‘MAHLER: Commentary on His Music’

Gustav MahlerGustav Mahler Anniversary
July 7, 2010 marks the 150th anniversary of the birth of Gustav Mahler, one of the world’s greatest composers. Mahler’s music has catapulted to international acclaim during the past half century. Although his music has been amply recorded and performed, there are few places where a listener can go to find out how Mahler’s music works and what meaning it is intended to convey. So to celebrate this very special event, we will be presenting all of Mahler’s music in chronological order with a listeners’ guide to each work provided by our founder and program director, who also happens to be the president of the Gustav Mahler Society of New York.

Mahler Societies:
Internationale Gustav Mahler Gesellschaft Wien
Gustav Mahler Society of New York

ADDITIONAL LIST OF RECOMMENDED MAHLER RECORDINGS

Das Klagende Lied:
Susan Dunn, Brigitte Fassbaender, Markus Baur, Werner Hollweg, Düsseldorf  Musikverein Choir, Berlin Radio Symphony, Riccardo Chailly

Sym. #1:
Lucerne Festival Orchestra, Claudio Abbado (DVD)

Sym #2:
Emilia Cundari, Maureen Forrester, Westminster Choir, New York Philharmonic, Bruno Walter
Elisabeth Schwarzkopf, Hilde Rössel-Majdan, Philharmonic Chorus & Orchestra, Otto Klemperer
Heather Harper, Helen Watts, London Symphony Chorus & Orchestra, Georg Solti
Eteri Gvazava, Anna Larsson, Orfeon Donostiarra Choir, Lucerne Festival Orch., Claudio Abbado

Sym #3:
Kathleen Ferrier, BBC Symphony, Adrian Boult
Hilde Rössel-Majdan, Vienna State Opera Chorus, Vienna Boys’ Choir, Vienna Philharmonic, F. Charles Adler
Anna Larsson, Arnold Schoenberg Chorus; Tölzer Boys’ Choir, Lucerne Festival Orchestra, Claudio Abbado

Sym #4:
Margaret Price, London Philharmonic, Jascha Horenstein
Sylvia McNair, Berlin Philharmonic, Bernard Haitink
Judith Raskin, Cleveland Orchestra, George Szell
Felicity Lott, London Philharmonic, Franz Welser-Möst

Sym #5:
New York Philharmonic, Bruno Walter
New Philharmonia, John Barbirolli
Chicago Symphony, George Solti
Lucerne Festival Orchestra, Claudio Abbado

Sym #6:
Vienna Philharmonic, Leonard Bernstein (video & audio)
London Philharmonic, Klaus Tennstedt
Lucerne Festival Orchestra, Claudio Abbado
New York Philharmonic, Dimitri Mitropoulos

Sym #7:
Chicago Symphony, Claudio Abbado
Lucerne Festival Orchestra, Claudio Abbado

Sym #8:
Soloists, Chicago Symphony, Vienna Boys’ Choir, Vienna State Opera Chorus & Vienna Sinverein, Georg Solti
Soloists, London Philharmonic Choir, Tiffin School Boys’ Choir, London Philharmonic Orchestra, Klaus Tennstedt

Sym #9:
Columbia Symphony, Bruno Walter
Berlin Philharmonic, John Barbirolli
Chicago Symphony, Carlo Maria Giulini
Bamberg Symphony, Jonathan Nott

Das Lied von der Erde:
Kathleen Ferrier, Julius Patzak, Vienna Philharmonic, Bruno Walter
Alfreda Hodgson, John Mitchinson, Northern Symphony, Jascha Horenstein
Dietrich Fischer-Dieskau, James King, Vienna Philharmonic, Leonard Bernstein

Piano Quartet Movement in A minor (1876)

Wednesday, May 12th, 2010

Listening Guide

The Work


Performed by Members of the Philadelphia Orchestra (2-Ondine ODE 1084-SD)
Christoph Eschenback, piano
David Kim, violin
Choong-Jin Chang, viola
Efe Baltacigil, cello
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Das Klagende Lied – Introduction

Sunday, July 4th, 2010

Listening Guide

The Work

Dates of composition: 1878-1880, revised edition 1898-1900
Place of composition: Vienna and Jihlava
Premiere: February 17, 1901, Vienna
Type of composition: Cantata for vocal soloists, chorus and orchestra
Soloists: Soprano, Alto, Tenor, Baritone (in Part I only)

Movements:
Part I: Waldmärchen (A Forest Legend) [deleted by Mahler]
Part II: Der Spielmann (The Minstrel)
Part III: Die Hochzeitstück (The Wedding Piece)

London Symphony Orchestra and Chorus
Pierre Boulez, conductor

Grace Hoffman, soprano
Evelyn Lear, soprano
Elisabeth Söderström, soprano
Stuart Burrows, tenor
Ernst Haeflinger, tenor
Gerd Nienstedt, baritone

Sony Classical SK 45841
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Das Klagende Lied – Waldmärchen (Forest Legend)

Sunday, July 4th, 2010

Listening Guide

The Work

I. Waldmärchen
Es war eine stolze Königin,
gar lieblich ohne Maßen;
kein Ritter stand nach ihrem Sinn,
sie wollt’ sie alle Hassen.
O weh, du wonnigliches Weib!
Wem blühet wohl dein süßer Leib!

Im Wald eine rote Blume stand,
ach, so schön wie die Königinne.
Welch Rittersmann die Blume fand,
der konnt’ die Frau gewinnen!
O weh, du stolze Königin!
Wann bricht er whol, dein stolzer Sinn?

Zwei Brüder zogen zum Walde hin,
sie wollten die Blume suchen;
Der Eine hold und von mildem Sinn,
Der Andre konnte nur fluchen!
O Ritter, schlimmer Ritter mein,
o ließest du das Fluchen sein!

Als sie so zogen eine Weil’,
da kamen sie zu scheiden;
das war ein Suchen nur in Eil’,
im Wald und auf der Heiden.
Ihr Ritter mein, im schnellen Lauf,
wer findet wohl die Blume?

Der June zieht durch Wald und Heid’,
er braucht nicht lang zu gehn;
Bald sieht er von ferne bei der Weid’,
die rote Blume stehn.
Die hat er auf den Hut gesteckt,
und dann zur Ruh’ sich hingestreckt.

Der Andre zieht im wilden Hang,
umsonst durchsucht er die Heide,
und als der Abend herniedersank,
da kommt er zur grünen Weide!
O weh, wen er dort schlafend fand,
die Blume am Hut, am grünen Band!

Du wonnigliche Nachtigall,
und Rotkehlchen hinter der Hecken,
wollt ihr mit eurem süßen Schall
den armen Ritter erwecken!
Du rote Blume hinterm Hut,
Du blinkst und glänzest ja wie Blut!

Ein Auge blickt in wilder Freud’,
Des Schein hat nicht gelogen:
Ein Schwert von Stahl glänzt ihm zur Seit’,
das hat er nun gezogen.
Der Alte lacht unterm Weidenbaum,
der Junge lächelt wie im Traum.

Ihr Blumen, was seid ihr vom Tau so schwer?
Mir scheint, das sind gar Tränen!
Ihr Winde, was weht ihr so traurig daher,
was will euer Raunen und Wähnen?

“Im Wald, auf der grünen Heide,
da steht eine alte Weide.”

1. Forest Legend
There once was a proud queen,
lovely beyond measure;
no knight could win her favor,
She looked with scorn on all.
o woe, wondrous lady!
For whom will your fair body bloom?

In the forest is a red flower,
ah, as fair as the queen;
the knight who found the flower
would win her for his wife.
o woe, proud queen!
When will your proud spirit be broken?

Two brothers went into the forest
in search of the flower;
one was kind and gentle,
the other could only blaspheme.
o knight, evil knight,
give up your blasphemy!

When they had gone a little while,
they parted from each other;
and now each of them hastened
to search both wood and heath.
You knights, in such a hurry,
which of you will find the flower?

The younger went through wood and heath,
he did not need to search for long;
soon he saw, from afar, by a willow,
the red flower there.
He fixed it to his cap,
and then lay down to rest.

The other roamed a wild ravine,
he searched the heath in vain,
and as evening drew on,
he came to the green willow.
o woe to him he found sleeping there,
the flower in his cap, tied with green.

You, wondrous nightingale,
and robin of the hedgerows,
won’t you waken the poor knight
With your sweet song?
You, red flower in his cap,
you gleam and glint like blood!

An eye gleams in wild joy,
its brightness does not lie;
a steel sword glints at his side,
and now he has drawn it.
The elder laughs under the willow tree,
the younger smiles as if dreaming.

Flowers, why are you so heavy with dew?
They look like tears to me.
Breezes, why do you blow so sadly thence,
what does your whispering mean?

“In the forest, on the green heath,
there stands an old willow.”

Translation 1991 David Matthews
By permission of London Records

Das Klagende Lied – Der Spielmann (The Minstrel)

Sunday, July 4th, 2010

Listening Guide

The Work

II. Der Spielmann

Beim Weidenbaum, im kühlen Tann,
da flattern die Dohlen und Raben,
da liegt ein blonder Rittersmann
unter Blättern und Blüten begraben.
Dort ist’s so lind und voll von Duft,
als ging ein Weinen durch die Luft!
O leide, weh! O Leide!

Ein Spielmann zog einst des Weges daher,
da sah er ein Knöchlein blitzen;
er hob es auf, als wär’s ein Rohr,
wollt’ sich eine Flöte draus schnitzen.
O Spielmann, lieber Spielmann mein,
Das wird ein seitsam Spielen sein!
O Leide, weh! O Leide!

Der Spielmann setzt die Flöte an
und läßt sie laut erklingen:
O Wunder, was nun da began,
welch seltsam traurig Singen!
Es klingt so traurig und doch so schön,
wer’s hört, der möcht’ vor Leid vergehn!
O Leide, Leide!

“Ach, Spielmann, lieber Spielmann mein!
Das muß ich dir nun klagen:
Um ein schönfarbig Blümelein
Hat mich mein Bruder erschlagen!
Im Walde bleicht mein junger Leib,
mein Bruder freit ein wonnig Weib!”
O Leide, Leide, weh!

Der Spielmann ziehet in die Welt’,
läßt’s überall erklingen.
Ach weh, ach weh, ihr lieben Leut’,
was soll denn euch mein Singen?
Hinauf muß ich zu des Königs Saal,
hinauf zu des Königs holdem Gemahl!
O Leide, weh, o Leide!

II. The Minstrel

By a willow tree, in a cool forest,
where jackdaws and ravens hover,
there lies a fair-headed knight
Buried under leaves and blossoms.
It is so calm and fragrant there,
as if weeping filled the air!
o sorrow, sorrow!

A minstrel once went that way,
he saw a bone gleaming there;
he picked it up, as if it were a reed
from which he might carve a flute.
o minstrel, dear minstrel,
that will be a strange sort of music!
o sorrow, woe, sorrow!

The minstrel put the flute to his mouth
and let it play loudly.
o wonder, at what now began!
What strange and mournful singing!
So mournful and yet so beautiful,
whoever heard it might die of sorrow!
o sorrow, sorrow!

“0 minstrel, dear minstrel,
I must tell you my grievous tale:
for a brightly coloured flower
my brother murdered me.
My young bones bleach in the forest,
My brother woos a fair bride.”
o sorrow, sorrow, woe!

The minstrel went far and wide,
elsewhere playing his music.
“Alas, alas, dear people,
what do you think of my song?
I must go to the royal castle,
to the king’s fair bride.”
o Sorrow, woe, sorrow.

Translation 1991 David Matthews
By permission of London Records

Das Klagende Lied – Die Hochzeitstück (The Wedding Party)

Tuesday, July 6th, 2010

Listening Guide

The Work

III. Hochzeitsstück

Vom hohen Felsen erglänzt das Schloß,
die Zinken erschalin und Drometten.
Dort sitzt der mutagen Ritter Troß,

die Frauen mit goldenen Ketten.
Was will wohl der jubelnde, fröhliche Schall?
Was leuchtet und glänzt im Königssaal?

O Freude, heiah! Freude!

Und weißt du’s nicht, warum die Freud’?

Hei! Daß ich dir’s sagen kann!
Die Königin halt Hochzeit heut’
mit dem jungen Rittersmann!
Seht hin, die stolze Königin!
Heut’ bricht er doch, ihr stolzer Sinn!
O Freude, heiah! Freude!

Was ist der König so stumm und bleich?
Hört nicht des Jubels Töne!
Sieht nicht die Gäste stolz und reich,
sieht nicht der Königin holde Schöne!

Was ist der König so bleich und stumm?
Was geht ihm wohl im Kopf herum?
Ein Spielmann tritt zur Türe herein!
Was mag’s wohl mit dem Spielmann sein?
O leide, weh! O Leide!

“Ach Spielmann, lieber Spielmann mein,
Das muß ich dir nun klagen!
Um ein schönfarbig Blümelein
hat mich mein Bruder erschlagen!
Im Walde bleicht mein junger Leib,
mein Bruder freit ein wonnig Weib!”

O Leide, weh! O Leide!

Auf springt der König von seinem Thron
Und blickt auf die Hochzeitsrund’.
Und er nimmt die Flöte in frevelndem Hohn
Und setzt sie selbst an den Mund!
O Schrecken, was nun da erklang!
Hört ihr die Märe, todesbang?

“Ach Bruder, lieber Bruder mein,
du hast mich ja erschlagen!
Nun blast du aif meinem Totenbein,
das muß ich ewig klagen!
Was hast du mein junges Leben
dem Tode hingegeben?”
O Leide, weh! O Leide!

Am Boden liegt die Königin,
die Pauken verstummen und Zinken.
Mit Schrecken die Ritter und Frauen fliehn,
die alten Mauern sinken!
Die Lichter versloschen im Königssaal!

Was ist whol mit dem Hochzeitsmahl?
Ach Leide!

III. Wedding Piece

The castle gleams from the high cliff,
trumpets and drums resound;
there sits the band of brave knights,

and their ladies with gold necklaces.
What does this joyful, festive sound mean?
What glitters and shines in the great hall?

Joy, 0 joy!

And do you not know the reason for this joy?

Indeed I can tell you:
the queen is to be married today
to the young knight.
See there, the proud queen!
Today her proud spirit shall be broken.
Joy, 0 joy!

Why is the king so silent and pale?
He does not hear the joyful sounds,
he does not see the guests, so proud and rich,
or the queen’s ravishing beauty.

Why is the king so pale and silent?
What disturbs his peace of mind?
A minstrel comes to the door!
What has the minstrel come for?
o Sorrow, woe, sorrow!

“0 minstrel, dear minstrel,
I must tell you my grievous tale:
for a brightly coloured flower
my brother murdered me.
My young bones bleach in the forest,
my brother woods a fair bride.”

O sorrow, woe, sorrow!

The king leaps up from his throne
and looks at his wedding guests;
he takes the flute contemptuously
and puts it in his mouth.
o horror, what sounds forth now!
Do you hear the fearful story?

“0 brother, dear brother,
It was you who murdered me;
now you play on my bone!
For this I must ever accuse you.
Why have you given to Death
my young life?”
o sorrow, woe, sorrow!

The queen sinks to the ground,
trumpets and drums are silent;
the knights and their ladies flee in terror,
the ancient ramparts crumble.
The lights have gone out in the great hall.

What is left of the wedding feast?
o sorrow!

Translation 1991 David Matthews
By permission of London Records

Lieder Und Gesänge Aus Dem Jugendzeit – Introduction

Tuesday, July 6th, 2010

Listening Guide

The Work

Composition: 3 books of consisting of 14 songs and airs

Date(s) of Composition:
Book I: 1880-1883; published by Schott in 1885
Books II & III: 1887-1890; published by Schott in 1892
Kritische Gesamtausgabe, Band XIII, Teilbanden 2a and 5

The first 9 songs are performed by:
Dame Janet Baker, mezzo-soprano
Geoffrey Parsons, piano
Hyperion CDA66100
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The next 2 songs are performed by:
Thomas Hampson, baritone
David Lutz, piano
Teldec 9031-74002-2

The last 5 songs are performed by:
Dietrich Fischer-Dieskau, baritone
Leonard Bernstein, piano
Sony SM2K-47170

Lieder Und Gesänge Aus Dem Jugendzeit – Im Lenz (In Spring)

Tuesday, July 6th, 2010

Listening Guide

The Work


Date of composition: February 19, 1880.
Key: F major/D-flat major.
Tempo: Sehr lebhaft; Noch einmal so langsam (Very fast; once again as slowly)
The latter tempo marking does not appear in the Kritische Gesamtausgabe edition.
Time Signature: 4/4 (or common time)

Sag’ an, du Träumer am lichten Tag,
Was willst du heut’ mit dem Bangen?
Du wandelst so stumm durch Lenz und Hag,
Als wärst du von Blindheit befangen.
Ich bin nicht blind und sehe doch nicht,
Mir ist nicht dunkel und ist nicht licht,
Könnt’ lachen und könnte weinen,
Doch sagen könnt’ ich es Keinem.

O sieht dich die Sonne so freundlich an,
Was sollen dir Schmerz und Reue!
Wirf ab deine Last, du trauriger Mann,
Und freu’dich an Sonne und Bläue.

Mich freut keine Sonne, mich freut kein Blau
Und hab’ doch den Frühling so gerne,
Ach, die ich allein nur am liebsten erschau,
Die weilt schon lang in der Ferne.

O tell me, dreamer in midday’s light
The cause of thy boundless terrors,
Of the silent wandering through vernal groves
As though struck with blindness.
I am not blind and yet I see not
I see no darkness and yet no light,
So close to laughter, so close to tears
That my lips can utter no word!”

Does the Sun’s friendly smile not cheer thee?
Let thy sorrow be, regret no more!
Cast away thy burden, thou sorrowful man,
And rejoice in the sun and the sky

No sun can warm me, no sky cheer me,
Yet Spring does fill my heart with joy
Ah! she alone who delights my eye
Tarries so long and so far from here.

Lieder Und Gesänge Aus Dem Jugendzeit – Winterlied (A Winter’s Song)

Tuesday, July 6th, 2010

Listening Guide

The Work

Date of composition: February 27, 1880
Key: A major; F minor-major (through numerous modulations)
Tempo: Leicht bewegt (gently animated); Kritische Gesamtausgabe adds durchaus in gleichen Zeitmas (throughout in the same tempo)
Time Signature: 6/8 and 9/8

Über Berg und Tal
Mit lautem Schall
Tönet ein Liedchen,
Durch Schnee und Eis
Dringt es so heiss
Bis zu dem Hüttchen.
Wo das Feuer brummt,
Wo das Rädchen summt
Im traulichen Stübchen.
Um den Tisch herum
Sitzen die stumm.
Hörst du mich, Liebchen?
Im kalten Schnee,
Sieh’ wie ich steh’
Sing’ zu dir Mädchen!
Hat denn mein Lied
So dich erglüht
Oder das Rädchen?
Ewig verschwunden.
Wie bist du so weit
O selige Studen . . .
Ach nur ein Blick,
War unser Glück,
O liebliche Zeit
Through hill and vale
The echoes everywhere
Loudly repeat my song
Through snow and ice
Making its way
To the warm cottage
Where the fire hisses
And the spinning wheel hums
In warm and cozy rooms
Around the big table
They are seated in silence.
Does my sweetheart hear me?
In the cold snow
See where I stand
Singing to thee, my love!
Was it my song
Which reddened thy cheek,
Or the spinning wheel?
O lovely time
So far away and lost
Sweet hours of bliss. . .
In a fleeting moment,
Our joy was over
And lost forever.

Lieder Und Gesänge Aus Dem Jugendzeit – Maitanz Im Grünen (May Dance in Greenery)

Tuesday, July 6th, 2010

Listening Guide

The Work

Date of composition: March, 1880
Key: D major (F major in the Kritische Gesamtausgabe)
Tempo: Lustig und keck. In Zeitmass eines Ländlers (Gay and bold, in the tempo of a ländler) (under the title Maitanz im Grünen);
Im gemächlichen Walzertempo (In an easy waltz tempo) (in the version entitled Hans und Grethe)
Time Signature: 3/4

Ringel, ringel Reih’n!
Wer fröhlich ist, der schinge sich ein!
Wer Sorgen hat, der lass’ sie deheim!
Wer ein liebes Liebchen küsst,
Wie glücklich der ist!
Ei, Hänschen, du hast ja kein’s!
So suche dir ein’s!
Ein liebes Liebchen, das ist was Fein’s!
Juch-he! Juch-he!
Ringel, ringel Reih’n!
Ei, Gretchen, was steht denn si allein?
Guckst doch hinüber zum Hänselein!?
Und ist doch der Mai so grün!?
Und die Lüfte, sie zieh’n!
Ei seht doch den dummen Hans!
Wie er rennet zum Tanz!
Er suchte ein Liebchen, Juch-he!
Er fand’s! Juch-he!
Juch-he! Juch-he! Juch-he!
Ringel, ringel Reih’n!
Ringel Reih’n! Ringel Reih’n! Reih’n!
Ring-around-a-rosy!
Whoever is merry let him join in!
Whoever has cares, let him leave them at home!
Whoever kisses a dear sweetheart,
How happy is he!
Oh, Hanschen you have none!
Then look for one!
A dear sweetheart is something grand!
High-ho! High-ho!
Ring-around-a-rosy!
Oh, Gretchen, why do you stand so alone?
Yet you are peeping over at Hanselein!?
And May is so green!?
And the breezes they blow!
Oh look at stupid Hans!
How he is running to the dance!
He searched for a sweetheart, High-ho!
He found her! High-ho!
High-ho! High-ho! High-ho!
Ring-around-a-rosy!
Around-a-rosy! Around-a-rosy! A-rosy!

