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Extended Analysis of Hensels’ “Neve Liebe, neves Leben”
m. 1-8 I V6 vi iii6 IV I6 V43 I V64-53 I V6 vi iii6 IV I6 V7 I
The first eight measures are a parallel period with an antecedent and consequent. The antecedent is in m. 1-4 because it ends on an inconclusive half cadence and the consequent is in second phrase because it ends with a conclusive perfect authentic cadence. There is a falling-thirds with alternating 63 sequence in the first 3 measures that sets the basic harmonic structure of the world. Hensel varies the consequent phrase ever so slightly by changing the rhythms and pitches in measure 7. In m64, there is a surprising harmonic change that occurs---where the phrase ends on a iv6 instead of the expected I. This might related to the text which translates to “love, let me free!” because the iv6 leads to a falling seconds progression until the downbeat of m66. This helps to build the anticipation and anxiousness the singer is experiencing towards his new love.
In m64-73, the text is repeated but harmonically it changes. A way the two phrases could be divided would be m.64-69(downbeat of) as one phrase and m.69 (beat 2)-73 as another. This would be logical because m.69-73 consist of ascending seconds with a 5-6 LIP that builds to the singers G5, the climax of the work emotionally, and it also serves as direction motion from the tonic to the dominant.
The dissonances that Hensel uses from m.64 to the end all seem to be used as chromatic passing tones or suspensions to create dramatic effects that correspond with the text to give the listener a connection to the emotions the singer experiences throughout the work.