This set, as well as the Lieder of Opus 47 through Opus 49 come from a difficult time in Brahms' life. He had recently left Hamburg, haven given up hope of a permanent position there, his mother had died in 1865, and his Requiem, which had been performed in part in 1867, was not well received. Perhaps for these reasons the songs of this period are derived mostly from earlier works. This set in particular is full of introspection. The songs are paired by poet, the first two by Daumer, the second two by Hölty.

1. Die Kränze (Wreaths). This song of grief over an indifferent object of love is one of Brahms' best evocations of pain and sadness. It is in a rather sophisticated, through-composed form, with an especially poignant piano postlude reminiscent of Schumann.

2. Magyarische (Magyar Song) is actually not very Hungarian in either its text or setting. Brahms here chooses to set the text directly and simply in his typical folk song style.

3. Die Schale der Vergessenheit (The Cup of Forgetfulness). This short and passionate song begs for forgetfulness of a lover. Brahms propels the music forward with a breathless accompaniment.

An die Nachtigall (To the Nightingale). Another song in which love's pain is contrasted with nature. This song is a slow and anguished setting that Brahms was reportedly not fond of. It was only published at Brahms' friend the baritone Julius Stockhausen's insistence.



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