Lieder Und Gesänge Aus Dem Jugendzeit – Frühlingsmorgen (Spring Morning)

Wednesday, July 7th, 2010

Listening Guide

The Work

Key: F major (in the Arnold Rose manuscript and the Kritische Gesamtausgabe); G major (in the Schott edition)
Tempo: Gemächlich, leicht bewegt (Easily, lightly agitated)
Time Signature: 6/8 (with 2 intermitted measures in 3/8)

Es klopft an das Fenster der Lindenbaum
Mit Zweigen, blüthenbehangen:
Steh’ auf! Steh’ auf!
Was liegst du im Traum?
Die Sonn’ ist aufgegangen!
Steh’ auf! Steh’ auf!
Die Lerche ist wach, die Büsche weh’n!
Die Bienen summen und Käfer!
Steh’ auf! Steh’ auf!
Und dein munteres Lieb’ hab’ ich auch schon geseh’n.
Steh’ auf, Langschläfer!
Langschläfer, steh’ auf!
Steh’ auf! Steh’ auf!
There taps at the window the linden tree
With branches, blossom laden:
Arise! Arise!
Why do you lie in a dream?
The sun has come up!
Arise! Arise!
The lark is awake, the bushes flutter!
The bees are humming and the beetles!
Arise! Arise!
And what is more, I saw your merry sweetheart already.
Arise, you lie-a-bed!
Lie-a-bed, arise!
Arise! Arise!

Lieder Und Gesänge Aus Dem Jugendzeit – Erinnerung (Reminiscences)

Wednesday, July 7th, 2010

Listening Guide

The Work


Key: G minor (ending in A minor)
Tempo: Langsam und sehnsüchtig (Slowly and ardently)
Time Signature: 3/4

Es weckt meine Liebe die Lieder immer wieder!
Es wecken meine Lieder die Liebe immer wieder!
Die Lippen, die da träumen von deinen heissen Küssen,
In Sang und Liedesweisen von dir sie tönen müssen!
Und wollen die Gedanken der Liebe sich entschlagen,
So kommen meine Lieder zi mir mit Liebesklagen!
So halten mich in Banden die Bieden immer wieder!
Es weckt das Lied die Liebe!
Die Liebe weckt die Lieder!
My love wakens the songs ever anew!
My songs waken my love ever anew!
My lips which dream of your fervent kisses,
In song and melody they have to chant to you!
And if my thoughts would like to dismiss love,
Then my songs come to me with love’s lament!
Thus I am held in captive by these two forever!
The song will waken love!
And love wakens the songs!

Lieder Und Gesänge Aus Dem Jugendzeit – Serenade Aus Don Juan

Wednesday, July 7th, 2010

Listening Guide

The Work

Key: D-flat major (in the Arnold Rose manuscript); D major (in the Schott edition); C major for high voice or D major for the low voice (in the Kritische Gesamtausgabe)
Tempo: Leicht fliessend (Lightly gliding)
Time Signature: 3/4

Ist’s dein Wille, süsse Maid,
Meinem heissen Liebesstreben
Erst im Tode Raum zu geben,
O, da wart’ ich lange Zeit!
Soll ich deine Gunst geniessen
Erst nach meinem Erdengange,
Währt mein Leben allzulange!
Mag es gleich im Nu zerfliessen!
Mag es gleich im Nu zerfliessen!
Ist’s dein Wille, süsse Maid,
Erst im Tode Raum zu geben,
O das ist gar lange Zeit,
Gar zu lange Zeit!
If it is your will, sweet maiden,
To my fervent wooing
Only in death to yield,
Oh, then I must wait a long time!
If I shall enjoy your favor,
Only after my span on earth,
Then my life lasts far too long!
May it melt away this instant!
May it melt away this instant!
If it is your will, sweet maiden,
Only in death to yield,
Oh that is too long a time,
Far too long a time!

Lieder Und Gesänge Aus Dem Jugendzeit – Phantasie Aus Don Juan

Wednesday, July 7th, 2010

Listening Guide

The Work

Key: B minor
Tempo: Träumerisch (Dreamily)
Time Signature: 4/4

Das Mägdlein trat aus dem Fischerhaus,
Die Netze warf sie in’s Meer hinaus,
In’s Meer hinaus!
Und wenn kein Fisch in das Netz ihr ging,
Die Fischerin doch die Herzen fing,
Die Herzen, die Herzen!
Die Winde streifen so kühl umher,
Erzählen leis’ eine alte Mär’,
Eine alte Mär’!
Die See erglüht im Abendroth,
Die Fischerin fühlt nicht Liebesnot
Im Herzen, im Herzen!
The maiden came out of the fisher’s house,
The nets she cast into the sea,
Into the sea!
And when no fish in her net was caught,
The fishermaid did catch hearts,
The hearts, the hearts!
The winds blow so freshly all around,
They softly tell and old fairy tale,
An old fairy tale!
The sea glows red in the evening light,
The fishermaid feels not love’s torment,
In her heart, in her heart!

Lieder Und Gesänge Aus Dem Jugendzeit – Un Schlimme Kinder Artig Zu Machen (To Make Bad Children Good)

Monday, July 12th, 2010

Listening Guide

The Work

Date of composition: 1888
Key: D major (E major for high voice in International Music edition)
Tempo: Lustig (Merrily)
Time Signature: 4/4
Form: Strophic

Es kam ein Herr zum Schlösseli
Auf einem schönen Röss’li,
Ku-ku-kuk, ku-ku-kuk!

Da lugt die Frau zum Fenster aus
Und sagt: “Der Mann ist nicht zu Haus,
Und neimand heim als meine Kind’,
Und’s Mädchen ist aufder Wäschewind!”
Der Herr auf seinem Rösseli
Sagt zu der Frau im Schlösseli:
Ku-ku-kuk,ku-ku-kuk!

“Sind gute Kind’, sind’s böse Kind’?
Ach, liebe Frau,auch sagt geschwind,”
Ku-ku-kuk, ku-ku-kuk!
“In meiner Tasch’ für folgsam Kind’,
Da hab’ich manche Angebind,”
Ku-ku-kuk, ku-ku-kuk!

Die Frau die sagt: “Sehr böse Kind’!
Sie folgen Muttern nicht geschwind,
Sind böse, sind böse!”
Ku-ku-kuk, ku-ku-kuk!
Der gleichen Kinder brauch’ ich kein!”
Ku-ku-kuk, ku-ku-kuk!

Und reit’ auf seinem Rösseli
Weit,weit entweg vom Schösseli!
Da sagt der Herr: “So reit’ich heim,

There came a lord to the little castle
On a beautiful little horse.
Cu-cu-ckoo, cu-cu-ckoo!

There looks the lady out of the window
And says: “my husband is not at home,
And no one is home except my children,
And the maidservant is in the wash-house!”
The lord on his little horse
Says to the lady in the little castle:
Cu-cu-ckoo, cu-cu-ckoo!

“Are they good children,are the bad children?
Oh,dear lady,oh tell me quickly,”
Cu-cu-ckoo, cu-cu-ckoo!
“In my bag for obedient children,
I have many gifts,”
Cu-cu-ckoo, cu-cu-ckoo!

The lady says:”Very bad children!
They don’t obey their mother quickly,
They are bad, they are bad!”
So the lord says: “then I will ride home,
For such children I have no use!”
Cu-cu-ckoo, cu-cu-ckoo!

And he rides on his little horse
Far, far away from the little castle!
Cu-cu-ckoo, cu-cu-ckoo!

Lieder Und Gesänge Aus Dem Jugendzeit – Ich Ging Mit Lust Durch Einen Grünen Wald (I Went Joyfully Through The Green Woods)

Monday, July 12th, 2010

Listening Guide

The Work

Key: C major (D major for high voice); G (or A) major in the middle section
Tempo: Träumerisch, durchaus zart (Dreamily, delicately throughout)
Time Signature: 2/4
Form: AABA

Ich ging mit Lust durch einen grünen Wald,
Ich hört’ ein Vöglein singen.
Sie sangen so jung, sie sangen so alt,
Die kleinen Waldvögelein im grünen Wald!
Wie gern’ hört’ ich sie singen, ja singen!
Nun sing’, nun sing’, nun sing’, Frau Nachtigall!
Sing’ du’s bei meinem Feinsliebchen:
Komm schier, komm schier, wenn’s finster ist,
Wenn niemand auf der Gasse ist,
Dann komm’ zu mir, dann komm’ zu mir!
Herein will ich dich lassen, ja lassen!
Der Tag verging, die Nacht brach an,
Er kam zu Feinsliebchen, Feinsliebchen gegangen.
Wo ist dein Herzliebster geblieben?
Ei, schläfst du oder wachst, mein Kind?
Ich hab’ so lang’ gestanden!
Es schaut der Mond durch’s Fensterlein
Zum holden, süssen Lieben,
Du schlafselg’ Mägdelein
Nimm dich in Acht, nimm dich in Acht!
Er klopt so leis’ wohl an den Ring,
I went joyfully through a green wood,
I heard the little birds sing.
They sang so young, they sang so old,
The little woodbirds in the green wood!
How gladly I heard them sing, yes sing!
Now, sing, now sing, now sing, Madame Nightingale!
Sing this to my dear sweetheart:
Come along, come along, when it is dark,
When no one is about,
Then come to me, then come to me!
I will let you in, yes let you in!
the day went by, the night began,
He came to his sweetheart, his sweetheart.
He taps so softly on the knocker,
Oh, are you asleep or awake, my child?
I have been standing so long!
The moon peers through the little window
At their lovely, sweet embraces,
, You sleep-charmed maiden,
Take care, take care!
Where is your dear lover now?

Lieder Und Gesänge Aus Dem Jugendzeit – Aus! Aus! (“Over! Over!”)

Monday, July 12th, 2010

Listening Guide

The Work

Key: D-flat major (in the original manuscript); E-flat (in the Schott edition for high voice) and C major (for low voice in both the Schott edition and the Kritische Gesamtausgabe); a middle section in B major (C in the Schott edition or B-flat).
Tempo: Keckes Marschtempo (In a lively marching tempo)
Time Signature: 2/4
Form: ABACADBA (Rondo)

“Heute marschieren wir!
Juch-he, im grünen Mai!
Morgen marschieren wir
Zu dem hohen Tor hinaus,
Zum hohen Tor hinaus! Aus!”

“Reis’st du denn schon fort?
Je, je! Mein Liebster!
Kommst niemals wider heim?
Je! je! Mein Liebster!”

“Heute marschieren wir,
Juch-he, im grünen Mai!
Ei, du schwarzbraun’s Mägdelein,
Uns’re Lieb’ ist noch nicht aus, aus!
Die Lieb’ ist noch nicht aus, aus!
Trink’ du ein Gläschen Wein
Zur Gesundheit dein und mein!
Siehst du diesen Strauss am Hut?
Jetzo heisst’s marschieren gut!
Nimm das Tüchlein aus der Tasch’,
Deine Tränlein mit abwasch’!

“Heute marschieren wir,
Juch-he, im grünen Mai!”

“Ich will in’s Kloster geh’n,
Weil mein Schatz davon geht!
Wo geht’s denn hin, mein Schatz?
Gehst du fort, heut schon fort?
Und kommst nimmer wieder?
Ach! Wie wird’s traurig sein
Hier in dem Städtchen!
Wie bald vergisst du mein!
Ich! Armes Mädchen!”

“Morgen marschieren mir,
Juch-he, im grünen Mai!
Tröst dich, mein lieber Schatz,
Im Mai blüh’n gar viel Blümelein!
Die Lieb’ ist noch nicht aus!
Aus! Aus! Aus! Aus!”

“Today we march!
High ho, in the green May!
Tomorrow we shall march away
Out of the high gate,
Out of the high gate! Out!”

“Are you already going away?
Oh, my oh my! My dearest!
Won’t you ever come back home again?
Oh, my oh my! My dearest!”

“Today we march,
High ho, in the green May!
Oh you dark brown little maiden,
Our love is not yet over,
Love is not yet over, over!
Drink a little glass of wine
To your health and mine!
Do you see these flowers on my hat?
Now we really have to march!
Take your kerchief from your pocket,
Your little tears to wipe away!

Today we march,
High ho, in the green May!”

“I want to go into the convent,
Because my sweetheart is going away!
Where are you going, my sweetheart?
Do you go away, already today?
And will you never come back?
Oh! How said it will be
Here in the little town!
You soon will forget me!
Poor maiden I!”

“Tomorrow we shall march,
High ho, in the green May!
Console yourself, my dear sweetheart,
In May many flowers are blooming!
Love is not yet over!
Over! Over! Over! Over!”

Lieder Und Gesänge Aus Dem Jugendzeit – Starke Einbildungskraft (Strong Imagination)

Monday, July 12th, 2010

Listening Guide

The Work

Key: B-flat major (in the Arnold Rose manuscript); C major (in the Schott edition for high voice); A major (in the Schott edition for low voice and in the Kritische Gesamtausgabe)
Tempo: Sehr gemächlich, mit humoristischen Ausdruck (Very easily, with humorous expression)
Time Signature: 4/4
Form: Simple strophic

Hast gesagt, du willst mich nehmen,
So bald der Sommer kommt!
Der Sommer ist gekommen, ja kommen,
Du hast mich nicht genommen, ja nommen!
Ich wär’ schon bei dir!
Gelt, ja? Gelt, ja? Gelt, ja, du nimst mich noch?

Wie soll ich dich denn nehmen,
Dieweil ich doch schon hab’?
Und wennich halt an dich gedenk’,
So mein’ ich alle weile:
Geh=, Büble, geh’! Geh’, nehm’ mich!

You have said you want to take me,
As soon as summer comes!
Summer has come, yes come,
You have not taken me, taken me!
Come, boy, come, Come here, take me!
Won’t you? Won’t you? Won’t you take me yet?

How then shall I take you
When I already have you?
And when I just do think of you,
It seems to me all the while:
That I were already with you!

Lieder Und Gesänge Aus Dem Jugendzeit – Zu Strassburg Auf Der Schanz (At Strasbourg On The Battlement)

Monday, July 12th, 2010

Listening Guide

The Work

Key: F-sharp minor (in the Arnold Rose manuscript); G minor (Schott edition in high voice); F minor (Schott edition in low voice and in the Kritische Gesamtausgabe)
Tempo: Im Volkston (ohne Sentimentalität, äusserst rythmisch); As a folk tune (without sentiment, extremely rhythmic)
Time Signature: 4/4
Form: Semi-strophic on four stanzas

Zu Strassburtg auf der Schanz’,
Da ging mein Trauern an!
Das Alphorn hört’ ich drüben wohl anstimmen,
In’s Vaterland musst’ ich hinüber schwimmen;
Das ging ja nicht an, das ging ja nicht an!

Ein’ Stund’ in der Nacht sie haben mich gebracht;
Sie führten mich gleich vor des Hauptmann’s Haus!
Ach Gott! Sie fischten mich im Strome aus!
Mit mir ist es aus, mit mir es ist aus!

Früh morgens um zehn Uhr
Stellt man mich vor’s Regiment!
Ich soll da bitten um Pardon!
Und ich bekomm’ doch meinem Lohn!
Das weiss ich schon, das weiss ich schon!

Ihr Brüder all’ zumal, Ihr Brüder all’ zumal,
Das klag’ ich an, das klag’ ich an!
Der Hirtenbub’ ist nur schuld daran!
Das Alphorn hat mir’s angethan,
Das hat mir’s angethan!
Heut’ seht ihr mich zum letzten mal!

At Strasbourg on the battlement,
My sorrowing began!
The alpine horn I heard resound from yonder,
To my Fatherland I had to swim across;
That could not be, that could not be!

At one in the night they brought me back;
They led me straight to the Captain’s house!
Oh God! They fished me out of the stream!
All if over for me now, all is over for me now!

Early in the morning at ten
They made me face the regiment!
I then should ask for pardon!
And yet I shall receive my dues!
I know full well, I know full well!

You brothers all of mine, you brothers all of mine,
Today you see me for the last time!
It is only the fault of the shepherd boy!
The alpine horn has bewitched me,
It has bewitched me!
And I accuse it, I accuse it!

Lieder Und Gesänge Aus Dem Jugendzeit – Ablösung Im Sommer (Relief In Summer)

Monday, July 12th, 2010

Listening Guide

The Work

Key: B-flat minor (A minor in low voice and the Kritische Gesamtausgabe) switching to major for the middle section
Tempo: Mit Humor (with humor)
Time Signature: 2/4
Form: free strophic form (in four stanzas)

Ku-kuk hat sich zu Tode gefallen,
Tode gefallen an einer grünen Weiden!
Weiden! Weiden!
Ku-kuk ist todt! Ku-kuk ist todt!
Hat sich zu Tod’ gefallen!

Wer soll uns denn den Sommer Lang
Die Zeit und Weil’ vertreiben?
Ku-kuk! Ku-kuk!
Wer soll uns denn den Sommer Lang
Die Zeit und Weil’ vertreiben?

Ei! Das soll thun Frau Nachtigall!
Die sitzt auf grünem Zweige!
Die kleine, feine Nachtigall,
Die liebe, süsse Nachtigall!
Sie singt und springt, ist all’zeit froh,
Wenn andre Vögel schweigen!

Wir warten aud Frau Nachtigall;
Dann fängt sie an zu schlagen!
Und wenn der Ku-kuk zu Ende ist,
Die woht im grünen Hage!

Cuckoo has fallen to its death,
Fallen to death on a green willow!
Willow! Willow!
Cuckoo is dead! Cuckoo is dead!
Has fallen to its death!

Who then shall all summer long
Beguile the time for us?
Cuckoo! Cuckoo!
Who then shall all summer long
Beguile the time for us?

Oh, let it be Madam Nightingale!
She sits on a green branch!
The little, fine nightingale,
The dear, sweet nightingale!
She sings and springs, is always gay,
When other birds are silent!

We wait for Madam Nightingale;
She lives in the green glen,
And when the cuckoo’s call has stopped,
Then she begins to sing!

Lieder Und Gesänge Aus Dem Jugendzeit – Scheiden Und Meiden (Parting And Fleeing)

Monday, July 12th, 2010

Listening Guide

The Work

Key: F major alternating with minor (in Arnold Rose manuscript); G major/minor (in Schott edition)
Tempo: Lustig (Merrily)
Time Signature: 6/8 with 2/4 at the end of each pair of stanzas
Form: strophic and through-composed song form in combination (4 stanzas)

Es ritten drei Reiter zum Thore hinaus!
Ade! Ade!
Fein’s Liebchen, das schaute zum Fenster hinaus!
Ade! Ade! Ade!

Und wenn es denn soll geschieden sein,
So reich’ mir dein goldenes Ringelein!
Ade! Ade!
Ja, Scheiden und Meiden thut weh, thut weh!
Ja, Scheiden und Meiden thut weh, thut weh!
Ade! Ade! Ade!

Es scheidet das Kind schon in der Wieg’!
Ade! Ade!
Wann werd’ ich mein Schätzel wohl kriegen?!
Ade! Ade!

Und ist es nicht morgen,
Ach, wär’ es doch heit’!
Es macht uns Beiden wohl grosse Freud’!
Ade! Ade! Ade!
Ade! Ade! Ade!

Ja, Scheiden und Meiden thut weh, thut weh!
Ja, Scheiden und Meiden thut weh, thut weh!
Ade!

There rode three horsemen out of the gate
Farewell! Farewell!
A sweetheart looked out of the window!
Farewell! Farewell! Farewell!

And if we really must part,
Then give me thine little gold ring!
Farewell! Farewell!
Yes, parting is a sad thing!
Yes, parting is a sad thing!
Farewell! Farewell! Farewell!

The child will leave already in its cradle!
Farewell! Farewell!
When will my sweetheart be mine?
Farewell! Farewell!

And if it won’t be tomorrow,
Oh, could it be but today!
It would make us both so happy!
Farewell! Farewell! Farewell!
Farewell! Farewell! Farewell!

Yes, parting is a sad thing!
Yes, parting is a sad thing!
Farewell!

