mir mein Geliebter ein.
Weck' ich ihn nun auf? -- Ach nein!

In the shadow of my curls
Slept me my beloved one.
Weck I ' on him now ? -- Oh no!

Sorglich strählt' ich meine krausen
Locken täglich in der Frühe,
Doch umsonst ist meine Mühe,
Weil die Winde sie zerzausen.
Lockenschatten, Windessausen
Schläferten den Liebsten ein.
Weck' ich ihn nun auf? -- Ach nein!

Carefully combs ' I mean frizzy
Curls daily in the morning,
But nothing is my trouble,
Because the winds she tousle.
Curls shadow , winds whipping
Schläferten [lulling] a loved ones.
Weck I ' on him now ? -- Oh no!

Hören muß ich, wie ihn gräme,
Daß er schmachtet schon so lange,
Daß ihm Leben geb' und nehme
Diese meine braune Wange,
Und er nennt mich seine Schlange,
Und doch schlief er bei mir ein.
Weck' ich ihn nun auf? -- Ach nein!

Listen I have, like him grieve,
That he is languishing for so long,
That he give life ' and take
This my brown cheek,
And he calls me his snake,
Yet he slept with me.
Weck I ' on him now? -- Oh no!

No. 2 Der Frühling – The Spring – Alto soprano

most possibly by Jean Baptist Rousseau (1802 - 1867), first appeared in Spiele der lyrischen und dramatischen Muse, published 1826

Es lockt und säuselt um den Baum:
Wach auf aus deinem Schlaf und Traum,
Der Winter ist zerronnen.
Da schlägt er frisch den Blick empor,
Die Augen sehen hell hervor
Ans goldne Licht der Sonnen.

It attracts and rustles the tree:
Wake up from your sleep and dreams,
Winter is melted away.
He proposes fresh eyes up,
The eyes see light out
Ans golden light of the sun.

Es zieht ein Wehen sanft und lau,
Geschaukelt in dem Wolkenbau
Wie Himmelsduft hernieder.
Da werden alle Blumen wach,
Da tönt der Vögel schmelzend Ach,
Da kehrt der Frühling wieder.

It attracts a labor gentle and mild,
Rocked in the Wolkenbau
How heaven scent down.
Since all the flowers are growing,
Since the birds drowned melting Oh,
Since the spring returns.

Es zuckt und bebt im Blute was,
Die Wimpern werden tränennaß,
Es pochet leis [sic] im Herzen.
O Mensch, du fühlest Frühlingslust,
Und Liebe hebet deinen Ernst,
Und wecket süße Schmerzen!

It twitches and trembles in the blood which,
The eyelashes are wet with tears,
It pochet leis [sic] in heart.
O man, you fühlest [most-feeling] spring like,
And Love lift up your Ernst [serious],
And rouse sweet pain!

Es weht der Wind den Blütenstaub
Von Kelch zu Kelch, von Laub zu Laub,
Durch Tage und durch Nächte.
Flieg auch, mein Herz, und flattre [sic] fort,
Such hier ein Herz und such es dort,
Du triffst vielleicht das Rechte.

There the wind blows the pollen
From cup to cup of leaves to leaves,
Through days and nights.
Fly well, my heart, and continued flattre [sic], (probably some variant of flutter)
Search here a heart in the search of it there,
Maybe you will meet the right [unsaid ... heart].

No. 3 Nachwirkung – Aftermath - Tenor

most likely by Alfred von Meißner (1822 - 1885)

Sie ist gegangen, die Wonnen versanken,
Nun glühen die Wangen, nun rinnen die Tränen,
Es schwanken die kranken,
Die heißen Gedanken,
Es pocht das Herz in Wünschen und Sehnen.

She's gone, the joys sank,
Now cheeks glow, now run the tears,
It varies the sick,
The hot idea
It beats the heart desires and tendons.

Und hab' ich den Tag mit Andacht begonnen,
Tagüber gelebt in stillem Entzücken,
So leb' ich jetzt träumend,
Die Arbeit versäumend
Von dem, was sie schenkte in Worten und Blicken.

