Lieb Liebchen, leg's Händchen aufs Herze mein = Min äskling, din hand på mitt hjärta lägg / Söderman

Composer: Söderman, Johan August
Dates: 1832-1876
Song title: Lieb Liebchen, leg's Händchen aufs Herze mein = Min äskling, din hand på mitt hjärta lägg
Opus, no., etc.: Nr.2
Music collection title: Heidenröslein : Liederzyklus nach Heine
Imprint(s): Stockholm: Lundquist, 1859
Source(s) for score: Sånger med piano = Lieder mit Klavierbegleitung / August Söderman ; ed. Axel Helmer -- Stockholm : Edition Reimers, 1981 (Monumenta Musicae Svecica ; E:11)
1st line of poem: Lieb Liebchen, leg's Händchen aufs Herze (Go to text and translation)
Source of poem: Buch der Lieder: Junge Leiden: Lieder, Nr.4
Date of composition: 22. Nov. 1856
Nationality of composer: Swedish
Language(s) of text: words in German and Swedish; no translator given
Tempo marking: Etwas bewegt
Key: G minor
Time signature: common time
No. of measures: 24
Approximate duration: 1 min.
Form: Through-composed
Vocal range: B to f' (b to f"), tenor or soprano, or high baritone or mezzo
Vocal tessitura: medium tessitura (g to d) (Go to chart)
Vocal rhythms: mostly by quarter and eight notes, with frequent use of dotted eighth-note/sixteenth-note pattern
Vocal intervals: mainly stepwise with occasional skips of a third, ascending fourths and descending fifths
Vocal comments: some descending fourths with accidentals in the chromatic second half of the first stanza may be a little difficult to hear at first
Textual variants, etc.: final line repeats
Instrumental part(s): piano part moderately difficult, especially at the rather quick tempo indicated; thick textures (4-6 voices), rhythmically complex, rather Brahmsian; eighth-/quarter-/eighth-note syncopations in left hand, frequent doubling of the voice, often in octaves, in the right hand, with additional inner eighth-note triplet figurations; hand-crossing arpeggios in prelude and postlude
Summary: rich but not terribly adventurous mid-nineteenth century harmonies; great care should be taken to observe the dynamic and other expressive markings otherwise this song's relatively thick textures and the rhythmic uniformity of the voice part will pall. (Go to analysis)