Lieder Und Gesänge Aus Dem Jugendzeit – Nicht Wiedersehen! (Never To Meet Again)

Monday, July 12th, 2010

Listening Guide

The Work

Key: C minor (B minor in the Kritische Gesamtausgabe) with a modulation into the major before the closing coda
Tempo: Schwermüthig (sorrowfully)
Time Signature: 4/4
Form: ABCBA

Und nun ade, mein herzallerliebster Schatz!
Jetzt muss ich wohl scheiden von dir, von dir,
Bis auf den andern Sommer,
Dann komm uch wieder zu dur!
Ade! Ade, mein herzallerliebster Schatz,
Mein herzallerliebster Schatz!

Und als der junge Knab’ heimkam,
Von seiner Liebsten fing er an:
Wo ist meine Herzallerliebste,
Die ich verlassen hab’?

Auf dem Kirchhof liegst sie begraben,
Heut’ ist’s der dritte Tag!
Das Trauern und das Weinen hat sie zum Tod Gebracht!
Ade! Ade, mein herzallerliebster Schatz,
Mein herzallerliebster Schatz!

Jetzt will ich auf den Kirchhof geh’n,
Will suchen meiner Liebsten Grab,
Will ihr all’weile rufen, ja rufen,
Bis dass sie mir Antwort gab!

Ei du, mein allerherzliebster Schatz,
Mach’ auf dein tiefes Grab!
Du hörst kein Glöcklein läuten,
Du hörst kein Vöglein pfeifen,
Mein herzallerliebster Schatz! Ade!
Ade! Ade, mein herzallerliebster Schatz,
Du siehst weder Sonne noch Mond!

And now farewell, my heart’s beloved!
Now I must part from thee, from thee,
Until next summer comes,
Then I shall return to thee!
Farewell, farewell, my heart’s beloved,
My heart’s beloved!

And when the young boy came home again,
He began to ask for his sweetheart:
“Where is my heart’s beloved,
Whom I have left behind?”

“In the churchyard she lies buried,
Today is the third day!
Her mourning and weeping has made her die!”
Farewell, farewell, my heart’s beloved,
My heart’s beloved!

Now I will go to the churchyard,
Will search for my sweetheart’s grave,
Will be calling her all the while, yes calling,
Until she answers me!

Oh thou, my heart’s beloved,
Open thy deep grave!
Thou hearest no little bell tolling,
Thou hearest no little bird singing,
Thou seest neither sun nor moon!
Farewell, farewell, my heart’s beloved,
My heart’s beloved! Farewell!

Lieder Und Gesänge Aus Dem Jugendzeit – Selbstgefühl (My Mood)

Monday, July 12th, 2010

Listening Guide

The Work

Key: F major (in Arnold Rose manuscript and the Kritische Gesamtausgabe); G major (in Schott edition)
Tempo: In verdriesslichem Ton (Vexatiously)
Time Signature: 3/4
Form: simple strophic

Ich weiss nicht, wie mir ist!
Ich bin nicht krank und nicht gesund,
Ich bin blesssirt und hab’ kein Wund’,
Ich weiss nicht, wie mir ist!

Ich thät’ gern essen und schmeckt mir nichts;
Ich hab’ ein Geld, und gilt mir nichts,
Ich hab’ ein Geld, und gilt mir nichts,
Ich weiss nicht, wie mir ist!
Ich hab’ sogar kein’ Schnupftabak,
Und hab’ kein Kreuzer Geld im Sack,
Kein Geld im Sack,

Ich hab’ sogar kein’ Schnupftabak,
Und hab’ kein Kreuzer Geld im Sack,
Nein’ Kreuzer Geld im Sack!
Ich weiss nicht wie mir ist, wie mir ist!
Heirathen thät’ich auch schon gern’,
Kann aber Kinderschrein nicht hör’n!
Ich weiss nicht, wie mir ist!
Ich hab’ erst heut’ den Doktor gefragt,
Der hat mir’s in’s Gesicht gesagt:
“AIch weiss wohl, was dir ist, was dir ist:
Nun weiss ich, wie mir ist!”

“Nun weiss ich, wie mir ist,
Nun weiss ich, wie mir ist;”
“Ein Narr bist du gewiss!”
“Nun weiss ich, wie mir ist,
Ein Narr bist du gewiss!”

I don’t know what’s the matter!
I am not sick and I am not well,
I have been hurt and there’s no wound,
I don’t know what’s the matter!

I want to eat and nothing tastes good;
I have some money and do not care,
I have some money and do not care,
I don’t know what’s the matter!
I even do not have any snuff,
And have not a farthing in my purse,
No money in my purse,

I even do not have any snuff,
And have not a farthing in my purse,
No farthing in my purse!
I don’t know what’s the matter, what’s the matter!
Marriage would be just for me,
Children squealing I don’t like!
I don’t know what’s the matter!
Only today I asked the doctor,
He told me to my face:
“I know well what’s the matter, what’s the matter:
A fool you are for certain!”

“Now I do know what’s the matter,
Now I do know what’s the matter;”
“A fool you are for certain!”
“Now I do know what’s the matter,
Now I do know what’s the matter!”

Lieder Eines Fahrenden Gesellen – Introduction

Monday, July 19th, 2010

Listening Guide

The Work

Dates of composition: 1884-1885; orchestrated 1893-6; published 1897 in versions for piano and orchestra by Josef Weinberger, Leipzig
Place of composition: Kassel
Premiere: March 16, 1896, Berlin
Performers: Thomas Hampson, baritone; London Philharmonic; Klaus Tennstedt, conductor
Buy this MP3 album on Amazon.com

Lieder Eines Fahrenden Gesellen – Wenn Mein Schatz Hochzeit Macht (When My Sweetheart Gets Married)

Monday, July 19th, 2010

Listening Guide

The Work


Key: D minor with a middle section in E-flat major (E minor and F major in the piano version for high voice) and ends in G minor.
Tempo: Schneller; Langsamer (Faster; Slower) (Allegro; Langsam in the piano version)
Time Signature: 2/4 (middle section in 6/8 with a single measure of 3/8) (4/8 with 2/4 in parenthesis in the piano version)
Form: ABA (with two themes in A section, a new theme with free modulations in the middle section, closing with a da capo return of the A)

Wenn mein Schatz Hochzeit macht,
Fröhliche Hochzeit macht,
Hab’ ich meinen traurigen Tag!
Geh’ ich in mein Kämmerlein,
Dunkles Kämmerlein,
Weine, wein’ um meinen Schatz,
Un meinen lieben Schatz!
Blümlein blau! Blümlein blau!
Verdorre nicht! Verdorre nicht!
Vöglein süss! Vöglein süss!
Du singst auf grüner Haide.
Ach! wie ist die Welt so schön!
An mein Leide!
Singet nicht! Blühet nicht!
Lenz ist ja vorbei!
Alles Singen ist nun aus!
Des Abends, wenn ich schlafen geh’,
Denk’ ich an mein Leide!
Ziküth! Ziküth! Ziküth!
When my sweetheart gets married,
Her joyful wedding day
It is a sad day for me!
I go into my little chamber,
My dark little chamber,
I weep, weep for my sweetheart,
For my dear sweetheart!
Little blue flower! Little blue flower!
Do not fade! Do not fade!
Sweet little bird! Sweet little bird!
You sing on the green heath.
Oh! how beautiful is the world!
Zikee! Zikee! Zikee!
Do not sing! Do not bloom!
Spring, you know, has gone!
All the singing is now over!
In the evening, when I go to sleep,
I think of my sorrow!
Of my sorrow!

Lieder Eines Fahrenden Gesellen – Ging Heut’ Morgens Über’s Feld (I Went Out This Morning Over The Fields)

Monday, July 19th, 2010

Listening Guide

The Work


Key: D major in the orchestral version (E-flat major in the piano version for high voice) ending in F-sharp major (G major in the piano version for high voice)
Tempo: In gemächlicher Bewegung (with easy motion); Gemächlich (nicht eilen) (with ease–without hurrying) in the piano version
Time Signature: alla breve
Form: free strophic form

Ging heit’ Morgens über’s Feld,
Thau noch auf den Gräsern hieng;
sprach zu mir der lust’ge Fink:
“Ei, du! Gelt? Guten Morgen!
Wird’s nicht eine schöne Welt?
Zink! Zink! Schön und flink!
Wie mir doch die Welt gefällt!”

Auch die Glockenblum’ am Feld
hat mir lustig, guter Ding’
mit den Glöckchen, klinge, kling,
ihren Morgengruss geschellt:
“Wird’s nicht eine schöne Welt!?
Kling, kling! Schönes Ding!
mir nimmer blühen kann!

Und da fing im Sonnenschein
gleich die Welt zu funkeln an,
Alles, alles Ton und Farbe
gewann im Sonnenschein!
Blum’ und Vogel, Gross und Klein!
“Guten Tag! Schöne Welt!”
Nun fängt auch mein Glück wohl ab?!
Nein! Nein! Das ich mein’,
Wie mir doch die Welt gefällt! Heia!”

I went out this morning over the field,
When the dew still clung to the grasses;
the merry finch spoke to me:
“Hey, you there! Good morning!
Is it not a lovely world?
Chirp! Chirp! Pretty and lively!
How the world delights me!”

The bluebells in the meadow also
rang merrily and cheerfully for me
with their little bells, ring-a-ring,
rang their morning greeting:
“Is it not a lovely world!?
Ring, ring, Pretty thing!
How the world delights me! Hi-ho!”

And then in the sunshine
the world at once began to sparkle,
everything, everything took on
sound and color in the sunshine!
Flower and bird, the large and the small!
“Good day! Lovely world!”
Now surely will my happiness also begin?!
No! No! What is mine,
Can nevermore bloom for me!

Lieder Eines Fahrenden Gesellen – Ich Hab’ Ein Glühend Messer (I Have A Glowing Knife)

Monday, July 19th, 2010

Listening Guide

The Work


Key: D minor; G minor; E-flat minor (B minor in Rose manuscript) E minor in the piano version (for the high voice)
Time Signature: 9/8 (4/4 at the close)
Tempo: Stürmisch, wild (Stormy, wild) in orchestral score; Schnell und wild (fast and wild) in the piano score
Form: Through-composed art-song form

Ich hab’ ein glühend Messer,
ein Messer in meiner Brust,
O Weh! O Weh!
Das schneidt’ so tief
in jede Freud’ und jede Lust,
so tief! so tief!
Ach, was ist das für ein böser Gast!
Nimmer hält er Ruh’, nimmer hält er Rast,
nicht bei Tag, noch bei Nacht,
wenn ich schief!
O Weh! O Weh! O Weh!
die Augen aufmachen!
seh’ ich zwei blaue Augen steh’n!
O Weh! O Weh!
Wenn ich im gelden Felde geh’,
seh’ ich von fern das blonde Haar
im Winde weh’n! O Weh! O Weh!
Wenn ich aus dem Traum auffahr’
und höre klingen ihr silbern Lachen,
O Weh! O Weh!
Ich wollt’, ich läg’ auf der schwarzen Bahr’,
könnt’ nimmer, nimmer
Wenn ich in den Himmel seh’,
I have a glowing knife,
a knife in my breast,
alas! alas!
It cuts so deep
into every joy and every delight,
so deep! so deep!
Ah, what an evil guest it is!
It never keeps still, it never rests,
neither by day nor by night
when I sleep!
Alas! Alas! Alas!
When I look up to heaven,
I see two blue eyes there!
Alas! Alas!
When I walk in the yellow field,
I see from afar the blond hair
blowing in the wind! Alas! Alas!
When I awake from the dream
and hear her silver laughter ringing,
Alas! Alas!
I wish that I were lying on the black bier,
and could never, never
open my eyes!

Lieder Eines Fahrenden Gesellen – Die Zwei Blauen Augen (The Two Blue Eyes)

Monday, July 19th, 2010

Listening Guide

The Work


Key: E minor; C major; F major; F minor (also F minor; D-flat major, ending In G-flat major/minor)
Time Signature: 4/4 (3 measures in 5/4)
Tempo: Mit geheimnissvol schwermüthigem Ausdruck. Ohne Sentimentalität (With mysterious and sad expression; without sentimentality) in the orchestral version (the Kritische Gesamtausgabe adds Alla Marcia in brackets).  Alla Marcia. Durchaus mit geheimnissvol schwermüthigem Ausdruck (nicht schleppen) (don’t drag) in the piano version.
Form: strophic (through-composed) but virtually without a da capo repeat

Dei zwei blauen Augen von meinem Schatz,
die haben mich in die weite Welt geschickt.
Da musst’ ich Abschied behmen
vom allerliebsten Platz!
O Augen, blau!
Warum habt ihr mich angeblickt?
Nun hab ich ewig Leid und Grämen!

Ich bin ausgegangen in stiller Nacht,
wohl über die dunkle Haide.
Hat mir Niemand Ade gesagt,
Ade! Ade! Ade!
Mein Gesell war Lieb und Leide!

Auf der Strasse stand ein Lindenbaum,
da hab’ ich zum ersten Mal im Schlaf geruht!
Unter dem Lindenbaum, der hat
seine Blüthen über mich geschneit,

da wusst ich nicht, wie das Leben thut,
war Alles wieder gut,
ach, Alles wieder gut!
Lieb’ und Leid! Und Welt und Traum!

The two blue eyes of my sweetheart
have sent me into the wide world.
So I had to take leave
of the dearest place!
O eyes, blue!
Why did you look on me?
Now I have eternal sorrow and pain!

I went out in the still of night,
over the gloomy heath.
No one said farewell to me,
Farewell! Farewell! Farewell!
My companion was love and sorrow!

On the street stood a linden tree,
There for the first time did I rest in sleep!
Under the linden tree,
Which snowed its blossoms down on me,

There I knew not how life goes,
Everything was fine again,
Ah, everything was fine again!
Love and pain! And world and dream!

Des Knaben Wunderhorn – Introduction

Saturday, July 24th, 2010

Listening Guide

The Work

Dates of composition: 1888-1898
Places of composition: Hamburg and Vienna
Type of composition: 12 “Lieder und Gesänge” for solo voice in versions with piano and orchestral accompaniment.
Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, trombone, tuba, timpani, triangle, rute, military drum (tamburo militare), tamtam, bass drum, cymbals, harp and strings

Note: Der Schildwache Nachtlied, Verlorne Müh‘, Trost im Unglück, Wer hat dies Liedlein erdacht, and Wir geniessen die himmlischen Freuden (the latter to become the finale of the Fourth Symphony) were published under the title Humoresken by Weinberger (1899-1900). The compilation of twelve lieder that has come to be known by the title Des Knaben Wunderhorn was published for the first time in 1970 by Universal. In that edition, the editors substituted Revelge and Der Tamboursg’sell (written between 1899 and 1901) for the last two songs, Es sungen drei Engel and Urlicht, which became movements of the Third and Second Symphonies. Revelge and Der Tamboursg‘sell were first published as part of Sieben Lieder Aus Letzter Zeit.

EMI CDC 7 47277-2
Elisabeth Schwarzkopf, soprano
Dietrich Fischer-Dieskau, baritone
London Symphony Orchestra
George Szell, conductor
Buy this CD on Amazon.com

Des Knaben Wunderhorn – Der Schildwache Nachtlied (Sentinel’s Night Song)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: B-flat major (middle section in G) [C Major with middle section in A in piano version]
Tempo: Marschartig (March tempo); Langsamer (Slower)
Time Signature: 4/4 with secondary section in 6/4 (including incidental measures
of 3/4 and 4/4)
Form: Rondo dialogue (ABABAB)
Premiere: 1893 (sung by Paul Bulss, baritone)

Ich kann und mag nicht fröhlich sein!
Wenn alle Leute schlafen,
So muss ich wachen,
Muss traurig sein!

Leib’ Knabe du musst nicht traurig sein!
Will deiner warten, im Rosengarten,
Zum grünen Klee da geh’ ich nicht!
Im grünen Klee.
Zum Waffengarten, voll Helleparten,
Bin ich gestellt.
Stehst du im Feld, so helf’ dir Gott!
An Gottes Segen ist alles gelegen!
Wer’s glauben tut!

Wer’s glauben tut ist weit davon.
Er ist ein König, er ist ein Kaiser.
Er führt den Krieg.
Sang es um Mitternacht.
Bleib’ mir vom Leib!
Wer sang es hier? Wer sang zur Stund?
Verlor’ne Feldwacht
Hait! Wer da! Rund!

I cannot, must not, be merry!
When all good folk are asleep,
I must keep my watch,
Full of sorrow!

Ah, lad, do not be sorrowful!
I will wait for you in the rose garden,
In the field of green clover.
To the green clover I cannot go,
My place is in the field of arms,
Where the halberds are thick.
When you stand on the battleground
God grant you His aid!
All depends upon God’s blessing!
For him who believes.
He who believes is far away.
He is a king, an emperor.
He leads the battle.
Halt! Who goes there! The patrol.
Stand away from me!
Who sang here, at this hour?
A forlorn sentinel
Sang his song at midnight.

Des Knaben Wunderhorn – Verlorene Müh’ (Vain Effort)

Saturday, July 24th, 2010

Listening Guide

The Work


Key: A major/minor
Tempo: Gemächlich, heiter (easily, gaily) [quarter-note=132 in the piano version]
Time Signature: 3/8
Form: Strophic Tanzlied
Premiere: 1892 (sung by Amalie Joachim, alto)

Büble wir! Büble wir wollen aussegehe!
Wollen wir? Unsere Lämmer besehe!
Gelt! komm, komm’! lieb’s Büberle,
Närrisches Dinterle, ich mag es halt nit!
Närrisches Dinterle, ich geh dir halt nit!
Willst vielleicht a bissel nasche?
Willst vielleicht! Willst vielleicht!
Hol’ dir was aus meiner Tasch’!
Hol’ dir was! Hol’ dir was!
Hol’! lieb’s Büberle, hol’ ich bitt’!
Närrisches Dinterle, ich nasch dir halt nit!
Gelt ich soll. . .
Gelt? Ich soll mein Herz dir schenke?
Gelt? Ich soll?
Immer wollst an mich gedenke!
Immer! Immer! Immer!
Nimm’s! Nimm’s! lieb’s Büberle!
Nimm’s ich bitt’.
Komm’ ich bitt’!
Hey, lad, shall we go out together?
Shall we go to mind the lambs?
Come, come, come, dear lad,
Come along, please, I beg.
Lass, you’re a fool and I’ll have none of you.
Would you like a little snack?
Would you not? Would you not?
All little snack from my pack?
Take it, do! Take it, do!
Dearest lad, take it, I beg.
Lass, you’re a fool and I’ll have none of it.
Well then shall I . . .
Shall I offer you my heart?
Shall I not?
So will you always think of me
Aways! Always! Always!
Take it, take it, dearest lad!
Take it, I beg.
Lass, you’re a fool and I’ll have none of it.

Des Knaben Wunderhorn – Trost Im Unglück (Consolation In Sorrow)

Saturday, July 24th, 2010

Listening Guide

The Work


Key: A major (the maiden’s sections nearly in G major)
Tempo: Verwegen (Durchaus mit prägnantestem Rhythmus) [Bold. With the most precise rhythm throughout]; half-note=100 in the piano score.
Time Signature: 6/8 and 2/4
Form: Rondo (AABA)
Premiere: 1893 (sung by Paul Bulss, baritone)

HUSAR
Wohlan! Die Zeit ist kommen!
Mein Pferd das muss gesattelt sein!
Ich hab’ mir’s vorgenommen,
Geritten muss es sein!
Geh’ du nur hin! Ich hab’ mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl sein!
Ohn’ dich kann ich wohl leben, ja leben!
So setz ich mich auf’s Pferdchen
Und trink’ ein Gläschen kühlen Wein!
Und schwör’s bei meinem Bärtchen:
Dir ewig treu zu sein.

MÄDCHEN
Du glaubst, du bist der Schönste
Wohl auf der ganzen weiten Welt,
Und auch der Angenehmste!
Ist aber weit, weit gefehlt!
In meines Vaters Garten
Wächst eine Blume drin:
So lang’ will ich noch warten,
Bis die noch grösser ist.
Und geh’ du nur hin!
Ich hab’ mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben,
Ohn’ dich kann ich wohl sein!

BEIDE
Du glaubst ich werd’ dich nehmen!
Wenn ich in Gesellschaft bin!
Ich muss mich deiner schämen,
Das hab’ ich lang’ nich nicht im Sinn!

THE HUSSAR
And so the time has come.
My horse must be saddled.
And I must ride,
For such is my resolve.
Begone from me! My part is clear!
My love for you is a fool’s love.
I can live my life without you.
Without you I can be happy!
And so I mount my horse
And drink a glass of cool wine!
And swear by my beard:
To be true to you forever.

THE MAIDEN
You think you are the handsomest man
In all the wide world;
The most agreeable as well!
But you are much mistaken!
In my father’s garden
There blooms a lovely flower,
And I will only wait
Till it has grown taller.
So, you go your way!
My part is clear!
My love for you is a fool’s love!
I can live my life without you,
Without you I can be happy!

BOTH
You think I will take you for my own!
That has long been far from my mind,
For I must be ashamed of you,
When I am in good company!

