Brahms Use of Suspensions and Deception in O Tod

Brahms has composed a song with an ebb and flow to it which delays
arrival onto stable harmonies, while still using traditional ascending and
descending melodic lines that we have studied this semester. Brahms sets
us up from the beginning to listen to thirds with the arpeggiations in the
melody that are quickly echoed in the accompaniment. Additionally, in the
first 8 measures, there is tonicization of E minor, G, and B minor outlining the
tonic triad of the piece. However, apart from the 1st and 6th measures, we do
not get to hear any major arrivals on E minor.
Instead, Brahms uses a series of both suspensions and phased rhythms
between the voice and accompaniment. This is set up from the start of the
piece where the piano is echoing the descending thirds seen in the first
measure, a full beat later. Although there is a strong pickup into measure 3,
the downbeat begins a grouping of four beats instead of three. This explains
why the first phrase is 5 measures long, and sets up an expectation that the
tonic will be delayed throughout the piece.
When we final hit this one chord, we very quickly move through G
major in measure 8, and into a ii-V progression in B minor which is thwarted
on the downbeat of measure 10. Instead of going to B-minor, Brahms thwarts
this arrival by using the III chord, and enforcing the 3rds relationships which
he began in the opening measures.

Our first arrival back onto the original tonic is not until measure 13,
which is an exact restatement of the opening (with the exception of an
octave displacement in measure 15, beat 3, L.H.). All of the work that has
been done in the opening 12 measures was for nothing, as the listener ends
back right where we began. Although this can feel frustrating as a listener, it
make sense with the text used. The singer is expressing frustration and
bitterness about death, and the music brings out that struggle of
acceptance.
Moving into the E major section at measure 18 provides a strong
contrast to the original. We follow up with the groupings of 4 in the opening 6
measures by moving us to 4/2 time, and there is a marked dynamic shift
from the forte at the start of the piece to a gentle piano. Textually, we are
beginning to see a change in tone about how death is a good judgement to
someone old and weak, a contrast from the bitterness in the first verse. This
section from measures 18 through 24 are filled with suspensions, which will
again delay us from reaching stability.
At measure 25, we again have a moment of stagnation keeping us
from a strong arrival where the harmony moves between I and iv in A major,
even as the melodic material is expanded in 26. We eventually move back to
tonic in measure 31, but we remain in the major mode, and have a series of
suspensions between beats 2 and 3 up until measure 35. We finally reach
tonic at the end of a phrase at measure 39, which is then arpeggiated over

two measures. This demonstrates an acceptance of death by the performer,

having moved away from the minor mode in the first third of the piece.