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Verrat (1886)

Part of a series or song cycle:

Fünf Lieder (Op. 105)


Ich stand in einer lauen Nacht
An einer grünen Linde,
Der Mond schien hell, der Wind ging sacht,
Der Gießbach floß geschwinde.
Die Linde stand vor Liebchens Haus,
Die Türe hört’ ich knarren.
Mein Schatz ließ sacht ein Mannsbild ’raus:
„Laß morgen mich nicht harren.
Laß mich nicht harren, süßer Mann,
Wie hab ich dich so gerne!
Ans Fenster klopfe leise an,
Mein Schatz ist in der Ferne.“
Laß ab vom Druck und Kuß, Feinslieb,
Du Schöner im Sammetkleide,
Nun spute dich, du feiner Dieb,
Ein Mann harrt auf der Heide.
Der Mond scheint hell, der Rasen grün
Ist gut zu uns’rem Begegnen,
Du trägst ein Schwert und nickst so kühn,
Dein’ Liebschaft will ich segnen! –
Und als erschien der lichte Tag,
Was fand er auf der Heide?
Ein Toter in dem Blumen lag
Zu einer Falschen Leide.


One mild night I was standing
By a green linden tree,
The moon shone brightly, the wind blew softly,
And swiftly flowed the torrent.
The linden tree stood before my love’s house,
I heard the door creak,
Cautiously my love let a man out:
‘Don’t keep me waiting tomorrow.
Don’t keep me waiting, sweet man,
I love you so very dearly!
Tap gently against the window-pane,
My sweetheart’s far away.’
Leave your cuddling and kissing, my dear,
And you, handsome man in velvet,
Make haste, you cunning thief,
A man awaits you on the moor.
The moon shines bright, the green turf
Is fit for our encounter,
You wear a sword and nod so boldly,
I shall bless your liaison! –
And when the light of dawn appeared,
What did it find on the moor?
A dead man lay among the flowers,
To a false woman’s sorrow.
Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)

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Johannes Brahms (7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna. 

Brahms has been considered, by his contemporaries and by later writers, as both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Classical masters. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by many. 

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