Des Knaben Wunderhorn – Wer Hat Dies Liedlein Erdacht? (Who Thought Up This Little Song?)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: F major
Tempo: Mit heiterem Behagen (With easy gaiety) Mit Behaglichkeit (nicht eilen) (with ease–not fast), eighth-note=160 in the piano version
Time Signature: 3/8
Form: Strophic Tanzlied (ABABA)
Premiere: 1893, sung by Clementine Prosska, coloratura soprano

Dort oben am Berg in dem hohen Haus,
Da gucket ein fein’s lieb’s Mädel heraus.
Es ist nicht dort daheime!
Es ist des Wirts sein Töchterlein.
Es wohnet auf grüner Heide!

Mein Herzle ist wund.
Dem wollen sie es pfeifen!
Dein schwarzbraune Äuglein,
Die hab’n mich verwund’t.
Dein rosiger Mund macht Herzen gesund!
Macht Jugend verständig,
Macht Tote lebendig.
Macht Kranke gesund.

Wer hat denn das schöne Liedlein erdacht?
Es haben’s drei Gäns’ übers Wasser gebrach,
Zwei graue und eine weisse.
Und wer das Liedlein nicht singen kann,
Komm’, Schätzle, mach’s g’sund’.

High up on the mountain there is a house,
And from it a sweet pretty maid looks out.
But that is not her home!
She is the innkeeper’s young daughter
She lives on the green moor!

My heart is wounded.
Come, dearest, make it whole again.
Your black-brown eyes
Have wounded me sore.
But your rosy lips can make hearts well!
They make young men wise,
And dead men live,
And sick men healthy.

Who made up this pretty little song?
Three geese brought it from over the sea.
Two grey ones and a white.
And if anyone cannot sing it,
They will pipe it to him!

Des Knaben Wunderhorn – Das Irdische Leben (The Earthly Life)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: E-flat minor (Phrygian mode) centered on the dominant and with numerous modulations.
Tempo: Unheimliche bewegt (With sinister agitation)
Time Signature: 2/4
Form: Strophic
Premiere: 1900 (sung by Selma Kurz, soprano)

Mutter, ach Mutter, es hungert mich.
Gib mir Brot, sonst sterbe ich!
Warte nur, warte nur, mein liebes Kind,
Morgen wollen wit ernten geschwinnd!

Und als das Korn geerntet war,
Rief das Kind noch immerdar:
Mutter, ach Mutter, es hungert mich.
Gib mir Brot, sonst sterbe ich!
Warte nur, warte nur, mein liebes Kind,
Morgen wollen wir dreschen geschwinnd!

Und als das Korn gedroschen war,
Lad das Kind auf der Totenbahr.
Mutter, ach Mutter, es hungert mich,
Gib mir Brot, sonst sterbe ich!
Warte nur, warte nur, mein liebes Kind!
Morgen wollen wir backen geschwind.

Und als das Brot gebacken war,
Lag das Kind auf der Totenbahr.

Mother, oh mother, I am so hungry.
Give me bread or I will die!
Wait, only wait, my beloved child.
Soon we’ll go reaping in the morning!

But when the corn was gathered in
Still the child kept on crying:
Mother, oh mother, I am so hungry.
Give me bread or I will die!
Wait, only wait, my beloved child,
Soon we’ll go threshing in the morning!

And when the corn was all threshed,
Still the child kept on crying:
Mother, oh mother, I am so hungry.
Give me bread or I will die!
Wait, only wait, my beloved child,
Soon we’ll go baking in the morning.

And when the bread was baked,
The child lay dead upon his coffin.

Des Knaben Wunderhorn – Des Antonius Von Padua Fischpredigt (St. Anthony Of Padua’s Sermon To The Fishes)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: C minor (F major middle section)
Tempo: Behäbig. Mit Humor (Comfortably; with humor) [eighth-note=138 in the piano version]
Time Signature: 3/8
Form: Strophic rondo (AABA)
Premiere: 1905 (sung by Anton Moser, baritone)

Antonius zur Predigt
Die Kirche find’st ledig.
Er geht zu den Flüssen
Und predigt den Fischen.
Sie schlag’n mit den Schwänzen,
Im Sonnenschien glänzen.
Die Karpfen mit Rogen
Seind all’hierher zogen.
Hab’n die Mäuler aufrissen,
Sich Zuhörn’s beflissen.
Kein Predigt niemalen
Den Fischen so g’fallen.

Spitzgoschete Hechte,
Die immerzu fechten,
Sind eilends herschwommen,
Zu hören den Frommen.
Auch jene Phantasten,
Die immerzu fasten,
Die Stockfisch’ ich meine,
Zur Predigt erscheinen!
Kein Predigt niemalen
Den Stockfisch’ so g’fallen.

Gut Aale und Hausen,
Die Vornehme schmausen,
Die selbst sich bequemen
Die Predigt vernehmen.
Auch Krebse, Schildkroten,
Sonst langsame Boten
Steigen eilig vom Grund
Zu hören diesen Mund.
Kein Predigt niemalen
Den Krebsen so g’fallen.
Fisch’ grosse, Fisch’ kleine,
Vornehm’ und gemeine
Erheben die Köpfe

Wie verständ’ge Geschöpfe.
Auf Gottes Begehren

Die Predigt anhören.
Die Predigt geendet
Ein jeder sich wendet.
Die Hechte bleiben Diebe,
Die Aale viel lieben:
Die Predigt hat g’fallen,
Sie bleiben wie Allen;
Die Stockfisch’ bleiben dicke,
Die Krebs’ geh’n zurücke,
Die Karpfen viel fressen,
Die Predigt vergessen,
Die Predigt hat g’fallen,
Sie bleiben wie Allen.

When Antonius goes preaching
The churches are empty.
He’s off to the rivers
To preach to the fishes.
They flick their tails,
And glint in the sunlight.
The carp with their eggs
Have all come along.
Their mouths open wide,
All the better to listen.
No sermon has ever
Pleased the fish so much.

The speckled pike,
That are always fighting,
Have come hurrying along,
To hear the holy man.
And even those strange creatures,
That are always fasting,
The Cod I mean,
Appear at the sermon.
No sermon ever
Pleased the Cod so much.

Fine eel and sturgeon,
Those delicate feeders,
Recline at their ease
To take in the sermon.
Crabs too and turtles,
So slow in their errands,
Shoot up from the sea bed
To listen to his words.
No sermon ever
Please the crabs so much.
Fish great and small,
Of high and low degree,
Raise their heads

At his words like intelligent beings.
As God desires,

They listen to the sermon.
But once it is over
They each turn away.
The pike stay thieves,
The eels remain lechers:
They liked the sermon
And they remain like everyone else;
The crabs still go backward,
The cod stay stupid,
The carp still gorge themselves,
The forgot the sermon,
They liked the sermon,
And they remain like everyone else.

Des Knaben Wunderhorn – Rheinlegendchen (Little Rhine Legend)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: A major
Tempo: Gemächlich (Comfortably)
Time Signature: 3/8
Form: Tanzlied in Austrian style (ABABA)
Premiere: 1893 (sung by Paul Bulss, baritone)

Bald gras’ ich am Neckar,
Bald gras’ ich am Rhein;
Bald hab’ ich ein Schätzel,
Bald bin ich allein.
Was helft mir das Grasen
Wenn d’Sichel nicht schneid’t!
Was helft mir ein Schätzel
Wenn’s bei mir nicht bleibt!

So soll ich denn grasen
Am Neckar, am Rhein,
So werf’ ich mein goldenes
Ringlein hinein.
Es fliesst im Neckar,
Und fliesst im Rhein,
Soll schwimmen hinunter
Ins Meer tief hinein.

Und schwimmt es, das Ringlein,
So frisst es ein Fisch.
Das Fischlein soll kommen
Auf’s Königs sein Tisch.
Der König tät fragen:
‘Wem’s Ringlein sollst’ sein?’
Da tät mein Schatz sagen:
‘Das Ringlein g’hört mein.’

Mein Schätzlein tät springen
Berg auf und Berg ein,
Tät mir wied’rum bringen
Das Goldringlein fein!
Kannst grasen am Neckar,
kannst grasen am Rhein,
Wirf du mir nur immer dein Ringlein hinein!

Today I mow by the Neckar,
Tomorrow by the Rhine;
Today I have a sweetheart,
Tomorrow I am alone.
What use is my mowing
If my sickle will not cut?
What use is a sweetheart
If she will not stay with me?

If I must be mowing
By the Neckar and the Rhine
I will throw into the water
My little golden ring.
It will flow with the Neckar
And flow with the Rhine
And float away
To the depths of the sea.

As the Ring floats away down,
A fish will swallow it,
And the fish will be served
At the King’s own table.
The King will then ask:
‘Whose ring can this be?’
And my sweetheart will answer:
‘The ring belongs to me.’

My sweetheart will go leaping
Up hill and down dale,
She will bring back to me
The fine ring of gold!
You can mow by the Neckar,
You can mow by the Rhine,
But always throw me your ring in the water.

Des Knaben Wunderhorn – Lied Des Verfolgten In Turm (Song Of The Prisoner In The Tower)

Saturday, July 24th, 2010

Listening Guide

The Work


Key: D minor (modulating into G major, G minor, C minor, C major, F major and back to D minor)
Tempo: Leidenschaftlich, eigenwillig (Passionately, in fast motion)
Time Signature: 12/8 (6/8 for the maiden’s stanzas)
Form: Rondo-dialogue (ABABABA)
Premiere: 1905 (sung by Anton Moser, baritone)

DER GEFANGENE
‘Die Gedanken sind frei, wer kann sie erraten,
Sie tauschen vorbei wie nächtliche Schatten,
Kein Mensch kann sie wissen, kein Jäger sie schiessen,
Es bleibet dabei; die Gedanken sind frei.’

DAS MÄDCHEN
Im Sommer ist gut lustig sein
Auf hohen, wilden Bergen
Dort findet man grün Plätzelein,
Mein Herz verliebtes Schätzelein,
Von dir mag ich nicht scheiden.

DER GEFANGENE
Und sperrt man mich ein in finstere Kerker
Dies alles sind nur vergebliche Werke,
Denn meine Gedanken zerreissen die Schranken
Und Mauern entzwei. Die Gedanken sind frei.

DAS MÄDCHEN
Im Sommer ist gut lustig sein
Auf hohen, wilden Bergen
Man ist da ewig ganz allein
Auf hohen, wilden Bergen
Man hört dagar kein Kindergeschrei.
Die Luft mag einem da werden.

DER GEFANGENE
So sei’s wie es will, und wenn es sich schicket
Nur alles sei in der Stille,
Nur all’s in der Still’.
Mein Wunsch und Begehren niemand kann’s wehren.
Es bleibet dabei; die Gedanken sind frei.

DAS MÄDCHEN
Mein Schatz, du singst so fröhlich hier
Wie’s Vögelein im Grase.
Ich steh’ so traurig bei Kerkertür,
Wär ich doch tot, wär ich bei dir,
Ach, muss ich immer denn klagen?

DER GEFANGENE
Und weil du so klagt,
Der Lieb’ ich entsage.
Und ist es gewagt
So kann mich nichts plagen.
So kann ich im Herzen
Stets lachen und scherzen
Es bleibet dabei.
Die Gedanken sind frei.

THE PRISONER
Thoughts are free. Who can guess them?
They flit past like shadows in the night.
No man can know them, no hunter shoot them down.
So shall it always be; thoughts are free.

THE MAIDEN
In summer it is fine to make merry
On the wild mountain heights.
Where one finds green pastures,
My own heart’s dearest love,
I long never to be parted from you.

THE PRISONER
And though I am locked in a gloomyprison cell
All that is in vain,
For my thoughts break my bonds
And shatter my prison walls. Thoughts are free.

THE MAIDEN
In summer it is fine to make merry
On the wild mountain heights.
Here you can be quite alone
On the wild mountain heights.
And hear no children’s cries.
The air is fresh and free.

THE PRISONER
Let that be as it will; whatever should befall,
Let it be done in silence
All only in stillness.
My wishes and longings no one can restrain.
So may it always be; thoughts are free.

THE MAIDEN
My love, you sing so happily here,
Like a little bird in the meadow.
I stand sadly by the prison dorr.
Would I were dead or at your side.
Must my lament never end?

THE PRISONER
Since you are lamenting so,
I forswear your love.
Then and only then
Nothing can harm me.
So in my heart
I can laugh and jest forever.
So may it always be.
Thoughts are free.

Des Knaben Wunderhorn – Wo Die Schönen Trompeten Blasen (Where The Proud Trumpets Blow)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: D minor with modulations into D major, G-flat major/minor (enharmonic F-sharp), D major and ending in D minor)
Tempo: Verträumt. Leise (Dreamily, soft); Sehr gehalten (very steady)
Time Signature: 2/4 and 3/4
Form: Rondo [ABA(C)ABA]
Premiere: 1900 (sung by Selma Kurz, soprano)

‘Wer ist denn draussen und wer klopfet an,
Der mich so leise wecken kann?’
‘Das ist der Herzallerliebste dein,
Steh’ auf und lass mich zu dir ein!
Was soll ich hier nun länger steh’n?
Ich seh’ die Morgenröt aufgehen,
Die Morgenröt zwei helle Stern’.
Bei meinem Schatz da wär ich gern
Bei meinem Herzallerlieble.’

Das Mädchen stand auf und liess ihn ein,
Sie heisst ihn auch willkommen sein.
‘Willkommen lieber Knabe mein!
So lang hast du gestanden!’
Sie reicht ihm auch die schneeweisse Hand.
Von ferne sang die Nachtigall,
Das Mädchen fing zu weinen an.
‘Ach weine nicht, du Liebste mein,
Auf’s Jahr sollst du mein Eigen sein.
Mein Eigen sollst du werden gewiss,
Wie’s keine sonst auf Erden ist,
O Lieb’ auf grüner Erden!
Da ist mein Haus von grünem Rasen.’
Die grüne Heide, die ist so weit.
Allwo dort die schönen Trompeten blasen
Ich zieh’ in Krieg auf grüne Heid’

‘Who stands out there, knocking at my door,
Waking me so gently?’
‘It is your heart’s dearest love,
Rise up and let me in.
Why must I wait longer?
I see the dawn is rising,
The rosy dawn and two bright stars.
I long to be beside my sweetheart,
Beside my dearest love.’

The maiden rose up and let him in.
She bade him welcome.
‘Welcome my dearest lad!
Too long you have been waiting out there!’
She gave him her snow-white hand.
Far away the nightingale sang,
The maiden began to weep.
‘Do not weep my dearest love.
Before the year is gone
You shall be mine
As no one else on this earth can be.
O love on the earth so green!
I am away to the wars on the green moor,
The green moor so far away.
Where the shining trumpets sound,
There is my home under the green turf.’

Des Knaben Wunderhorn – Lob Des Hohen Verstandes (In Praise Of High Intellect)

Saturday, July 24th, 2010

Listening Guide

The Work


Key: D major (E major in the piano version)
Tempo: Keck (arrogantly)
Time Signature: 2/4
Form: Simple strophic form (AAABA)

Einstmals in einem tiefen Tal
Kuckuck und Nachtigall
Täten ein Wett’ anschlagen
Gewinn’ es Kunst, gewinn’ es Glück,
Zu singen um das Meisterstück.
Dank soll er davon tragen.

Der Kuckuck sprach: ‘So dir’s gefällt
Hab’ ich den Richter wählt.’
Und tät gleich den Esel ernennen!
‘Denn weil er hat zwei Ohren gross
So kann er hören desto bos
Und was recht ist kennen!’

Sie flogen vor den Richter bald.
Wie dem die Sache ward erzählt,
Schuf er, sie sollten singen!
Die Nachtigall sang lieblich aus!

Der Esel sprach: ‘Du machst mir’s kraus!
Ija! Ija! Ich kann’s in Kopf nicht bringen.’
Der Kuckuck drauf fing an geschwind
Sein Sang durch Terz und Quart und Quint.
Kuckuck, kuckuck, ija!’
Mein Urteil will ich sprechen.

Wohl sungen hast du, Nachtigall!
Aber Kuckuck singst gut Choral
Und hällst den Takt fein innen.
Das sprech’ ich nach mein’ hoh’n Verstand
Und kost’ es gleich ein ganzes land,
So lass ich’s dich gewinnen.
Dem Esel g’fiels, er sprach nur: ‘Wart!’

Once upon a time in a deep valley
The cuckoo and the nightingale
Between them made a wager
Which one could sing the better song.
Whomsoever skill or fortune favored,
He should have the mastery.

The cuckoo said, ‘If it please you
I have already chosen the judge.’
And he straightaway named the donkey!
‘For as he has two big ears,
All the better to know what is bad
And tell it apart from what is good!’

They flew away to the judge.
And told him how the matter stood.
He commanded them to sing.
The nightingale sang sweetly.

The donkey said: ‘This is too intricate for me.
Hee-haw. I cannot grasp it all.’
The cuckoo then quickly began
His song through thirds and fourths and fifths.
It pleased the donkey. he just said: ‘Wait
While I pronounce my verdict.

You have sung well, Nightingale;
But you, cuckoo, have sung a fine chorale
And you keep the strictest measure.
I speak from the height of great intellect
And though it should cost me a whole country,
I judge you to be the winner.
Cuckoo, cuckoo, hee-haw.’

Des Knaben Wunderhorn – Revelge (Reveille)

Saturday, July 24th, 2010

Listening Guide

The Work

Key: D minor/major with various modulations
Tempo: Marschierend. In einem fort (In march tempo, without interruption).
Time signature: 4/4
Rhythm: march tempo
Form: strophic (AA’-BB’-CD-AA)

Des Morgens zwischen drei’n und vieren,
da müssen wir Soldaten marschieren,
das Gässlein auf und ab,
tral-la-li, tral-la-ley, tral-la-lera,
mein Schätzel sieht herab!

Ach, Bruder, jetzt bin ich geschossen,
die Kugel hat mich schwere schwer getroffen;
trag’ mich in mein Quartier,
tral-la-li, tral-la-ley, tral-la-lera,
es ist nicht weit con hier!

Ach, Bruder, ich kann dich nicht tragen,
die Feinde haben uns geschlagen;
helf’ dir der liebe Gott,
tral-la-li, tral-la-ley, tral-la-lera,
ich muss marschieren bis in Tod!

Ach, Brüder, Ach, Brüder,
ihr geht ja mir vorüber,
als wär’s mit mir vorbei!
Tral-la-li, tral-la-ley, tral-la-lera,
ihr tretet mir zur nah!
Ich muss wohl meine Trommel rühren,
sonst werd’ ich mich verlieren,
tral-la-li, tral-la-ley, tral-la-la!
Die Brüder, dick gesät,
sie liegen wie gemäht.

Er schlägt die trommel auf und nieder,
er wecket seine stillen Brüder;
sie schlagen und sie schlagen ihren Feind,
tral-la-li, tral-la-ley, tral-la-le-ral-la-la,
ein Schrecken schlägt den Feind!

Er schlägt die Trommel auf und neider,
da sind sie vor dem Nactquartier schon wieder;
ins Gässlein hell hinaus,
Tral-la-li, tral-la-ley, tral-la-lera!
sie zieh’n vor Schätzleins Haus,

Des Morgens stehen da die Gebeine,
in Reih’ und Glied sie steh’n wie Leichensteine;
dass sie ihn sehen kann!
tral-la-li, tral-la-ley, tral-la-lera,
die Trommel steht voran!

At break of day, between three and four,
we soldiers must march,
up and down the little path,
tral-la-li, tral-la-ley, tral-la-lera,
my sweetheart sees me pass!

Oh, brother, are you still deaf to my pleading,
a bullet has pierced me deeply;
help me to my camp,
tral-la-li, tral-la-ley, tral-la-lera,
it is not far from here!

Ah, brother, I cannot take you there,
the enemy has defeated us;
God help you,
tral-la-li, tral-la-ley, tral-la-lera,
I must march on in the face of death!

Ah, brothers, ah, brothers,
you pass by me,
as if I it were already over for me!
Tral-la-li, tral-la-ley, tral-la-lera,
you tread on me as you go by!
I must rise and make my drum rattle,
and call our troops to battle,
tral-la-li, tral-la-ley, tral-la-la!
My brothers, all around,
lay.

He strikes the drum far and wide,
he wakens his death brothers;
they beat and beat their foe,
tral-la-li, tral-la-ley, tral-la-le-ral-la-la,
terror strikes the foe!

He strikes the drum far and wide,
the dead have now returned to camp, victorious;
he leads them through the little path,
to see his sweetheart’s house,
Tral-la-li, tral-la-ley, tral-la-lera!

At daybreak the skeletons gather,
in rank and file they cluster by the tombstone;
the drummer goes in front,
tral-la-li, tral-la-ley, tral-la-lera,
so that she can see him!

