Johannes Brahms' music often divulged a Gypsy influence, and it is thus hardly surprising that he also adapted Hungarian folk music at different times in his career—or what was thought to be genuine Hungarian folk music. His first major effort here was the 21 Hungarian Dances (1852-69). Zigeunerlieder (Gypsy Songs) came from the other end of his career (1887) and consists of 11 untitled songs scored for vocal quartet and piano on texts by Hugo Conrat. Shortly after completing them, Brahms arranged eight for single voice and piano, selecting Nos. 1 through 7 and 11. It must be remembered that while these songs adapt certain folk elements, the music is largely Brahms' own, the melodies—not to mention the harmonies—having typical Brahmsian features. No. 1 is lively and fiery, but its music has little that is exotic and, like most items in the set, could pass for pure Brahms. Its single verse of text tells of an unfaithful maiden and her Gypsy ex-lover singing of his sorrows. The second song features much passion and drama, too, the text once more recounting love woes. While there may be Gypsy and Hungarian features to the theme, it has that dark, passionate Brahmsian drama, not unlike that in the opening of the composer's Piano Concerto No. 2's Scherzo. No. 3 is a playful love song full of lightness and sunshine. The ensuing song features much the same light mood, with the text telling of a young woman's cherished memories of her lover's first kiss. No. 5 is hearty in its celebratory joy, jaunty and carefree in its rhythmic accents, its text telling of a young man taking his girl to a dance. The ensuing song, also about courtship, is delicate at the outset and effervescent in its rapid tempo, but turns muscular later on and thereafter deftly juxtaposes the two expressive manners. No. 7 is slow and Romantic in its lyrical theme and warm harmonies, sounding more like some of Brahms' lieder. It offers much-needed contrast to the generally lively manner of the preceding songs. The last number here is joyous and, once again, has little that is Gypsy-like in its sonorities. The text also deals with love. Most songs in this delightful collection last from a minute to a minute-and-a-half.

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Unlike the two sets of Liebeslieder Waltzes, these songs are fairly simple and unsophisticated settings drawn from a collection of Hungarian folk songs. That is not to say they are not masterfully written. They are in fact full of charm and exuberant energy, conveying the folk-like quality of the texts with a simplicity and directness of approach. The gypsy element, so common in Brahms' music, finds here a perfect outlet, expressed by the preponderance of minor keys and by the virtuosic piano accompaniments. The vocal writing is completely unpretentious, merely alternating between solo and strictly homophonic ensemble passages. Of the 11 songs here, only three have a slow tempo, No. 10 being particularly effective in its evocation of the cimbalom, a gypsy instrument similar to the hammered dulcimer.

Although these songs were not specifically designated by Brahms as a set to be performed together (as in the Liebeslieder Waltzes), they are usually done this way and are well-arranged for a good cumulative effect. In 1889, Brahms arranged and published eight of these songs for solo voice and piano.

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