And I have the day with devotion begun
Offered during the day lived in silent rapture,
So leb' I now dreaming,
The work omitting
From what she gave in words and glances.

So hängen noch lang nach dem Scheiden des Tages
In säuselnder Nachtluft, beim säuselnden Winde
Die Bienlein wie trunken
Und wonneversunken
An zitternde Blüten der duftigen Linde.

So still hanging long after breaking Day
In the whispering night air, the whispering winds
The Calculus drunkenly
And bliss sunk
On trembling flowers of fragrant linden.

No. 4 Juche! – Whoop – Alto soprano

by Robert Reinick (1805 - 1852), title 1: "Juchhe!", from Lieder, in Frühling und Liebe, published 1844

Wie ist doch die Erde so schön, so schön!
Das wissen die Vögelein;
Sie heben ihr leicht Gefieder,
Und singen so fröhliche Lieder
In den blauen Himmel hinein.

Wie ist doch die Erde so schön, so schön!
Das wissen die Flüss' und Seen;
Sie malen im klaren Spiegel
Die Gärten und Städt' und Hügel,
Und die Wolken, die drüber gehn!

Und Sänger und Maler wissen es,
Und es wissen's viel and're Leut',
Und wer's nicht malt, der singt es,
Und wer's nicht singt, dem klingt es
Im Herzen vor lauter Freud'!

As yet the earth is so beautiful, so beautiful!
They know, the little birds;
Lift her easily plumage,
And so sing happy songs
In the blue sky inside.

As yet the earth is so beautiful, so beautiful!
They know Flüss' (liq)and lakes;
They paint the clear mirror
They gardens in town' and hills,
And the clouds that go over it!

And singers and painters know,
And know it 's much and 're Leut' [people]
And who does not paint's who sings it,
And who does not sing it, which it sounds
In the heart of sheer joy!

No. 5 Wie die Wolke nach der Sonne – Like The Cloud To The Sun - Tenor

by August Heinrich Hoffmann von Fallersleben (1798 - 1874)

Wie die Wolke nach der Sonne
Voll Verlangen irrt und bangt
Und durchglüht vom Himmelswonne
Sterbend ihr am Busen hangt.

As the cloud to the sun
Full request is mistaken and fears
And glows from the sky bliss
Dying she depends on her bosom

Wie die Sonnenblume richtet
Auf die Sonn' ihr Angesicht
Und nicht eh'r auf sie verzichtet
Bis ihr eignes Auge bricht:

As the sunflower directed
On the sun; their faces
And not eh'r waived
Until her own eye breaks:

Wie der Aar auf Wolkenpfade
Sehnend steigt ins Himmelszelt
Und berauscht vom Sonnenbade
Blind zur Erde niederfällt:

As the eagle on clouds paths
Longing rises to heavens
And intoxicated by sun bathing
Blind to the ground falls:

So auch muß ich schmachten, bangen,
Spähn und trachten, dich zu sehn,
Will an deinen Blicken hangen
Und an ihrem Glanz vergehn.

So also I must languish, anxious,
Spähn [later then] and seek to see you,
Will cling to your eyes
And perish at its splendor.

No. 6 Nachtigallen schwingen lustig – Nightingales Swing Happily - Soprano

by August Heinrich Hoffmann von Fallersleben (1798 - 1874), from Gedichte, Leipzig, published 1843

Nachtigallen schwingen
Lustig ihr Gefieder,
Nachtigallen singen
Ihre alten Lieder.
Und die Blumen alle,
Sie erwachen wieder
Bei dem Klang und Schalle
Aller dieser Lieder.

swing nightingales
Lustig [funny] their feathers,
singing nightingales
Your old songs.
And the flowers all,
You wake up again
At the sound and sounds
All of these songs.

Und meine Sehnsucht wird zur Nachtigall
Und fliegt in die blühende Welt hinein,
Und fragt bei den Blumen überall,
Wo mag doch mein, mein Blümchen sein?