Des Knaben Wunderhorn – Der Tambourg’sell (The Drummer Boy)

Saturday, July 24th, 2010

Listening Guide

The Work


Key: D minor (E minor in piano version), with modulations to G minor and A minor, ending in C minor (D minor in piano version).
Tempo: Gemessen, dumpf (nicht schleppen) (measured, muffled (without dragging))
Time Signature: 2/2 (alla breve)
Form: strophic with rondo-like elements in several reprises of the opening theme.
Orchestration: strings omitted, except for cellos and double-basses; emphasis on lowest registers of woodwinds and use of military’ instruments (e.g., snare drum, bass drum, horns, tuba) throughout.

Ich armer Tambourg’sell!
Man führt mich aus dem G’wölb.
Wär’ ich ein Tambour blieben,
Dürft’ ich nicht gefangen liegen.

O Galgen, du hohes Haus,
Du siehst so furchtbar aus.
Ich schau’ dich nicht mehr an,
Weil I’ weiß, daß I’ g’hör’ dran.

Wenn Soldaten vorbei marschiern,
Bei mir not einquartiern,
Wenn sie fragen, wer I’ g’wesen bin:
Tambour von der Leibkompanie!

Gute Nacht, ihr Marmelstein’,
Ihr Berg’ und Hügelein!
Gute nacht, ihr Offizier’,
Korporal’ und Musketier’!
Gute Nacht, ihr Offizier’,
Korporal’ und Grenadier’!

Ich schrei mit heller Stimm’,
Gute Nacht! Gute Nacht!
Von euch ich Urlaub nimm.

A poor drummer boy am I!
They are taking me from my cell.
Had I remained a drummer boy,
I would not have lain in prison.

Oh gallows, that stand so high,
How fearful you appear!
I shall look at you no more.
Yet I know that you are where I belong.

When the soldiers march past
To other quarters than mine
And when they ask who I was
Say a Drummer of the King’s regiment.

Good night you stones of marble,
You hills and high mountains,
Good night you officers,
Corporals and musketeers!
Good night you officers,
Corporals and grenadiers!

I cry loud and clear,
From you I take a soldier’s leave.
Good night, good night!

Des Knaben Wunderhorn – Original Piano Version

Saturday, July 24th, 2010

The Work

Teldec 9031-74726-2
Thomas Hampson, baritone
Geoffrey Parsons, piano

Der Schildwache Nachtlied (Sentinel’s Night Song)

Verlorene Müh’ (Vain Effort)

Trost Im Unglück (Consolation In Sorrow)

Wer Hat Dies Liedlein Erdacht? (Who Thought Up This Little Song?)

Das Irdische Leben (The Earthly Life)

Des Antonius Von Padua Fischpredigt (St. Anthony Of Padua’s Sermon To The Fishes)

Rheinlegendchen (Little Rhine Legend)

Lied Des Verfolgten In Turm (Song Of The Prisoner In The Tower)

Wo Die Schönen Trompeten Blasen (Where The Proud Trumpets Blow)

Lob Des Hohen Verstandes (In Praise Of High Intellect)

Revelge (Reveille)

Der Tambourg’sell (The Drummer Boy)

Das Himmlische Leben

Urlicht

Es Sungen Lische Leben

Symphony No.1 in D Minor – Introduction

Tuesday, August 10th, 2010

Listening Guide

The Work

Date(s) of Composition: 1884-1888; published 1899, revised 1906
Place of Composition: Kassel, Leipzig and Budapest
Premiere: 20 November 1889 in Budapest
Orchestration: 4 flutes (including piccolo), 4 oboes (including English horn), 4 clarinets in B, A and C (including bass clarinet in B and piccolo clarinet in E-flat), 3 bassoons (including contrabassoon), 7 horns, 5 trumpets, 4 trombones, bass tuba, timpani, bass drum, cymbals, triangle, tam-tam, harp and strings
Performers: Concertgebouw Orchestra Amsterdam, Leonard Bernstein
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Symphony No.1 in D Minor – First Movement

Tuesday, August 10th, 2010

Listening Guide

The Work

Tempo: Langsam. Schleppend (“Wie Ein Naturlaut”); Immer Sehr Gemächlich (Slowly. Dragging (Like The Sound Of Nature); Always Very Relaxed)
Key: D Minor, D Major
Time Signature: 4/4 And Alla Breve (Cut-Time)
Form: Modified Sonata With Introduction And Coda.

Symphony No.1 in D Minor – Blumine Movement

Tuesday, August 10th, 2010

Listening Guide

The Work

Tempo: Andante Alegretto (Sic)
Key: C Major (With A Middle Section In A Minor)
Time Signature: 4/4
Form: ABA

Symphony No.1 in D Minor – Second Movement

Tuesday, August 10th, 2010

Listening Guide

The Work

Tempo: Kräftig Bewegt, Doch Nicht Zu Schnell (Powerfully Agitated, But Not Too Fast)
Key: A Major (Trio In F Major)
Time Signature: 3/4
Form: Scherzo And Trio

Symphony No.1 in D Minor – Third Movement

Tuesday, August 10th, 2010

Listening Guide

The Work

Tempo: Feierlich Und Gemessen, Ohne Zu Schleppen (Solemn And Measured But Not Too Dragging)
Key: D Minor, Trio In G-Flat, Reprise Of March In E-Flat Minor
Time Signature: 4/4
Form: ABACABA

Symphony No.1 in D Minor – Fourth Movement

Tuesday, August 10th, 2010

Listening Guide

The Work

Tempo: Stürmisch Bewegt (With Stormy Agitation). Energisch. Mit Grosser Wildheit (Energetic. With Great Fury)

Key: F Minor/D-Flat; Numerous Keys During Development (G Minor; C Major; D Major, F Major/Minor) Ending In D Major (B-Flat To D Major)
Time Signature: Alla Breve (With 4/4 During The Return Of Symphony’s Introduction)
Form: Expanded Sonata Form

Symphony No.2 in C Minor – Introduction

Friday, September 10th, 2010

Listening Guide

The Work

Date(s) of Composition: 1888-1894; published by Hofmeister, Leipzig in 1897
Place of Composition: Leipzig, Hamburg and Steinbach
Premiere: first three movements: 4 March 1895; complete symphony: 13 December 1895 both given in Berlin under Mahler’s direction.

Orchestration:
4 flutes (doubling with piccolo); 4 oboes (3rd and 4th double with English horn); 4 clarinets in B-flat (3rd doubles with bass clarinet); 2 clarinets in E-flat (2d doubles with 4th clarinet in B-flat); 4 bassoons (4th doubles with contrabassoon); 6 horns; 4 off-stage horns (double as 7th, 8th, 9th and 10th horns); 6 trumpets (4 off-stage, 5th and 6th returning to the on-stage orchestra); 4 trombones; bass tuba; organ; 2 harps; strings; percussion: 2 sets of timpani (3 to a player) (3rd timpani in the finale); bass drum; cymbals; high tam-tam; low tam-tam; triangle; snare drum; glockenspiel; 3 deep bells of undetermined pitch; rute (reeds).
Performers: Edith Mathis, soprano; Norma Procter, contralto; Bavarian Radio Chorus & Orchestra under Rafael Kubelik
Off-stage band: timpani; bass drum; cymbals; triangle and instruments noted above. Soprano and alto soloists; mixed chorus.
Text(s): Urlicht from Des Knaben Wunderhorn (fourth movement); Resurrection Hymn by Friedrich Klopstock with additional lines by Mahler added (fifth movement).
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Programs:
1896:
“I have called the first movement Todtenfeier [Celebration of the Dead] and, if you are interested, it is the hero of my First D Major Symphony who is being carried to his grave and whose life I imagine I can see reflected in a mirror from a high watchtower. At the same time the big question is being asked: Wherefore hast thou lived? Wherefore has thou suffered? Is it all some great, fearful joke? We must answer these questions in some way if we are to go on living–yes, even if we must only continue dying. The man in whose life this call resounds must give an answer, and I give it in the last movement. The second and third movements are conceived as an interlude: the second, a memory! A ray of sun, clear and untroubled, from the hero’s life. I am sure you have experienced this while you were carrying to his grave someone who was near to your heart; perhaps on the way back there suddenly appeared the image of an hour of happiness long passed, which lit up your soul and which no shadow can spoil. One practically forgets what has happened! That is the second movement!

When you awaken from this melancholy dream and must return to life’s confusion, it can easily happen that the ceaseless agitation, the meaningless bustle of life, seems to you unreal, like dancing forms in a brightly lit ballroom: you watch them from the darkness and from a distance, so that you cannot hear the accompanying music! And so life seems without meaning, a fearful nightmare from which you awaken with a cry of horror. This is the third movement! What follows afterwards is clear to you…”

1900 (Munich) and 1901 (Dresden):
First Movement: Allegro maestoso. We are standing near the grave of a well-loved man. His whole life, his struggles, his sufferings and his accomplishments on earth pass before us. And now, in this solemn and deeply stirring moment, when the confusion and distractions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solemnity chills out heart, a voice that, blinded by the mirage of everyday life, we usually ignore: ‘What next?’ it says. ‘What is life and what is death? Will we live on eternally? Is it all an empty dream or do our life and death have a meaning?’ And we must answer this question, if we are to go on living. The next three movements are conceived as intermezzi.

Second Movement: Andante. A blissful moment in the dear departed’s life and a sad recollection of his youth and lost innocence.
Third Movement: Scherzo. A spirit of disbelief and negation has seized him. He is bewildered by the bustle of appearances and he loses his perception of childhood and the profound strength that love alone can give. He despairs both of himself and of God. The world and life begin to seem unreal. Utter disgust for every form of existence and evolution seizes him in an iron grasp, torments him until he utters a cry of despair.

Fourth Movement: Alto solo. ‘Urlicht’ (Primal Light) from the Knaben Wunderhorn. The stirring words of simple faith sound in his ears: ‘I come from God and I will return to God!’

Fifth Movement: Once more we must confront terrifying questions, and the atmosphere is the same as at the end of the third movement. The voice of the Caller is heard. The end of every living thing has come, the last judgment is at hand and the horror of the day of days has come upon us. The earth trembles, the graves burst open, the dead arise and march forth in endless procession. The great and the small of this earth, the kings and the beggars, the just and the godless, all press forward. The cry of mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us, all consciousness dies as the Eternal Judge approaches. The last trump sounds; the trumpets of the Apocalypse ring out. In the eerie silence that follows, we can just barely make out a distant nightingale, a last tremulous echo of earthly life. The gentle sound of a chorus of saints and heavenly hosts is then heard: ‘Rise again, yes rise again thou wilt!’ Then God in all His glory comes into sight. A wondrous light strikes us to the heart. All is quest and blissful. Lo and behold: there is no judgment, no sinners, no just men, no great and no small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence.”

Symphony No.2 in C Minor – First Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Allegro Maestoso. Mit durchaus ernstem und feierlichem Ausdruck. (with serious and solemn expression throughout).
Principal Key: C minor (second subject in E major)
Time Signature and Rhythm: 4/4, slow funeral march.
Form: Modified and expanded sonata allegro form.

Symphony No.2 in C Minor – Second Movement

Friday, September 10th, 2010

Listening Guide

The Work


Tempo: Im Tempo des Scherzos; Wild herausfahrend; Langsam, Allegro energico, nicht zu schnell; Kräftig; Mit einem Male etwas wuchtiger; Mit etwas drängendem Charakter; Langsam. Misterioso, etc. (In the tempo of the Scherzo; a wild outburst; slowly; energetically fast, without rushing; powerfully; somewhat weightier; somewhat pressed; slowly, mysteriously etc.)
Key: C minor/major, beginning in B-flat minor over a C-pedal; F minor; B-flat major (choral entry), etc., closing in E-flat major.
Time Signature: 3/8, 4/4, etc.
Form: Expanded Sonata form with chorale concluding section in the form of a recapitulation.

Symphony No.2 in C Minor – Third Movement

Friday, September 10th, 2010

Listening Guide

The Work


Tempo: In ruhig fliessender Bewegung (In calmly flowing motion)
Principal Key: C minor (C major in the trio)
Time Signature: 3/8.
Rhythm: fast ländler with a sixteenth-note ostinato.
Form: Scherzo and trio.

Symphony No.2 in C Minor – Fourth Movement

Friday, September 10th, 2010

Listening Guide

The Work


“Urlicht” (“Primal Light”) from “Des Knaben Wunderhorn”
Tempo: Sehr feierlich aber schlicht (Choralmässig) (very solemn but modestly simple) [Like a chorale]
Key: D-flat major (middle section begins in B-flat minor)
Time Signature: 4/4 (with alternating meter shifts).
Form: Though-composed in ABA structure.

O Röschen rot!
Der mensch liegt in größter Not!
Der mensch liegt in größter Pein!
Je lieber möcht ich im Himmel sein!

Da kam ich auf einen breiten Weg;
Da kam ein Engelein und wollt mich abweisen.

Ach nein! Ich ließ mich nicht abweisen!
Ich bin von Gott und will wieder zu Gott!

Der liebe Gott wird mir ein Lichtchen geben,
Wird leuchten mir bis in das ewig selig Leben!

O red rose!
Man lies in greatest need!
Man lies in greatest pain!
Would that I could be in heaven!

I came upon a broad path;
Then came an angel and sought to turn me back.

Ah no! I would not be turned back!
I am from God, and will return to God!

Dear God will give me a light,
that will light me to eternal, blessed Life!

Symphony No.2 in C Minor – Fifth Movement

Friday, September 10th, 2010

Listening Guide

The Work


Tempo: In ruhig fliessender Bewegung (In calmly flowing motion)
Principal Key: C minor (C major in the trio)
Time Signature: 3/8.
Rhythm: fast ländler with a sixteenth-note ostinato.
Form: Scherzo and trio.

Chorus
Auferstehn, ja auferstehn wirst du,
Mein Staub, nach kurzer Ruh!
Unsterblich Leben
Wird, der dich rief, dir geben.

Wieder aufzublühn, wirst du gesät!
Der Herr der Ernte geht
Und sammelt Garben
Uns ein, die starben!

Chorus
Rise again, yea, thou shalt rise again,
my dust, after brief rest!
Immortal Life
will He who called thee grant thee.

Thou art sown to bloom again!
The Lord of the harvest goes
and reaps us who died
like sheaves!

From Resurrection Ode by Friedrich Gottlieb Klopstock
Alto Solo:
O glaube, mein Herz, o glaube:
es geht dir nichts verloren!
Dein ist, was du gesehnt!
Dein, was du geliebt, was du gestritten!

Soprano Solo:
O glaube: du wardst nicht umsonst geboren!
Hast nicht umsonst gelebt, gelitten!

Alto Solo and Chorus:
Was enstanden ist, das musst vergehen!
Was vergangen, auferstehen!
Hör’ auf zu beben!
Bereite dich zu leben!

Alto Solo and Soprano Solo:
O Schmerz! Du Alldurchdringer!
Dir bin ich entrungen!
O Tod! Du Allbezwinger!
Nun bist du bezwungen!

Chorus:
Mit Flügeln, die ich mir errungen,
In heissem Liebesstreben
Werd’ ich entschweben
Zum Licht, zu demn kein Aug’ gedrungen.

Sterben werd’ ich, um zu leben,
Aufersteh’n, ja aufersteh’n
Wirst du, mein Herz, in einem Nu!
Was du geschlagen
Zu Gott wird es dich tragen!

Alto Solo:
Believe, my heart, believe
Nothing is lost for thee!
Thou hast what thou longed for!
What thou hast loved and fought for!

Soprano Solo:
Believe: thou wast not born in vain!
Didst not live or suffer in vain.

Alto Solo and Chorus:
What has been, must perish!
What has perished must rise again!
Cease to tremble!
Prepare to live!

Alto Solo and Soprano Solo:
O pain, which penetrates all!
I am free from thee!
O Death, you all-conqueror!
Now thou art conquered!

Chorus:
With wings I have won for myself
In fervent love
I shall soar
To the light no eye has seen.

I shall die, to live again!
Rise again, yes rise again
Wilt thou, my heart, in an instant!
What thou hast struggled through
Will carry thee to God!

Text by Gustav Mahler

Symphony No. 3 in D Minor – Introduction

Friday, September 10th, 2010

Listening Guide

The Work

Date(s) of Composition: 1895-1896; published by Weinberger in 1898; Universal Edition in 1901; revised 1906.
Place of Composition: Steinbach
Premiere: 9 June 1902, Krefeld

Orchestration: 4 flutes (one doubles with piccolo); 4 oboes (4th doubles with English horn); 3 clarinets in B-flat (3rd doubles with bass clarinet); 2 clarinets in E-flat (2d doubles with clarinet in B-flat); 4 bassoons (4th doubles with contrabassoon); Posthorn in B-flat; 8 horns; 4 trumpets (2 additional if possible); 4 trombones; bass tuba; 2 harps; strings; percussion: 2 timpani (3 to a player); 2 glockenspiels (sounding an octave higher than noted); tambourine; tamtam; triangle; cymbals; small drum; a few small drums; bass drum; cymbals; ruthe; 4 to 6 untuned bells; boys choir; alto soloist; women’s chorus.
Performers: Martha Lipton, mezzo-soprano; Women’s Chorus of the Schola Cantorum; Boys’ Choir of the Transfiguration; New York Philharmonic under Leonard Bernstein
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Text(s): Excerpt from Thus Spake Zarathustra, Part III, Das andere Tanzlied by Friedrich Nietzsche (also known as The Midnight Song); Armer Kinder Bettlerlied from Des Knaben Wunderhorn, II, 375.
Program(s): Although Mahler did not supply narrative program notes akin to the ones he wrote for the Second Symphony, he did give each movement a title, revised the titles several times, and finally eliminated them from both programs for post-premiere performances and from the published edition. I have listed his final version of these titles below, because they give clues of Mahler’s intentions regarding the meaning of the individual movements as well as the symphony as a whole.

Midsummer Morning Dream
Part I:
Introduction: Pan Awakes
Movement 1: Summer Marches In (Procession of Bacchus)
Part II:
Movement 2: What the Flowers in the Meadow Tell Me
Movement 3: What the Animals in the Forest Tell Me
Movement 4: What Man Tells Me
Movement 5: What the Angels Tell Me
Movement 6: What Love Tells Me (What God Tells Me)

Symphony No. 3 in D Minor – First Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Kräftig . Entschieden. (Forcefully and decidedly)
Key: D minor to F major with numerous intermittent modulations
Time Signature: 4/4, changing to various other meters throughout the movement
Form: Extended sonata form with introduction and coda
Principal Material: funeral march and popular military march in alternation

Symphony No. 3 in D Minor – Second Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Tempo di Menuetto. Sehr mässig. (Very moderate)
Key: A major (with contrasting sections in F-sharp minor)
Time Signature: mostly triple meter (3/4, 3/8, 9/8) with occasional duple meter (2/4)
Basic rhythm: minuet or slow ländler alternating with quick-step dance rhythms
Form: ABABA (rondo with variations)

Symphony No. 3 in D Minor – Third Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Comodo. Scherzando. Ohne Hast. (Without Haste).
Key: C minor/major (Trio in F major/minor)
Time Signature: 2/4 alternating with 6/8 (6/8 in Trio)
Rhythm: binary dance form (bourrée) as in Ablösung im Sommer
Form: Rondo (ABACABCA)

Symphony No. 3 in D Minor – Fourth Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Sehr langsam. Misterioso.
Key: D major/minor
Time Signature: 2/2, changing to 3/3 (with one measure of 3/4)
Form: through-composed song form (Introduction-ABAB)
Text: The Midnight Song from Also Sprach Zarathustra by Friedrich Nietzsche (sung by alto voice)

O Mensch! O Mensch!
Gib Acht! Gib Acht!
Wie spricht die tiefe Mitternacht?
Ich schief! Ich schief!
Aus tiefem Traum bin ich erwacht!
Die Welt ist tief!
Und tiefer, als der tag gedacht!

O Mensch! O Mensch!
Tief! Tief ist ihr Weh!
Lust! Lust tiefer noch als Herzelied!

Weh spricht, Vergeh!
Weh spricht, Vergeh!
Doch alle Lust will Ewigkeit!
Will tiefe tiefe Ewigkeit!

O Man! O Man!
Take heed! Take heed!
What says the deep midnight?
I sleep! I sleep!
Out of a deep dream am I awakened!
The world is deep!
And deeper than the day is aware!

O Man! O Man!
Deep, deep is his woe!
Joy! Joy is deeper than heart’s sorrow!

Woe says: Begone!
Woe says: Begone!
But all Joy wants Eternity!
Wants deep, deep Eternity!

Symphony No. 3 in D Minor – Fifth Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Lustig in Tempo und keck in Ausdruck (In a merry tempo and bold expression).
Key: F major (D minor in the middle section)
Time Signature: 4/4
Rhythm: lively march.
Form: strophic (ABCA)
Orchestration: alto solo, women’s and children’s choruses, 4 flutes, 3 horns, 5 clarinets (including bass clarinet), 3 bassoons, glockenspiel, 2 harps, strings without violins.
Text: Armer Kinder Bettlerlied from Des Knaben Wunderhorn

Bimm, bamm, bimm, bamm.
Es sungen drei Engel einen süßen Gesang:
Mit Freuden es selig in dem Himmel klang.
Sie jauchzten fröhlich auch dabei.
Daß Petrus sei von Sünden frei.

