Fanny Mendelssohn Hensel’s “Neue Liebe, neues Leben” begins with what is described in our workbook as an antecedent and consequent phrase. The first four measures conclude with a half cadence, while the second four measures conclude with a perfect authentic cadence. The consequent portion is really not that different from the antecedent. In fact, the first three measures are exactly the same. It is not until the line (translated) “ I do not know you anymore” that the melody changes. This change in harmony is represented by the idea that the singer does not know his lover anymore. There is then a “B” section which the workbook does not ask us to analyze, and then a return of the “A” section which is where the analysis picks up again.
In measure 64 there is a repetition of the line “let me go” and a sudden change of harmony. There is no key change or anything of that sort but the type of accompanament changes which I think is meant to show the singer’s distress at the fact that he can not leave his love even though she has changed. I would break up this last phrase at measure 68 half way through the measure with the I chord. It seems that here is the natural break and is where the whole phrase is repeated a second time after it. There are many embellishing tones and a few mode mixture chords used to emphasize the distress that the singer/lover is feeling. Some examples include the use of the bIII in measure 71 and the viio65/ii used in measure 66 and also the c sharp used in measure 68. All of these are used to build up the tension that is eventually resolved with the descending run of notes in measure 72, a final plea for his lover to set him free, ending with a conclusive perfect authentic cadence.