And my desire is to Nightingale
And flying into the blooming world,
And asks for the flowers everywhere,
Where could it be my, my flowers?

Und die Nachtigallen
Schwingen ihren Reigen
Unter Laubeshallen
Zwischen Blütenzweigen,
Von den Blumen allen
Aber ich muß schweigen.
Unter ihnen steh' ich
Traurig sinnend still:
Eine Blume seh' ich,
Die nicht blühen will.

And the nightingales
Swinging their dance
Under Laube [arbor] halls
Between flowering branches ,
Of the flowers all
But I must be silent.
Among them, I stand
Sad pensive silence:
A flower I see,
It will not bloom.

Op. 7, Six Songs

No. 1 Treue Liebe – True Love – soprano alto

This set is the least represented on YouTube. The complete set of songs, plus the songs Op. 19, 48, 49, 59 are represented here

You'll need to go here to hear representations of #2 and #3 until more become available.

most likely by B. Eduard Schulz (1813 - 1842) , under the pseudonym Edouard Ferrand, from Gedichte, published 1834

in Mägdlein saß am Meerestrand
Und blickte voll Sehnsucht ins Weite.
»Wo bleibst du, mein Liebster, Wo weilst du so lang?
Nicht ruhen läßt mich des Herzens Drang.
Ach, kämst du, mein Liebster, doch heute!«

Der Abend nahte, die Sonne sank
Am Saum des Himmels darnieder.
»So trägt dich die Welle mir nimmer zurück?
Vergebens späht in die Ferne mein Blick.
Wo find' ich, mein Liebster, dich wieder,

Die Wasser umspielten ihr schmeichelnd den Fuß,
Wie Träume von seligen Stunden;
Es zog sie zur Tiefe mit stiller Gewalt:
Nie stand mehr am Ufer die holde Gestalt,
Sie hat den Geliebten gefunden!

in maiden sat by the sea beach
And fully looked longing into the distance.
"Where are you, my love, where you linger so long?
Not resting makes me heart desire.
Oh, you come, my dear, but today!"

The evening approached, the sun sank
At the edge of heaven prostrate.
"So you, the shaft me never return?
In vain peeking my look into the distance.
Where will I find, my love, you again,

The water you played around flattering the foot,
Like dreams of blissful hours;
There she moved to the depth with silent violence:
Never was more on the banks of the lovely shape,
She has her lover found!

No. 2 Parole – Word

most likely by Josef Karl Benedikt von Eichendorff (1788 - 1857), title 1: "Parole", from Gedichte, in 7. Romanzen, first appeared (untitled) in the novel "Dichter und ihre Gesellen [Poets and their companions]" (1834), later titled "Parole" in the first two editions of Eichendorff's collected poems (Berlin, 1837 and 1843); in a posthumous edition, the title was "Die Verlassene [The Abandoned]".

Sie stand wohl am Fensterbogen
Und flocht sich traurig das Haar,
Der Jäger war fortgezogen,
Der Jäger ihr Liebster war.

Und als der Frühling gekommen,
Die Welt war von Blüten verschneit,
Da hat sie ein Herz sich genommen
Und ging in die grüne Heid'.

Sie legt das Ohr an den Rasen,
Hört ferner Hufe Klang -
Das sind die Rehe, die grasen
Am schattigen Bergeshang.

Und abends die Wälder rauschen,
Von fern nur fällt noch ein Schuß,
Da steht sie stille zu lauschen:
»Das war meines Liebsten Gruß!«

Da sprangen vom Fels die Quellen,
Da flohen die Vöglein ins Tal.
»Und wo ihr ihn trefft, ihr Gesellen,
O, grüßt mir ihn tausendmal!«

You probably stood at the window arch
And wove sad hair,
The hunter had moved,
The hunter was her lover.

And when spring came,
The world was of flowers snowy,
She has a heart for taking
And went to the green heath.