Und als der Herr Jesus zu Tische saß,
Mit seinem zwölf Jüngern das Abendmahl aß:

Da sprach der Herr Jesus: Was steht du denn hier?
Wenn ich dich anseh, so weinest du mir!

Und sollt ich nicht weinen, du gütiger Gott.
Ich hab übertreten die zehn Gebot.
Ich gehe und weine ja bitterlich.
Da sollst ja nicht weinen!
Ach komm und erbarme dich über mich!

Hast du denn übertreten die zehen Gebot,
So fall auf die Knie und bete zu Gott!
Liebe nur Gott in alle Zeit!
So wirst du erlangen die himmlische Freud,

Die himmlische Freud ist eine selige Stadt;
Die himmlische Freud, die kein Ende mehr hat.
Die himmlische Freude war Petro bereit
Durch Jesus und allen zur Seligkeit.

Bimm, bamm, bimm, bamm.

Ding, dong, ding, dong.
Three angels sang a sweet song:
In blissful joy it sounded through Heaven,
They shouted joyfully all the while
That Peter was free of sin.

And when the Lord Jesus sat at table
And at supper with his twelve disciples,

Lord Jesus spoke: what doest thou here?
As I behold thee, thou weepest?

And should I not weep, thou merciful God?
I have broken the Ten Commandments.
I go my way with bitter tears.
Thou shalt not weep!
Ah, come and have mercy on me!

If thou hast broken the Ten Commandments
Fall on your knees and pray to God!
Love only God in eternity!
So shalt thou know heavenly joys.

Heavenly joy is a happy city.
Heavenly joy knows no end.
Heavenly joy was granted Peter
By Jesus and for us eternal felicity.

Ding, dong, ding, dong.

Symphony No. 3 in D Minor – Sixth Movement

Friday, September 10th, 2010

Listening Guide

The Work

Tempo: Langsam, ruhevoll, empfunden. (Slow, restful, deeply felt).
Key: D major (modulating to F-sharp minor, C sharp minor, etc.)
Time Signature: 4/4.
Form: Elements of rondo and sonata form with variations on two principal themes.

Symphony No.4 in G Major – Introduction

Friday, September 17th, 2010

Listening Guide

The Work

Date(s) of Composition: 1899-1900; published by Universal (1901, rev. 1903, 1910)
Place of Composition: Maiernigg and Vienna
Premiere: 25 November 1901, Munich

Orchestration: 4 flutes (3rd and 4th doubling with piccolo), 3 oboes, (3rd doubling with English Horn); 3 clarinets in Bb, A and C (2nd doubling with E-flat clarinet, 3rd with bass clarinet); 3 bassoons (3rd doubling with contrabassoon); 4 horns; 3 trumpets; percussion (timpani, bass drum, triangle, bells, glockenspiel, cymbals, tam-tam), harp, strings. Soprano soloist in finale

Text: Wir geniessen die himmlischen Freuden, from
Des Knaben Wunderhorn.

Recording:
Emmy Loose, soprano
Philharmonia Orchestra
Paul Kletzki, conductor
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1. Bedächtig, nicht eilen (Moderately, not rushed)
2. In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste)
3. Ruhevoll, poco adagio (Peacefully, somewhat slowly)
4. Sehr behaglich (Very comfortably)

Symphony No.4 in G Major – First Movement

Friday, September 17th, 2010

Listening Guide

The Work

Tempo: Bedächtig, nicht eilen. (Deliberate, without haste)
Key: G major.
Time Signature: 4/4 (with a few measures in 3/4 and 2/4)
Form: Modified sonata form

Symphony No.4 in G Major – Second Movement

Friday, September 17th, 2010

Listening Guide

The Work

Tempo: In gemächlicher Bewegung. Ohne Hast. (In an easy motion. Without haste).
Key: C minor/major (with an F major trio)
Time Signature: 3/8
Rhythm: slow ländler
Form: scherzo with two trios.

Symphony No.4 in G Major – Third Movement

Friday, September 17th, 2010

Listening Guide

The Work

Tempo: Ruhevoll (poco adagio) (restful).
Principal Key: G major
Time Signature: 4/4
Form: Double theme and variations (ABABA Coda)

Symphony No.4 in G Major – Fourth Movement

Friday, September 17th, 2010

Listening Guide

The Work

Tempo: Sehr Behaglich (Very Relaxed).
Key: G major (ending in E major).
Time Signature: 4/4
Form: strophic in 4 verses with a prelude and postlude.
Text: Das Himmlische Leben from Des Knaben Wunderhorn (1892)

Wir genießen die himmlischen Freuden,
D’rum tun wir das Irdische meiden.
Kein weltlich’ Getümmel
Hört man nicht im Himmel!
Lebt alles in sanftester Ruh’.
Wir führen ein englisches Leben,
Sind dennoch ganz lustig daneben;
Wir tanzen und springen,
Wir hüpfen und singen,
Sanct Peter im Himmel sieht zu.

Johannes das Lämmlein auslasset,
Der Metzger Herodes d’rauf passet.
Wir führen ein geduldig’s,
Unschuldig’s, geduldig’s,
Ein liebliches Lämmlein zu Tod.
Sanct Lucas den Ochsen tät schlachten
Ohn’ einig’s Bedenken und Achten.
Der Wein kost’ kein Heller
Im himmlischen Keller;
Die Englein, die backen das Brot.

Gut’ Kräuter von allerhand Arten,
Die wachsen im himmlischen Garten,
Gut’ Spargel, Fisolen
Und was wir nur wollen.
Ganze Schüsseln voll sind uns bereit!
Gut’ Äpfel, gut’ Birn’ und gut’ Trauben;
Die Gärtner, die alles erlauben.
Willst Rehbock, willst Hasen,
Auf offener Straßen
Sie laufen herbei!

Sollt’ ein Fasttag etwa kommen,
Alle Fische gleich mit Freuden angeschwommen!
Dort läuft schon Sanct Peter
Mit Netz und mit Köder
Zum himmlischen Weiher hinein.
Sanct Martha die Köchin muß sein.

Kein’ Musik ist ja nicht auf Erden,
Die unsrer verglichen kann werden.
Elftausend Jungfrauen
Zu tanzen sich trauen.
Sanct Ursula selbst dazu lacht.
Cäcilia mit ihren Verwandten
Sind treffliche Hofmusikanten!
Ermuntern die Sinnen,
Daß alles für Freuden erwacht.

We enjoy heaven’s delights,
So we can dispense with earthly things.
No worldly turmoil
Is to be heard in heaven!
All live in the sweetest rest!
We lead the life of angels
Yet are very gay about it;
We dance and jump,
We skip and sing.
St. Peter in heaven looks on.

St. John lets the lamb go;
Herod the butcher marks it well.
We lead a patient,
Innocent, lovable
Little lamb to its death.
St. Luke slaughters the ox
Without a thought or care.
Wine costs not a farthing
In the heavenly cellar;
Little angels bake the bread.

Good vegetables of every kind
Grow in the heavenly garden;
Good asparagus, beans
And whatever we want.
Whole dishfuls are ready for us!
Good apples, pears and grapes;
The garden lets us have everything.
If you want deer or hare
On an open spit
They come running up!

Should a fast-day occur,
All fish gladly swim along!
St. Peter already hurries,
With his net and bait,
Into the heavenly fishpond.
St. Martha must be the cook.

There is no music on earth
That can be compared to ours.
Eleven thousand virgins
Set to dancing;
Even St.Ursula laughs to see it.
Cecilia and her kin
Are the splendid Court musicians!
Gladden our senses,
So that all awake to joy.

Kindertotenlieder – Introduction

Monday, September 20th, 2010

Listening Guide

The Work

5 Songs on Poems by Friedrich Rückert

Dates of composition: The first, third and fourth songs were written during the summer of 1901; the second and fifth were added in June, 1904. Pub. (C.F. Kahnt 1905).
Place of composition: Maiernigg
Type of composition: 5 Songs in versions with piano and orchestral accompaniment. A chamber orchestra version has been arranged by Arnold Schoenberg.

Orchestration: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets (in B-flat and A); 2 bassoons; contrabassoon; 4 horns; glockenspiel; tam-tam; timpani; celesta; harp; and strings.

Vienna Philharmonic, Bruno Walter, conductor, Kathleen Ferrier, contralto
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Kindertotenlieder – Nun will die Sonn’ so hell aufgeh’n

Monday, September 20th, 2010

Listening Guide

The Work


Key: D minor/major with various modulations.
Tempo: Langsam und schwermütig; nicht schleppend (Slow and melancholy; do not drag)
Time signature: 4/4
Form: AABA based upon the four verses of the poem.

Nun will die Sonn’ so hell aufgeh’n
Als sei kein Unglück die Nacht gescheh’n.
Das Unglück geschah nur mir allein.
Die Sonne, sie scheinet allgemein.
Du musst nicht die Nacht in dir verschränken,
Musst sie ins ew’ge Licht versenken.
Ein Lämplein verlosch in meinem Zelt,
Heil sei dem Freudenlicht der Welt.
Now will the sun rise as brightly
as if no misfortune had befallen in the night!
The misfortune befell only me alone!
The sun, it shines on everything!
You must not enfold the night in you,
you must flood it in eternal light!
A little lamp went out in my tent!
Hail to the joyous light of the world!

Kindertotenlieder – Nun seh’ ich wohl, warum so dunkle Flammen

Monday, September 20th, 2010

Listening Guide

The Work


Key: C minor (original piano version in C-sharp minor) with several modulations to C major, D major, G minor and B-flat major.
Tempo: Ruhig, nicht schleppend (Restful, do not drag)
Time Signature: 4/4 (with a few measures of 3/2 and 2/4)
Form: ABCB (with a brief introduction and coda)

Nun seh’ ich wohl, warum so dunkle Flammen
ihr sprühet mir in manchem Augenblicke.
O Augen! O Augen!
Gleichsam, um voll in einem Blicke
zu drängen eure ganze Macht zusammen.
Dort ahnt’ ich nicht, weil Nebel mich umschwammen,
gewoben vom verblendenden Geschicke,
dass sich der Strahl bereits zur Heimkehr schicke,
dorthin, von wannen alle Strahlen stammen.
Ihr wolltet mir mit eurem Leuchten sagen:
Wir möchten nah dir bleiben gerne,
doch ist uns das vom Schicksal abgeschlagen.
Sieh’ uns nur an, denn bald sind wir dir ferne!
Was dir nur Augen sind in diesen Tagen:
in künft’gen Nächten sind es dir nur Sterne.
Now I can see why such dark flames
Shower on me at many a moment.
O eyes! O eyes!
As if it were, in a glance,
to concentrate utterly all your power.
Then I did not suspect, since mists enveloped me,
woven by beguiling destiny,
that the beam would already be returning home
to the place whence all beams come.
You wanted to tell me with your radiance:
We would like to stay near you,
but it is denied us by fate.
Only look at us, for soon we will be far away from you!
What are only eyes to you in these days,
in coming nights will be for you only stars.

Kindertotenlieder – Wenn dein Mütterlein

Monday, September 20th, 2010

Listening Guide

The Work


Key: C minor (modulating to G minor).
Tempo: Schwer, dumpf (Weighty, muffled)
Time Signature: 4/4 alternating with 3/2.
Form: ABAB.

Wenn dein Mütterlien
tritt zur Tür herein,
und den Kopf ich drehe,
ihr entgegen sehe,
fällt auf ihr Gesicht
erst der Blick mir nicht,
sondern auf die Stellen,
dort, wo würde dein
näher nach der Schwelle,
lieb’ Gesichtchen sein,
wenn du freudenhelle
trätest mit herein,
wie sonst mein Töchterlein!

Wenn dein Mütterlien
tritt zur Tür herein,
mit der Kerze Schimmer,
ist es mir als immer,
kämst du mit herein,
huschtest hinterdrein,
als wie sonsts ins Zimmer!

O du, des Vaters Zelle,
ach, zu schnelle,
zu schnell erlosch’ner Freudenschein!

When your dear mother
comes in the door,
and I turn my head,
and see her enter,
my glance falls first
not on her face
but on the place
closer to the threshold,
there where your
dear little face would be
if you, bright with joy,
came in with her
as usual, my little daughter!

When your dear mother
comes in the door
with her candle’s glimmer,
for me it is as always
when you would enter with her,
slip into the room
behind her as usual!

O You, in your father’s cell,
ah, too quickly,
too quickly, is extinguished your gleaming joy.

Kindertotenlieder – Oft denk’ ich, sie sind nur ausgegangen

Monday, September 20th, 2010

Listening Guide

The Work


Key: E-flat major (with each verse beginning in the minor), modulating to G-flat during each verse.
Tempo: Ruhig bewegt, ohne zu eilen (calmly restless, without hurrying)
Time Signature: 2/2 (with a few bars of 3/2)
Form: ABABAB

Oft denk’ ich, sie sind nur ausgegangen!
Bald werden sie wieder nach hause gelangen!
Der Tag ist schön! O, sei nicht bang!
Sie machen nur einen weiten Gang.
Jawohl, sie sind nur ausgegangen
und werden jetzt nach Hause gelangen!
O, sei nicht bang, der Tag ist schön!
Sie machen nur den Gang zu jenen Höh’n!
Sie sind uns nur vorausgegangen
und werden nicht wieder nach Haus verlangen!
Wir holen sie ein auf jenen Höh’n im Sonnenschein!
Der Tag ist schön auf jenen Höh’n!
Often I think they have merely gone out!
Soon they will return home!
The day is beautiful! Oh, don’t be anxious!
They are only taking a long walk.
Yes, surely they have merely gone out
and will now return home!
Oh, don’t be anxious, the day is beautiful!
They are only taking their walk to yonder height!
They have only gone on ahead of us
and won’t be longing for home yet!
We will overtake them on yonder height in the sunshine!
The day is beautiful on yonder height!

Kindertotenlieder – In diesem Wetter, In diesem Braus

Monday, September 20th, 2010

Listening Guide

The Work


Key: D minor (with occasional hints of B-flat and A major), ending in D major.
Tempo: Mit ruhelos schmerzvollem Ausdruck (With a restless, painful expression).
Time Signature: 4/4

Form: free strophic form with a prelude and postlude, each verse being separated by an interlude of varying length. The last verse is much longer than the earlier ones and, because of its vastly different character, is considered by La Grange to be virtually a separate song unto itself.

Orchestration: the only song in the cycle initially written for full orchestra, including piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in A, bass clarinet in A, 2 bassoons, contrabassoon, 4 horns in F, timpani, celesta, tam-tam, harp and muted strings.

In diesem Wetter, in diesem Braus,
nie hätt’ ich gesendet die Kinder hinaus,
man hat sie getragen, getragen hinaus.
Ich durfte nichts dazu sagen.

In diesem Wetter, in diesem Saus,
nie hätt’ ich gelassen die Kinder hinaus.
Ich fürchtete, sie erkranken,
das sind nun eitle Gedanken.

In diesem Wetter, in diesem Graus,
nie hätt’ ich gelassen die Kinder hinaus.
Ich sorgte, sie stürben morgen,
das ist nun nicht zu besorgen.

In diesem Wetter, in diesem Graus!
Man hat sie hinaus getragen,
nie hätt’ ich gelassen die Kinder hinaus.
Ich durfte nichts dazu sagen!

In diesem Wetter, in diesem Saus, in diesem Braus,
sie ruh’n als wie in der Mutter Haus,
von keinem Sturm erschrecket,
von Gottes Hand bedecket,
sie ruh’n wie in der Mutter Haus!

In this weather, in this tumult,
I should never have sent the children out,
they have been carried, carried out.
I could say nothing about it.

In this weather, in this storm,
I should never have let the children out.
I feared they would get sick,
those are now vain thoughts.

In this weather, in this horror,
I should never have let the children out.
I worried they would die tomorrow,
that is nothing to worry about now.

In this weather, in this horror!
I should never have let the children out.
They have been carried out,
I could say nothing about it!

In this weather, in this storm, in this tumult,
they rest as though in their mother’s house,
frightened by no storm,
sheltered by God’s hand,
they rest as though in their mother’s house!

Rückert-Lieder – Introduction

Friday, September 24th, 2010

Listening Guide

The Work

Dates of Composition: 1901 (Rückert-Lieder); 1902 (Liebst du um Schönheit); published as Sieben Lieder Aus Letzter Zeit 1910 (C. F. Kahnt).
Place of composition: Maiernigg
Type of composition: 5 Songs in versions with piano and orchestral accompaniment.

Blicke Mir Nicht In Die Lieder
Janet Baker, mezzo‑soprano
New Philharmonia
Sir John Barbirolli, conductor
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Um Mitternacht
Jose Van Dam, bass
Cleveland Orchestra
Christoph von Dohnanyi, conductor

Rückert-Lieder – Blicke Mir Nicht In Die Lieder (Do Not Peek At My Songs)

Friday, September 24th, 2010

Listening Guide

The Work


Key: F major (second and final verse in the minor key)
Tempo: Sehr Lebhaft (Very fast).
Time Signature: 2/2
Rhythm: nearly moto perpetuo eighth-notes
Form: AA’; AA’ (A’ episodes in the minor)

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.

Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.

Wenn die reichen Honigwaben
Dann vor allen nasche du!

Do not peek at my songs.
I cast my eyes down.
As if caught in a misdeed.

I cannot even trust myself
. I cannot even trust myself
Your inquisitiveness in treason!

Bees, when they build cells,
Do not let one observe them either,
And do not observe themselves.

Have been brought to daylight
Then, before anybody, you shall taste them.

Rückert-Lieder – Ich Atmet’ Einen Linden Duft (I Breathed A Gentle Fragrance)

Friday, September 24th, 2010

Listening Guide

The Work


Key: D major (E-flat major in final verse)
Tempo: Sehr zart und innig (Very tender and intimate)
Time Signature: 6/4 (3/4 in final six measures)
Rhythm: continuous eighth-note ostinato interwoven around the quarter-notes of the vocal line like Athe gentle rocking rhythm of a lullaby.
Form: Two-part song form.
Orchestration: 1 flute, 1 oboe, 1 clarinet in A, 2 bassoons, 3 horns, celesta, harp, violins and violas.

Ich atmet’ einen linden Duft
Ein Zweig der Linde,
Im Zimmer stand
Ein Angebinde
Von lieber Hand.
Wie lieblich war der Lindenduft!

Wie lieblich ist der Lindenduft!
Das Lindenreis
Brachst du gelinde!
Ich atme leis
Im Duft der Linde
Der Liebe linden Duft.

I breathed a gentle fragrance!
In the room stood
A branch of a linden tree,
A present
From a dear hand.
How lovely was the fragrance of a linden tree!

How lovely is the fragrance of a linden tree!
The linden-twig
Was gently plucked by you.
I softly breathe,
In the fragrance of a linden tree,
Love’s gentle fragrance.

Rückert-Lieder – Liebst Du Um Schönheit (If You Love For Beauty’s Sake)

Friday, September 24th, 2010

Listening Guide

The Work


Key: C major.
Tempo: Innig, fliessend (tender, flowing) (fliessend does not appear in the orchestral score)
Time Signature: 3/4 with numerous changes.
Form: simple strophic form
Orchestration: According to the original orchestral score, published by C. F. Kahnt, this song was not orchestrated by Mahler, but by an employee of the publisher, Max Puttmann. Many commentators have criticized the orchestration as flawed in details that Mahler would not have missed.

Liebst du um Schönheit,
o nicht mich liebe!
Liebe die Sonne,
sie trägt ein goldnes Haar!

Liebst du um Jugend,
o nicht mich liebe!
Liebe den Frühling,
der jung ist jedes Jahr!

Liebst du um Schätze,
o nicht mich liebe!
Liebe die Meerfrau,
sie hat viel Perlen klar!

Liebst du um Liebe,
o ja mich liebe!
Liebe mich immer,
dich lieb’ ich immerdar.

If you love for beauty’s sake
do not love me!
Love the sun,
it wears hair of gold.

If you love for youth’s sake,
do not love me!
Love the spring,
which is young every year!

If you love for treasure’s sake,
o do not love me.
Love the mermaid,
she owns many lucent pearls.

If you love for love’s sake,
yes, then love me.
Love me always,
as I love you always forever.

Rückert-Lieder – Ich Bin Der Welt Abhanden Gekommen (I Have Lost My Way In The World)

Friday, September 24th, 2010

Listening Guide

The Work


Key: F major in piano version; E-flat major in orchestral version (with modulations into A-flat and then C major and minor.
[N.B., the volume of the Critical Edition of Mahler's works prepared under the auspices of the International Gustav Mahler Gesellschaft, Vienna, devoted to the orchestral version of four Rückert-Lieder includes 2 orchestral versions of this song, one in F and the other in E-flat. (See Band XIV, Teilband 4)].

