The last 22 measures of this song are a repetition of an earlier melody heard in the piece. The rhythm of the melody is a repeated quarter note, eighth eighth, quarter quarter sequence that gives it a very driven motion. This fast paced tempo reflects the last sentiment of the lover that is stated in the text “love, love, let me free!”
When someone finds themselves inconveniently in love, there are a multitude of conflicting emotions involved. The melody, in the already ameable key signature of B major, is very beautiful and easy to follow which signifies the warmth of new love. Yet, the driving motion of the melody mentioned before, along with the continuous eighth note accompaniment of the piano can be seen as the turbulence within the lovers incarcerated heart. This is harmonically reinforced by the use of dissonances as the last phrase reaches a climax on the high G. Although not all of these harmonic interruptions are the work of modal mixture, they still have an unsettling affect within musical line. However modal mixture does pop up now and then, such as the bIII chord found in measure 70. The bIII chord adds harmonic tension just before the high G, the climax.
This was a difficult piece to analyze because the chords aren’t very apparent. However, I admire Hensel’s use of precedence of motion and dissonance over harmonic development.
If I were to perform this piece I would slow it down a bit in the measures after 64. This way it would sound more anguished and really milk the two “lass mich los” before measure 71.Without any knowledge of the text anyone might mistake this for a happy ending at the pace the singer is going on the recording.