These five songs represent the whole of Brahms’s output for a cappella men’s chorus. There are two other large works for men’s chorus and orchestra (in each of which the chorus is joined by a highly extensive part for a soloist). Of these, the cantata Rinaldo, Op. 50 is one of the least known of all his compositions, while the so-called “Alto” Rhapsody, Op. 53, is one of his most popular. These a cappella choruses preceded both, and are probably even less known than Rinaldo or most of the other smaller choral works. This has nothing to do with Brahms’s skill in writing for men’s voices, which is impeccable. Rather, the very dated militaristic German texts of Nos. 2-5 are somewhat jarring for modern listeners. Nos. 2 and 5 are blatantly nationalistic, and even belligerent, while No. 4 presents a rather silly stereotype of soldiers. But these songs should not be condemned unfairly for their texts. Brahms set these poems by Karl Lemcke at the height of the nationalistic fervor surrounding Otto von Bismarck’s plans to unite the German empire in the late 1860s. Brahms idolized Bismarck as much as he did Beethoven, so it was natural that he would set such patriotic texts at that time. Neither Lemcke nor Brahms could have known anything about the course German nationalism would take in the next century. (Listening Guide)
1. Ich schwing mein Horn ins Jammertal. Andante (B♭ major)
2. Freiwillige her! Allegro con fuoco (E♭ major)
3. Geleit. Tempo di Marcia moderato (E♭ major)
4. Marschieren. Im Marschtempo (E♭ major)
5. Gebt acht!. Etwas gehalten (C minor)
Text : No.1 — Old German traditional
Nos.2-5 — Carl von Lemcke (1831–1913)
Composed in 1861–62. Nos.1 and 2 were later arranged by Brahms for female chorus (published in 1968 and 1938 respectively)