Tempo: Äussert langsam und zurückhaltend (extremely slow and held back)
Time Signature: 4/4 (with one measure of 2/4).
Form: through-composed but with three distinct sections, the second of which contrasts somewhat with the others.

Ich bin der Welt abhanden gekommen,
Mit der ich sonst viele Zeit verdorben,
Sie hat so lange nichts von mir vernommen,
Sie mag wohl glauben, ich sei gestorben!

Es ist mir auch gar nichts daran gelegen,
Ob sie mich für gestorben hält,
Ich kann auch gar nichts sagen dagegen,
Denn wirklich bin ich gestorben der Welt.

Ich bin gestorben dem Weltgetümmel,
Und ruh’ in einem stillen Gebiet!
Ich leb’ allein in meinem Himmel,
In meinem Lieben, in meinem Lied!

I have lost my way in the world
With which I used to waste much time;
It has heard nothing of me for so long,
It may well think I am dead!

And for me it is of no concern at all
If it considers me dead,
Nor can I say anything against it,
For in truth I am dead to the world.

I am dead to the world’s tummelt
And rest in a place of quietness!
I live alone in my heaven,
In my love, in my song.

Rückert-Lieder – Um Mitternacht (At Midnight)

Friday, September 24th, 2010

Listening Guide

The Work


Key: B minor in the piano version and the Kritische Gesamtausgabe; B-flat minor and A minor in other orchestral editions.
Tempo: Ruhig. Gleichmässig. (Restful, evenly)
Time Signature: 3/2, alternating with 2/2, 4/2 and 6/2.
Orchestration: no strings; 2 flutes; 2 oboes (oboe d’amore in A minor version); 2 clarinets; 2 bassoons and contrabassoon; 4 horns; 2 trumpets; 3 trombones, tuba, timpani, harp and piano.
Form: strophic in five verses; ABAAB.

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! Über Tod und Leben
Du hälst die Wacht
Um Mitternacht!

At midnight
I awake
And looked up at the sky.
Not a star in the galaxy
Smiled at me
At midnight.

At midnight
My thought went
Out to the limits of darkness.
There was no thought of light
To bring me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart.
One single pulse of pain
Caught fire
At midnight.

At midnight
I fought the fight
Of your sorrows, O Mankind.
I could not decide it
For all my power
At midnight.

At midnight
I gave my power
Into your hands,
Lord! Over life and death
You keep watch
At midnight!

Symphony No. 5 in C Sharp Minor – Introduction

Wednesday, October 13th, 2010

Listening Guide

The Work

Date(s) of Composition: 1901-02; published by C. F. Peters (1904), revised edition, 1919.
Place of Composition: Maiernigg and Vienna
Premiere: Cologne, 18 October 1904.

Orchestration: 4 flutes (3rd and 4th double with piccolo); 3 oboes (3rd doubles with English horn); 3 clarinets (3rd doubled with bass clarinet); 3 bassoons (3rd doubles with contrabassoon); 6 horns; 4 trumpets; 3 trombones; tuba; 4 timpani; cymbals; bass drum; side drum; triangle; glockenspiel; tam-tam; woodblock; harp and strings.
Performers: Chicago Symphony under Georg Solti
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Movements: 5 movements organized in 3 parts as follows:
Part I
1. Trauermarsch
2. Stürmisch bewegt. Mit grösster Vehemenz
Part II
3. Scherzo: Kräftig, nicht zu schnell
Part III
4. Adagietto: Sehr langsam
5. Rondo-Finale: Allegro

Symphony No. 5 in C Sharp Minor – First Movement

Wednesday, October 13th, 2010

Listening Guide

The Work

Tempo: Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt. (Funeral March. In measured tread, austere, like a funeral cortège.)

Key: C-sharp minor (modulating to A-flat, then to B-flat minor for the first trio, D-flat major and then A minor for the second trio, etc.)

Time Signature: 2/2

Rhythm: funeral march.

Form: ABABA in the manner of a scherzo movement with two trios. [N.B.,  Edward Murphy considers the musical material for the trio sections to be too heavy and too frenetic to be considered trios in the traditional sense, especially since the climax of the movement occurs during one of them. Moreover, application of the term Ascherzo to the calmer, more melodious music of the funeral march is equally inappropriate. However, given Mahler’s retention of traditional formal frameworks within which he makes radical departures for classical principles, the use of such terms as Ascherzo and Atrio for the first movement is not necessarily inappropriate.

Symphony No. 5 in C Sharp Minor – 2nd Movement

Wednesday, October 13th, 2010

Listening Guide

The Work

Tempo: Stürmisch bewegt. Mit grösster Vehemenz. (Stormily agitated, with the greatest vehemence).

Key: A minor, F minor in the second theme, with various major and minor key modulations; E minor for the second theme in the recapitulation and D major for the Grand Chorale.

Time Signature: 2/2

Form: ABABA with introduction and coda; contains elements of sonata form.

Symphony No. 5 in C Sharp Minor – 3rd Movement

Wednesday, October 13th, 2010

Listening Guide

The Work

Third Movement: Scherzo

In what strange simplification and falsification man lives! One can never cease wondering once one has acquired eyes for this marvel! How we have made everything around us clear and free and easy and simple! How we have been able to give our senses a passport to everything superficial, our thoughts a divine desire for wanton leaps and wrong inferences! How from the beginning we have contrived to retain our ignorance in order to enjoy an almost inconceivable freedom, lack of scruple and caution, heartiness, and gaiety of life–in order to enjoy life! And only on this now solid, granite foundation of ignorance could knowledge rise so far–the will to knowledge on the foundation of a far more powerful will: the will to ignorance, to the uncertain, to the untrue! Not as its opposite, but–as its refinement!
- Beyond Good and Evil, Friedrich Nietzsche

Tempo: Kräftig, nicht zu schnell. (Energetic, not too fast).
Key: D major with numerous minor-key modulations (f, d, a, e, etc.).
Time signature: 3/4
Rhythm: Ländler and waltz.
Form: Scherzo with two trios

Symphony No. 5 in C Sharp Minor – 4th Movement

Wednesday, October 13th, 2010

Listening Guide

The Work

Tempo: Sehr langsam (Very slowly)
Key: F (with modulations in the B section to C minor, G-flat major, E major, D major, etc.).
Time Signature: 4/4
Form: ABA

Symphony No. 5 in C Sharp Minor – 5th Movement

Wednesday, October 13th, 2010

Listening Guide

The Work

Tempo: Allegro. Allegro giocoso.
Principal Key: D major.
Time Signature: 2/2

Form: Although Mahler used the term Arondo in the title of this movement, its structure is hardly that of a traditional rondo. Some commentators consider the movement to be in sonata-form, but there are several reasons to doubt the efficacy of this viewpoint, one being the first appearance of an important theme in the development section. There have been other attempts to analyze the movement based upon key relationships and sectional organization. The most consistent feature of the movement is its contrast of homophonic and fugal elements. However, the rondo-like return of the opening motto, the special function of the Grand Chorale within the scheme of the movement and the frequent development sections, among other things, make any traditional analysis of this movement necessarily flawed.

Symphony No. 6 In A Minor – Introduction

Friday, October 15th, 2010

Listening Guide

The Work

Date(s) of composition: 1903-4; published by C. F. Kahnt Nachfolger, Leipzig (1906) in three editions (a full orchestral score, study score and a four-hand piano transcription by Alexander von Zemlinsky) were published, the second of which reversed the order of the middle movements from Scherzo-Andante to Andante-Scherzo and contained substantial revisions in the orchestration. The orchestration of the revised Critical Edition published in 1998 by the International Gustav Mahler Gesellschaft which contains numerous revisions from the original published versions based upon reported changes Mahler is claimed to have made in the score after performances.

Place(s) of composition: Maiernigg and Vienna
Premiere: Essen, 27 May 1905, Mahler conducting the Tonkünstlerfest of the Allgemeine Deutsche Musikverein.

Orchestration: piccolo, 4 flutes, 4 oboes, English horn, clarinets in D and E-flat, 3 clarinets in A and B-flat, bass clarinet, 4 bassoons, contrabassoon, 8 horns, 6 trumpets, 3 trombones, bass trombone, tuba, timpani, percussion (big drum, side drum, tam-tam, cymbals, triangle, glockenspiel, cow bells, deep bells, rute and hammer), xylophone, 2 harps, celesta and strings.
Performers: Vienna Philharmonic under Leonard Bernstein
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Movements: 4 movements organized in modified traditional symphonic form:
1. Allegro energico, ma non troppo
{2. Scherzo (Wuchtig)} or Andante
{3. Andante} or Scherzo (Wuchtig)
4. Finale (Allegro moderato)

Symphony No. 6 In A Minor – First Movement

Friday, October 15th, 2010

Listening Guide

The Work


Tempo: Allegro energico, ma non troppo. Heftig, aber markig (Vigorous, but emphatic).
Key: A minor (second theme in F major; recapitulation in A major with the second theme in D major)
Time Signature: 4/4
Form: Modified Sonata form

Symphony No.6 In A Minor – Second Movement

Friday, October 15th, 2010

Listening Guide

The Work

Tempo: Wuchtig (weighty or powerful) (3/8 ausschlagen ohne zu schleppen) (3/8 meter not too dragging).
Key: A minor (First trio in F major and Second trio in D major)
Time Signature: 3/8 (numerous meter shifts throughout the trios)
Form: Scherzo with two Trios (ABA’B'AACoda)

Symphony No. 6 In A Minor – Third Movement

Friday, October 15th, 2010

Listening Guide

The Work

Tempo: Andante Moderato
Key: E-flat major (second theme in G minor, then in E minor and A minor) with the Development in E minor and 2 episodes, the first in E minor then E major, the second in C major.
Time Signature: 4/4
Form: Rondo form. (ABA’B'A’Coda)

Symphony No. 6 In A Minor – Fourth Movement

Friday, October 15th, 2010

Listening Guide

The Work

Tempo: Allegro Moderato (Sostenuto); allegro energico
Principal key: A minor with various subsidiary keys (C minor, D major and minor, F-sharp and B-flat major, A major, F minor, E-flat major and G major and minor)
Time Signature: alla breve opening leads to the principal 4/4 meter
Form: Extended sonata form with rondo elements (expositions merges with development sections and opening measures become ritornello)

Symphony No. 7 In B Minor/E Minor – Introduction

Thursday, November 18th, 2010

Listening Guide

The Work

Occasionally, the subtitle The Song of the Night has been appended to the Seventh Symphony, presumably relating to the two movements (the second and fourth) that Mahler entitled Nachtmusik. However, Mahler did not append a subtitle to the symphony. Regarding the symphony’s principal key, some have referred to it as B minor, the key in which the symphony begins. However, the first movement is clearly in E minor which relates more directly than B minor to both the keys of the second movement and the finale (C minor/major and C major respectively), although more remotely to those of the other movements.

Date(s) of composition: 1904-5; published by Bote & Bock, Berlin (1909)
Place(s) of composition: Maiernigg
Premiere:Prague, 19 September 1909, Mahler conducting
Orchestration: Piccolo, 4 flutes (4th doubling as 2d piccolo), 4 oboes, English horn, clarinet in E-flat, 3 clarinets in A and B-flat, 3 bassoons, 4 horns, 3 trumpets, tenor horn in B-flat (referred to in English as a >baritone=), 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tambourine, tam-tam, triangle, cymbals, rute (sticks), cowbells and glockenspiel), 2 harps, guitar, mandolin and strings.
Performers: Vienna Philharmonic under Leonard Bernstein
Movements: 5 movements with second and fourth movements each entitled Nachtmusik and third Scherzo.
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Symphony No. 7 In B Minor/E Minor – First Movement

Thursday, November 18th, 2010

Listening Guide

The Work


Tempo: Langsam (Adagio); Allegro risoluto, ma non troppo
Key: Beginning in B minor and modulating progressively to E minor and concluding in E major.
Time Signature: 4/4
Form: Sonata form

Symphony No. 7 In B Minor/E Minor – Second Movement

Thursday, November 18th, 2010

Listening Guide

The Work


Tempo: Allegro Moderato; Tempo subito, molto moderato (Andante); Sempre l’istesso tempo; Gehalten; Poco meno mosso
Key: C minor/major (first Trio in A-flat major; second Trio in F minor)
Time Signature: 4/4
Form: ABACABA (with Introduction and Coda)

Symphony No. 7 In B Minor/E Minor – Third Movement

Thursday, November 18th, 2010

Listening Guide

The Work

Tempo: Schattenhaft. Fliessend, aber nicht schnell, an der Anfangstahten noch etwas zogernd. (Shadowy. Fleeting, but not too fast, the beginning still somewhat hesitant.); etwas flotter (somewhat brisker); klagend (lamenting); Pesante
Key: D minor with Trio in D major.
Time Signature: 3/4
Form: Scherzo and Trio (with Introduction, Coda and sonata-like development sections)

Symphony No. 7 In B Minor/E Minor – Fourth Movement

Thursday, November 18th, 2010

Listening Guide

The Work

Tempo: Andante Amoroso; Mit Aufschwung (With verve); Graziosissimo; Sehr Fliessend (very fleeting),etc.
Key: F Major (with a middle section in A-flat major and B-flat Major with modulations)
Time Signature: 2/4
Form: ABACA-DE-ABACA

Symphony No. 7 In B Minor/E Minor – Fifth Movement

Thursday, November 18th, 2010

Listening Guide

The Work

Tempo: Allegro ordinario ; Maestoso; Sempre l’istesso tempo; Gemessen! Nicht Schnell! (Measured! Not fast!); Grazioso; Immer noch Tempo II (still in Tempo II), etc.
Key: C major (opening briefly in E minor); second subject in A-flat major with occasional ventures into A, G-flat, B-flat and B major and a brief incursion into C minor.
Time Signature: 4/4; 3/2; 2/2; alla breve; returning to 4/4
Form: Modified sonata-rondo

Symphony No.8 In E-Flat Major – Introduction

Thursday, November 18th, 2010

Listening Guide

The Work

Date of composition: summer, 1906; orchestrated in 1907; published by Universal Editions, February 1911.
Place of composition: Maiernigg
Premiere: Munich, 12 September 1910, Mahler conducting.

Orchestration: Piccolo (or double as 5th flute), 4 flutes, 4 oboes, English horn; clarinet in E-flat, 3 clarinets in B-flat, bass clarinet in B-flat, 4 bassoons, contrabassoon, 8 horns, 4 trumpets, 4 trombones, bass tuba, 3 timpani, bass drum, cymbals, tamtam, triangle, deep bells, glockenspiel, celesta, piano, harmonium, organ, 2 harps, mandolin, strings. Internal band: 4 trumpets, 3 trombones.

Voices: Soloists: Soprano I (Magna Peccatrix), Soprano II (Una poenitentium), Soprano (Mater Gloriosa), Alto I (Mulier Samaritana), Alto II (Maria Aegyptiaca), Tenor (Doctor Marianus), Baritone (Pater Ecstaticus), Bass (Pater Profundus), Choruses: Boys choir, Mixed Choruses I and II

Movements:
Part I : Hymnus: Veni, creator spiritus (anonymous but once attributed to Hrabanus Maurus)
Part II: Final scene from Faust by Wolfgang von Goethe.

Magna Peccatrix: Erna Spoorenberg, soprano
Una Poenitentium: Gwyneth Jones, soprano
Mater Gloriosa: Gwyneth Annear, mezzo-soprano
Mulier Samaritana: Anna Reynolds, mezzo-soprano
Maria Aegyptiaca: Norma Procter, mezzo-soprano
Doctor Marianus: John Mitchinson, tenor
Pater Ecstaticus: Vladimir Ruzdjak, baritone
Pater Profundis: Donald McIntyre, bass

Hans Vollenweider, organ
Leeds Festival Chorus
London Symphony Orchestra Chorus (Donald Hunt, chorus master)
Finchley Children’s Music Group (John Andrews, music director)
Highgate School Boys Choir (Edward Chapman, music director)
Orpington Junior Singers (Sheila Mossman, chorus master)
London Symphony Orchestra
Leonard Bernstein, conductor

Sony 88697-45369-2
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Symphony No.8 In E-Flat Major – Part I – Hymnus: Veni, Creator Spiritus (Come, Creator Spirit)

Thursday, November 18th, 2010

Listening Guide

The Work

Tempo: Allegro impetuoso; etwas gemässigter, immer sehr fliessend (somewhat more moderate, always very fleeting); etwas gehalten (somewhat held back)
Key: E-flat major (second theme in D-flat major; third theme in D minor, with excursions into E major and minor, D-flat and A-flat major, etc.)
Time signature: 4/4 (with intervening duple and triple meters in the Veni theme).
Form: modified and extended sonata form.

Veni, creator spiritus!
Mentes tuorum visita.
Imple superna gratia,
quae tu creasti pectora.

Qui Paraclitus diceris.
Donum Dei altissimi.
Fons vivus, ignis, caritas,
et spiritalis unctio.

Veni, creator spiritus, etc.

Infirma nostri corporis,
virtute firmans perpeti; rep.
Accende lumen sensibus,
infunde amorem cordibus, rep.

Hostem repellas longius,
pacemque protinus dones;
praevio, ductore sic te praevio
vitemus omne pessimum.
Hostem repellas longius, etc.
Munere tu septiformis,

digitus paternae dexterae.
Ductore praevio te, etc.
Tu septiformis munere, etc.

Per te sciamus da Patrem,
noscamus [atque]* Filium,
[Teque utriusque]* credamus Spiritum
omni tempore.

Accende lumen sensibus,
infunde amorem cordibus, etc.

Veni, creator spiritus, etc.

Da gaudiorum praemia,
da gratiarum munera;
pacem protinus dones;
dissolve litis vincula,
Pacemque protinus dones, etc.
adstringe pacis foedera.

Gloria patri Domino,
gloria sit Domino
natoque, qui a mortuis surrexit,
Deo set gloria et Filio
ac Paraclito
in saeculorum saecula.
Gloria Patri.

Come, Creator Spirit!
let They soul visit us.
Fill with all Thy grace
those whom Thou hast created.

Thou who is called the Comforter,
gift of God on High,
the Living Fountain, Fire, Love,
and Sacred Unction.

Come, Creator, etc.

Endow our infirm bodies
with everlasting strength; rep.
Inflame our senses with Thy light,
with love our hearts infuse, rep.

Drive the enemy far away
and grant us everlasting peace;
thus with Thee to guide our way
we may shun all evil.
Drive the enemy far away, etc.
Those whose gift is sevenfold,
finger of God’s right hand.
With Thee to guise our way, etc.
Those whose gift is sevenfold, etc.

Through Thee may we know the Father,
[and]* through Thee know [also]* the Son,
[and Thee]* the Spirit [of them both]*
may we believe in all as One.

Inflame our senses with Thy light,
with love our hearts infuse, etc.

Come, Creator spirit, etc.

Give us heavenly joy,
give us your grace;
and grant us everlasting peace;
dissolve the chains that vanquish us,
join us in the bond of peace.
and grant us everlasting peace, etc.

Glory to the Lord, the Father,
glory be to the Lord
incarnate, who died,
arose, as the Comforter.
Glory be to God, the Son
and the Holy Ghost,
world without end.

* Words omitted by Mahler

Symphony No.8 In E-Flat Major – Part II – Schluss-Szene Aus Goethes Faust II (Final Scene of Goethe’s Faust II)

Thursday, November 18th, 2010

Listening Guide

The Work

Tempo: Beginning with Poco adagio and making numerous tempo changes some of which will be mentioned below.
Key: E-flat minor (Introduction) with several intermittent key changes and ending in E-flat major.
Time Signature: 4/4 with occasional meter shifts.
Form: Introduction and combination of sonata elements (Exposition and Development) with variations and strophic forms that incorporate aspects of oratorio, cantata and operatic aria.

Das Lied von der Erde – Introduction

Friday, December 31st, 2010

Listening Guide

The Work

Dates of composition: 1907-1909; published posthumously by Universal Editions, Vienna in 1912
Place of composition: Toblach (in the Tyrolian Mountains, then part of Austria, now known as Dobbiaco)
Premiere: Munich, 20 November 1911, under the direction of Bruno Walter
Orchestration: piccolo, 3 flutes (third doubling with piccolo), 3 oboes (third doubling with English horn), 3 clarinets, clarinet in E-flat, bass clarinet, 3 bassoons (third doubling with contrabassoon), 4 horns, 3 trumpets, 3 trombones, bass tuba, 2 harps, timpani, celesta, mandolin, glockenspiel, triangle, cymbals, tam-tam, tambourine, bass drum and strings.
Voices: Tenor and Alto or Baritone
Movements:
Das Trinklied vom Jammer der Erde (The Drinking Song of the Earth’s Sorrow) (Tenor)
Der Einsame im Herbst (Loneliness in Autumn) (Alto or Baritone)
Von der Jugend (Of Youth) (Tenor)
Von der Schönheit (Of Beauty) (Alto or Baritone)
Der Trunkene im Frühling (The Drunkard in Spring) (Tenor)
Der Abschied (The Farewell) (Alto or Baritone)

All excerpts are (1). Each movement has two music tracks–in each case (1) is on top and  (2) is on bottom.

