This is only Brahms' second set of songs based on a single poet, the first being his Romanzen aus L. Tieck's Magelone, Opus 33. This set differs, however, in not being related to any kind of narrative, even though the songs carry the common theme of unrequited love. Regardless, they are a cohesive collection, intended to be performed as a set, with a single, unnamed male protagonist. The single most outstanding characteristic of these songs is the erotic content of the texts (for which Brahms was criticized) and the passionate and colorful settings they receive. As was usual by now in Brahms' songs, the range and variety of the emotions of love, particularly their darker side remains the predominant theme. And as with the Lieder und Gesänge, Opus 32, Brahms supplied no titles for these songs.

1. [Untitled] in G major. This is a breathless declaration of love, propelled by a fleeting accompaniment. The B section of this A B A song form is in a slower tempo and is harmonically complex.

2. [Untitled] in E-flat major. In contrast to the ecstatic first song, this one is controlled and understated. The simplicity of its setting somehow makes the realization that the protagonist's love is not returned all the more poignant.

3. [Untitled] in B major. Here the protagonist dreams he is loved, illustrated by the ambiguous rhythm in the voice. The gently rocking accompaniment seems to belie the deep poignancy of the song, which is depicted in subtle harmonic touches.

4. [Untitled] in F minor. Here, the protagonist's anguish in love not returned is portrayed in a rising vocal line over a restless accompaniment. The more relaxed middle section speaks of a point in the future when his soul may be at rest.

5. [Untitled] in E minor. The frustrated sexual desire of this song is depicted with an almost opera-like vividness in the quavering tremolos of the accompaniment.

6. [Untitled] in E major. This shortest of the eight songs depicts the man's realization that a woman's kind glances show no trace of love. The sighing gesture in the piano at the end is particularly effective.

7. [Untitled] in B major. This explicit declaration of physical lust is full of sensuous harmonies and musical allusions. The move to the remote key of B-flat and the graphically curving melody at "on your beautiful breast" as well as the lingering appoggiatura that ends the song with a metaphor for physical longing are but a few examples.

8. [Untitled] in E major. Another sexually explicit text has the protagonist fantasizing about his would-be lover. The music follows the rise and fall in his passions with appropriate quickening of the underlying rhythm. The ethereal shimmering of the piano at the end is a beautiful evocation of the singer's thoughts of ultimate physical consummation.



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