You put your ear to the turf,
also hear hooves sound -
These are the deer that graze
On shady mountainside.

And in the evening rushing forests,
From a distance only is even a shot,
There she is listening to silence:
"That was my lover greeting!"

Since jumping from rock sources,
Since the birds fled to the valley.
"And where you meet him, you fellows,
O, I greet him a thousand times!"

No. 3 Anklänge – Echoes – soprano alto

by Josef Karl Benedikt von Eichendorff (1788 - 1857), no title, from Gedichte, in 4. Frühling und Liebe, in Anklänge, no. 2

Hoch über stillen Höhen
Stand in dem Wald ein Haus;
So einsam war's zu sehen,
Dort übern Wald hinaus.

Ein Mädchen saß darinnen
Bei stiller Abendzeit,
Tät seidne Fäden spinnen
Zu ihrem Hochzeitskleid.

High above silent heights
Stand a house in the forest;
So lonely it was to see,
There übern [superlative] addition forest.

A girl was sitting in it
In quiet evening time,
Tät [close] spin silken threads
At her wedding gown.

No. 4 Volkslied – Folk Song [The swallow flies away] – soprano alto


Die Schwalble zieliet fort
AVeit an en an die Ort
Und i sitz do in Tranrigkeit
Es isch a bose schwere Zeit.

Konnt i no fort dnrch d'Welt
"Weil mir's hie gar net g'fallt
O Schwable komm i bitt
Zeig mir de AVeg und n inn 11 mi

The swallow's
fled and gone
And left me all alone;
So sad my heart no joys I heed.

The day hangs drearily indeed.
Forth, then, the world to see,
Since no one cares for me; O swallow come, I pray,
For pity, take me hence away.

No. 5 Die Trauernde – The Mourner – soprano alto

perhaps from Volkslieder (Folksongs), from Kriegs-und-Volkslieder, Stuttgart; Swabian dialect, published 1824

Mei Mueter mag mi net,
Und kein Schatz han i net,
Ei warum sterb' i net,
Was tu i do?

Gestern isch Kirchweih g'wä,
Mi hot mer g'wis net g'seh,
Denn mir isch's gar so weh,
I tanz ja net.

Laßt die drei Rose stehn,
Die an dem Kreuzle blühn:
Hent ihr das Mädle kennt,
Die drunter liegt?

No mother's love; and I
For lover long may sigh
Ah! why do I not' die?
I might as well.

I went to yester fair
But no one seemed to care,
No dance for me was there
'Tis sad to tell.

And soon three roses red
Will deck a graveyard bed
Thou'lt hear of maiden dead
The fun'ral knell.

by Johann Ludwig Uhland (1787 - 1862), title 1: "Heimkehr" [Homecoming], 1811, from Lieder, in Wanderlieder [hiking songs], no. 9, published 1815

O brich nicht, Steg, du zitterst sehr!
O stürz' nicht, Fels, du dräuest schwer!
Welt, geh' nicht unter, Himmel, fall' nicht ein,
[Eh] ich mag bei der Liebsten sein!

O do not interrupt, web, you trembling very!
O Dashing not rock, you dräuest [Drava] hard!
World, do not go under, sky, fall not a,
[ Eh ] I like to be with your loved one!

In closing, we note that these were the works the young man brought with him, newly published and circulating among the salons and other places where adult men and women gathered for socializing, converstaion, etc. etc. Certainly not all these texts are very cheery. Frankly a lot of them are downright grumpy in a way that would actually suit some strange cultural offshoots these days, particularly the various cults of death and gothic expression. These elements were always very much part of the romantic scene back then and Brahms was certainly no fool, arriving on the scene about mid tide, taking these things up and setting them to music. You'll note the uses of the piano to support the voice, also the shadings between major and minor tonalities and how the effect emotions carried forth by the lines beingh sung. It's most difficult for us to imagine hearing such music in the homes of the high and mighty of those times around Europe, but it was so and these were the kinds of works that the people in those circles would have responded to.