(1) Mildred Miller, mezzo-soprano
Ernst Häfliger, tenor
Columbia Symphony Orchestra
Bruno Walter, conductor
Sony MK 42034(2) James King, tenor
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(2) Dietrich Fischer-Dieskau, baritone
Vienna Philharmonic Orchestra
Leonard Bernstein, conductor
Decca 289 466 381-2
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Das Lied von der Erde – Das Trinklied vom Jammer der Erde

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Allegro Pesante (Ganze Takte, nicht schell) (alla breve, not fast)
Principal Key: A minor
Time Signature: 3/4
Form: Modified Sonata form

Schon winkt der Wein im golden Pokale,
doch trinkt noch nicht, erst sing ich euch ein Lied!
Das Lied vom Kummer soll auflachend in die Selle euch klingen.
Wenn der Kummer naht, liegen wüst die Gärten der Seele.

Welkt hin und stirbt die Freude, der Gesang.
Dunkel ist das Leben, ist der Tod.

Herr diese Hauses!
Dein Keller birgt die Fülle des goldenen Weins!
Hier, diese Laute nenn ich mein!
Die Laute schlagen und die Gläser leeren,
das sind die Dinge, die zusammenpassen.
Ein voller Becher Weins zur rechten Zeit
ist mehr wert als alle Reiche dieser Erde!
Dunkel ist das Leben, ist der Tod.

Das Firmament blaut ewig und die Erde
wird lange fest stehn und aufblühn im Lenz.
Du aber, Mensch, wie lang lebst denn du?
Nicht hundert Jahre darfst du dich ergötzen
an all dem morschen Tande dieser Erde!
Seht dort hinab! Im Mondschein auf den Gräbern
hockt eine wild-gespenstische Gestalt–

Ein Aff ist’s! Hört ihr, wie sein Heulen
hinaus-gellt in den süssen Duft des Lebens!
Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen!
Leert eure goldnen Becher zu Grund!
Dunkel ist das Leben; ist der Tod.

Wine is already sparkling in the golden goblet
but do not drink yet; first I will sing you a song!
The song of care shall sound laughing in your
soul.
When care draws near, the gardens of the soul lie waste.

Joy and singing fade away and die.
Dark is life; so is death.

Lord of this house!
Your cellar holds abundance of golden wine!
I call this lute here my own!
To strike the lute and to drain the glasses,
those are the things which go well together.
A brimming cup of wine at the right time
is worth more than all the riches of this earth!
Dark is life; so is death.

The heavens are ever blue and the earth
will long stand fast and blossom in spring.
But you, Man, how long will you live?
Not one hundred years may you enjoy yourself
with all the rotten trifles of this earth!
Look down there! In the moonlight on the graves
there crouches a wild and ghostly form–

It is an ape! Listen, how its howling
rings out amidst the sweet scent of life!
Now take up the wine! Now, friends, it is time!
Drain your golden cups to the depths!
dark is life; so is death.

Das Lied von der Erde – Der Einsame im Herbst

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Etwas schleichend. Ermüdet. (Somewhat lingering, worn out).
Key: D minor/major with contrasting sections in B-flat major
Time Signature: 3/2 (occasionally altering with 2/2 and 4/2)
Form: Strophic with elements of sonata form

Herbstnebel wallen bläulich überm See;
vom Reif bezogen stehen alle Gräser;
man meint, ein Künstler habe Staub von Jade
über die feinen Blüten ausgestreut.

Der süsse Duft der Blumen ist verflogen;
ein kalter Wind beugt ihre Stengel nieder.
Bald werden die verwelkten, goldnen Blätter
der Lotosblüten auf dem Wasser ziehn.

Mein Herz ist müde. Meine kleine Lampe
erlosch mit Knistern, es gemahnt mich an den Schlaf.
Ich komm zu dir, traute Ruhestätte!
Ja, gib mir Ruh, ich hab Erquickung not!

The autumn mists drift blue over the lake;
the blades of grass stand covered with frost;
one would think an artist had strewn jade-dust
over the delicate blossoms.

The flowers’ sweet scent is gone;
an icy wind bends down their stems.
Soon the withered golden leaves
of the lotus-flowers will be drifting on the water.

My heart is weary. My little lamp
has gone out with a sputter, it urges me to go to sleep.
I come to you, beloved place of rest!
Yes, give me rest; I need refreshment!

Das Lied von der Erde – Von der Jugend

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Behaglich heiter (comfortably cheerful)
Principal Key: B-flat major (with a contrasting sections in G minor and major)
Time Signature: alla breve
Form: Song form (ABA)

Mitten in dem kleinen Teiche
steht ein Pavillon aus grünem
und aus weissem Porzellan.

Wie der Rücken eines Tigers
wölbt die Brücke sich aus Jade
zu dem Pavillon hinüber.

In dem Häuschen sitzen Freunde,
schön gekleidet, trinken, plaudern;
manche schreiben Verse nieder.

Ihre seidnen Ärmel gleiten
rückwärts, ihre seidnen Mützen
hocken lustig tief im Nacken.

Auf des kleinen Teiches stiller
Wasserfläche zeigt sich alles
wunderlich im Spiegelbilde:

Alles auf dem Kopfe stehend
in dem Pavillon aus grünem
und aus weissem Porzellan.

Wie ein Halbmond steht die Brücke,
umgekehrt der Bogen. Freunde,
schön gekleidet, trinken, plaudern.

In the middle of the little pool
stands a pavilion of green
and white porcelain.

Like a tiger’s back
the jade bridge arches itself
over to the pavilion.

In the little house friends are sitting,
prettily dressed, drinking and chattering;
some are writing down verses.

Their silk sleeves fall
backwards; their silk caps perch
roguishly back on their heads.

On the still surface of the little pool
everything is reflected
wonderfully as in a mirror:

Everything is standing on its head
in the pavilion of green
and white porcelain.

The bridge stands like a half-moon
with its arch upside-down. Friends
prettily dressed are drinking and chattering.

Das Lied von der Erde – Von der Schönheit

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Comodo Dolcissimo
Principal Key: G major with modulations into E, G, C, A-flat, F, D and B-flat major
Time signature: shifting between 3/4, 4/4 and occasional bars of 2/4
Form: sonata form (ABA’)

Junge Mädchen pflücken Blumen,
pflücken Lotosblumen an dem Uferrande.
Zwischen Büschen und Blättern sitzen sie,
sammeln Blüten in den Schoss und rufen
sich einander Neckereien zu.

Goldne Sonne webt um die Gestalten,
spiegelt sie im blanken Wasser wider.

Sonne spiegelt ihre schlanken Glieder,
ihre süssen Augen wider.
Und der Zephir hebt mit Schmeichelkosen das Gewebe
ihrer Ärmel auf, führt den Zauber
ihrer Wohlgerüche durch die Luft.

O sieh, was tummeln sich für schöne Knaben
dort an dem Uferrand auf mutgen Rossen?
Weithin glänzend wie die Sonnenstrahlen;
schon zwischen dem Geäst der grünen Weiden
trabt das jungfrische Volk einher!
Das Ross des einen wiehert fröhlich auf
über Blumen, Gräser, wanken hin die Hufe,
und scheut und saust dahin,
sie zerstampfen jäh im Sturm die hingesunken Blüten,
Hei! Wie flattern im Taumel seinen Mähnen,
dampfen heiss die Nüstern!

Goldne Sonne webt um die Gestalten,
spiegelt sie im blanken Wasser wider.
Und die schönste von den Jungfrau sendet
lange Blicke ihm der Sehnsucht nach.
Ihre stolze Haltung ist nur Vertellung:
in dem Funkeln ihrer grossen Augen,
in dem Dunkel ihres heissen Blicks
schwingt klagend noch die Erregung ihres Herzens nach.

Young girls are picking flowers,
lotus-flowers by the river-bank.
They are sitting among the bushes and the leaves,
gathering blossoms in their laps and calling
teasingly to one another.

The golden sun shines over their forms
and reflects them in the clear water.

The sun reflects their slender limbs,
and their sweet eyes.
And the breeze lifts their embroidered sleeves
caressingly, and carries the magic of their
perfume through the air.

Oh see, what fair youths are those
there by the river-bank on their brave steeds?
Flashing in the distance like sunbeams,
the gay young men are trotting by,
among the branches of the green willows!
The steed of one of them neighs merrily,
hesitates and plunges on.
His hoofs pass over flowers and grass;
stormily they trample down the fallen blossoms.
How his mane tosses in frenzy!
Hot steam blows from his nostrils.

The golden sun shines over the forms
and reflects them in the clear water.
And the fairest of the maidens casts
looks of longing after him.
Her proud bearing is only pretense:
in the flashing of her large eyes,
in the darkness of her warm glances,
her anxious heart is still throbbing.

Das Lied von der Erde – Der Trunkene im Frühling

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Allegro, keck, aber nicht zu schnell (brazen, but not too fast)
Key: A major, with subsidiary theme in F and excursions into D-flat major/minor, etc.
Time signature: 4/4 (with a few bars of 2/4)
Form: ABA song form

Wenn nur ein Traum das Leben ist,
warum denn Müh und Plag?
Ich trinke, bis ich nicht mehr kann,
den ganzen lieben Tag!

Und wenn ich nicht mehr trinken kann,
weil Kehl und Seele voll,
so tauml’ ich bis zu meiner Tür
und schlafe wundervoll!

Was hör ich beim Erwachen? Horch!
Ein Vogel singt im Baum.
Ich frag ihn, ob schon Frühling sei,
mir ist als wie im Traum.

Der Vogel zwitschert: Ja! Der Lenz ist da,
sie kommen über Nacht!
Aus tiefstem Schauen lauscht ich auf,
der Vogel singt und lacht!

ich fülle mir den Becher neu
und leer ihn bis zum Grund
und singe, bis der Mond erglänzt
am schwarzen Firmament!

Und wenn icht nicht mehr singen kann,
so schlaf ich wieder ein.
Was geht mich denn der Frühling an?

lasst mich betrunken sein!

If life is but a dream,
why should there be toil and misery?
I drink till I can drink no more
the whole, long, merry day!

And when I can drink no more,
for body and mind are sated,
I stagger to my door
and sleep wonderfully!

And what do I hear when I awake? Hark!
a bird is singing in the tree.
I ask him if it is already spring;
it seems to me like a dream.

The bird twitters: yes! Spring is here,
it came overnight!
With deep attention I listened for it;
the bird sings and laughs!

I fill my glass anew
and drain it to the bottom,
and sing until the moon shines out
in the dark heavens.

And when I can no longer sing,
I fall asleep again.
What have I to do with spring?

Let me be drunk!

Das Lied von der Erde – Der Abschied

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Schwer (Heavy); Sehr Mässig (Very moderate).
Key: Begins in C minor; with principal sections in F, B-flat major, C major and minor, and ending by hovering between in C major and A minor.
Time Signature: Begins in 4/4, with principal sections in alla breve and 3/4 and numerous meter shifts to 2/4, 6/4, 2/2, 3/2, etc.
Form: Combination of sonata form and binary song form

Die Sonne scheidet hinter dem Gebirge.
In alle Täler steigt der Abend nieder
mit seinen Schatten, die voll Kühlung sind.

O sieh! Wie eine Silberbarke schwebt
der Mond am blauen Himmelssee herauf.
Ich spüre eines feinen Windes Wehn
hinter den dunklen Fichten!

Der Bach singt voller Wohllaut durch das Dunkel.
Die Blumen blassen im Dämmerschein.

Die Erde atmet voll von Ruh und Schlaf.
Alle Sehnsucht will nun träumen,
die müden Menschen gehn heimwärts,
um im Schlaf bergessnes Glück
und Jugend neu zu lernen!

Die Vögel hocken still in ihren Zweigen.
Die Welt schläft ein. . .

Es wehet kühl im Schatten meiner Fichten.
Ich stehe hier und harre meines Freundes;
ich harre sein zum letzten Lebewohl.

Ich sehne mich, o Freund, an diener Seite
die Schönheit dieses Abends zu geniessen.
Wo bleibst du? Du lässt mich lang allein!

Ich wandle auf und nieder mit meiner Laute
auf Wegen, die von weichem Grase schwellen.
O Schönheit! O ewigen Liebens, Lebens trunkne Welt!

Er stieg vom Pferd und reichte ihm den Trunk
des Abschieds dar. Er fragte ihn, wohin
er führe und auch warum es müsste sein.

Er sprach, seine Stimme war umflort:
Du, mein Freund,
mir war auf dieser Welt das Glück nicht hold!
Wohin ich geh? Ich geh, ich werde in die Berge.
Ich suche Ruhe für mein einsam Herz.

Ich wandle nach der Heimat, meiner Stätte.
Ich werde niemals in die Ferne schweifen.
Still ist mein Herz und harret seiner Stunde.

Die liebe Erde allüberall blüht auf im Lenz und grünt
aufs neu! Allüberall und ewig blauen licht die Fernen!
Ewig . . . ewig . . .

The sun sinks behind the mountains.
Evening falls in the valleys
with its shadows, full of cooling freshness.

See, how the moon above floats like a silver ship
on the blue sea of the heavens.
I feel a gentle wind blowing
behind the dark pines!

The brook sings loud and melodious through the darkness.
The flowers grow pale in the twilight.

The earth breathes deeply in rest and sleep.
All longing now has turned to dreaming.
The tired people go homewards
to find forgotten happiness in sleep
and to learn youth anew!

The birds crouch silent on the branches.
The world falls asleep. . .

There is a cool breeze in the shadow of the pines.
I stand here waiting for my friend;
I wait to bid him a last farewell.

I long, my friend, to enjoy the beauty
of the evening at your side.
Where are you? You have left me alone so long!

I wander up and down with my lute
on paths rich with soft grass.
O beauty! O world, drunk forever with love and life!

He dismounted and gave him the parting cup.
He asked him where
he was going, and also why it must be.

He spoke, and his tones were veiled:
O my friend,
fortune was not kind to me in this world!
Where am I going? I shall wander in the mountains,
I seek rest for my lonely heart.

I shall wander to my native land, to my home.
I shall never roam abroad.
Still is my heart, it is awaiting its hour.

Everywhere the lovely earth blossoms forth in spring and
grows green anew! Everywhere, forever, horizons are blue and bright!
Forever and ever . . .

Symphony No. 9 in D Major – Introduction

Friday, December 31st, 2010

Listening Guide

The Work

Date(s) of composition: 1909-10; published by Universal Editions, Vienna (1912)
Place(s) of composition: Toblach and New York
Premiere: Vienna, 26 June 1912, Bruno Walter conducting

Orchestration: piccolo, 4 flutes, 4 oboes (4th doubling with English horn), 3 clarinets, clarinet in E-flat, bass clarinet, 4 bassoons (4th doubling with contrabassoon), 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani (2 players), bass drum, small drum, triangle, cymbals, tam-tam, glockenspiel, 3 deep bells, harp and strings.

Movements:
(1) Andante comodo
(2) Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb
(3) Rondo-Burleske / Allegro assai. Sehr trotzig
(4) Adagio

Royal Concertgebouw Orchestra
Bernard Haitink, conductor
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Symphony No. 9 in D Major – First Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: andante comodo
Key: d major/minor with a third subject in b-flat major and various excursions into a variety of keys
Time Signature: 4/4
Form: sonata with rondo elements

Symphony No. 9 in D Major – Second Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Im Tempo Eines Gemächlichen Ländlers. Etwas Täppisch Und Sehr Derb. (In the tempo of an easy-going ländler; somewhat clumsy and very coarse).
Key: C Major, with Tempo II waltz theme in E major and E-flat major and Tempo III Ländler in F major, and various modulations.
Time Signature: 3/4
Form: Rondo (ABCBCABA Coda)

Symphony No. 9 in D Major – Third Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Allegro Assai. Sehr Trotzig (Very Obstinate)
Key: A minor (with C sections in D) and various modulations (D minor, F major, D minor, A major, A-flat minor, etc.)
Time Signature: Alla Breve with subsidiary theme in 2/4.
Form: Rondo (ABA’B'A”CC’C”A”’ Coda)

Symphony No. 9 in D Major – Fourth Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Sehr Langsam und Noch Zurückhaltend (very slow and yet held back); (Molto Adagio)
Key: D-flat major (subsidiary section first in D-flat minor, then in C-sharp minor) with a brief excursion into F-sharp major during the development
Time Signature: 4/4
Form: sonata form

Symphony No. 10 in F-Sharp Major – Introduction

Friday, December 31st, 2010

Listening Guide

The Work

Date(s) of composition: 1910-11
Place(s) of composition: Toblach (and New York)

Performing Versions and Completions:
Ernst Kenek edited the first and third movements with the assistance of Alban Berg and Alexander Zemlinsky, published in 1924 by Paul Zsolnay, Vienna and first performed in Vienna on 14 October 1924 under the direction of Franz Schalk; five-movement performing versions have been created by Joseph H. Wheeler, Hans Wollschlägen, Clinton A. Carpenter, Deryck Cooke, Remo Mazzetti, Jr., Nicola H. Samale and Giueseppe Mazzuca, and Rudolf Barshai in various editions (Wollschlägen and Mazzetti having withdrawn their versions, although a recording has been made of the latter with the Saint Louis Symphony under Leonard Slatkin); the premiere of Cooke’s first version was given in London on 13 August 1964, the London Symphony under the direction of Berthold Goldschmidt, after a work-in-progress performance was given under his direction on 19 December 1960 with the Philharmonia Orchestra. Joe Wheeler’s version has been recently performed (January, 1997) for the first time in many years at the MahlerFest in Boulder, Colorado under the direction of Robert Olsen. A recording of this performance has recently been released. Carpenter’s latest version was recorded in 1995 by The Philharmonia Hungarica under the direction of Harold Farberman. The Barshai version was recorded on September 12, 2001 by the Junge Deutsche Philharmonie under the direction of Rudolf Barshai on the Brilliant Classics label.

Movements: The symphony was apparently conceived by Mahler in five movements but his intention as to the movements’ order is unclear. All the performing versions thus far have presented the work in the following order of movements:

(1) ADAGIO (Andante; Adagio)
(2) SCHERZO (Schnelle Viertel) (In a fast four-beat measure) [Cooke]
(In gemächlicher Bewegung. Ohne Hast.)
(In an easy-going motion, without haste) [Carpenter]
(3) PURGATORIO (Allegretto moderato)
(Unheimlich bewegt) (extremely agitated) [Carpenter and Mazzetti do not use this title]
(4) [SCHERZO] (Allegro pesante. Nicht zu schnell) (not too fast) [Cooke]
(Kräftig, nicht zu schnell) (Powerfully, not too fast) [Carpenter]
(5) FINALE (Langsam, schwer (Slow, heavy); Allegro moderato; sehr ruhig (very restful)) [Cooke]

(Cooke first performing version)
The Philadelphia Orchestra
Eugene Ormandy, conductor
(Sony Classical 82876-78742-2)
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Symphony No. 10 in F-Sharp Major – First Movement

Friday, December 31st, 2010

Listening Guide

The Work


Principal Tempi: Andante; Adagio
Key: F-sharp major/minor with modulations into B minor, B-flat minor, D minor, A minor, A-flat minor, etc.
Time Signature: 4/4
Form: Sonata-Rondo with three principal subjects

Symphony No. 10 in F-Sharp Major – Second Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Schnelle Viertel (3/4 ganze Takte – 4/4 alla breve)
Key: F-sharp minor with a first Trio in F major, a second Trio (Ländler) in E- flat major, concluding in F-sharp major
Time Signature: mixed meters that shift from duple to triple sometimes from measure to measure
Form: Scherzo and Trio

Symphony No. 10 in F-Sharp Major – Third Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Allegro Moderato
Key: B-flat minor modulating to B-flat major, with a middle section in D minor, and closing in B-flat major/minor
Time Signature: 2/4
Form: Da capo (A-B-A)

Symphony No. 10 in F-Sharp Major – Fifth Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Langsam, schwer (slow and heavy).
Key: F# major; beginning in D minor, with a main theme in B minor/major that goes through a series of modulations until it reaches the intended tonic before the final coda.
Time Signature: The introduction shifts from 4/4 to 3/4 to 2/4 (and one measure of 5/4) in nearly every measure, but when the principal theme is introduced the meter stabilizes into common time (4/4) for most of the remainder of the movement.
Form: Introduction-A-B-A-B-A Coda.

Symphony No. 10 in F-Sharp Major – Fourth Movement

Friday, December 31st, 2010

Listening Guide

The Work


Tempo: Allegro pesante. Nicht zu schnell. (Not too fast)
Key: E minor, with trio sections in C major, A major and B major and a coda in D minor
Time Signature: 3/4
Form: Scherzo and Trio

Mahler Commentary: Urmotifs

Thursday, November 26th, 2015