In his penultimate set of solo songs, Brahms returns to the strophic form once again. These songs, all folk-like, show a high degree of sophistication in adapting this most simple of song forms to expressive purpose.

1. An die Stolze (To the Haughty Woman). This song contrasts three sentiments: the poet's complaint against the woman of the title, his own feelings, and a resumption of the complain addressed directly to the woman. Brahms sets the poet's faithfulness in the flowing lines of the piano, while the woman's attitude is depicted in the casually dissonant quarter notes of the vocal line. In the final verse, the accompaniment becomes more assertive as the poet rebukes the woman directly.

2. Salamander is an amusing song about a malicious girl who throws a salamander into the fire, but the salamander likes it, just as the protagonist of the song likes "fiery love." Brahms' setting begins as a simple folksong, but on the second verse the piano part becomes more elaborately colorful, depicting respectively the fire and the salamander's surprise reaction.

3. Das Mädchen spricht (The Maiden Speaks). In this charming and naïve song a newlywed girl questions a swallow as to its own marital status and happiness. The piano's flitting figures evoke the swallow's movement, while at the end of each stanza the music slows as the girl becomes more thoughtful.

4. Maienkätzchen (Catkins). This is a sweetly nostalgic song in which the protagonist's enjoyment of the spring appearance of catkins reminds him of an old love. Brahms' tender setting, especially of the second verse, the music of which is altered from the first, prevents the song from becoming a lament, as might have been more usual with him.

5. Mädchenlied (Maiden's Song). The spinning of the maids is depicted in the swirling accompaniment of the first two verses. In the third verse he subdues these figures to give prominence to the voice as the maiden declares she has no one to care for her. Finally, as she is caught up in despair, the music turns dissonant and longing. The final staccato notes of the piano, metaphors for her tears, are touchingly effective.



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