Providing occasional touches of harmony and soft delicate hues, the ensemble continues to support a vocal line that introduces pentatonic intervals in the second stanza. This gentlest of setting—the music never rises above a pianissimo dynamic level—concludes with the Celeste arpeggio with which it had began. This nocturnal meditation features stark instrumental sonorities, sparse orchestration, expressive intensity and obsessive rhythms.
Recalling his near-death experience, Mahler forces the music into the low register, and an incessant heartbeat rhythm not only suggests anxiety, but also implies the passage of time. In addition, downward spiraling passages expose a sense of utter loneliness and a frightful descent into depression. Chamber-like scoring that briefly spotlights virtuoso passages exposes a completely new level of contrapuntal clarity. A plaintive pentatonic melody in the English horn hauntingly emerges and elides with the entrance of the voice. The melodic phrases are highly irregular, and dissonant harmonies the result of winding instrumental passages.
The vocal melody is constantly shadowed by related melodic ideas in the orchestra, and the text gradually reveals that inner peace can only be achieved through Art. Your email address will not be published. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
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X-mas in Disguise Get ready for Christmas with piano X-mas miniatures and more. That fact, combined with the directness of its message to Alma, might explain why Mahler treated it differently than the others. He himself did not orchestrate this song. When he signed a contract with the publisher C. Kahnt for the publication of the songs, on April 15, , the contract covered only four songs.
Look not into my songs!
It was apparently after his death that an employee of the Kahnt firm, Max Puttmann, produced the orchestral version we know today. It is music of extraordinary transparency, with an intimate orchestra from which even the lower strings have been banished. The tranquil clarity of the music, the delicacy of which matches the delicacy of the fragrance from the sprig of linden tree that the singer has received, looks forward to the second movement of Das Lied von der Erde. Blicke mir nicht in die Lieder was composed at the same time as the foregoing song. Um Mitternacht was also composed in the summer of It dispenses entirely with the strings, but calls for an unusually large for this group of songs wind ensemble.
For four of its five stanzas, the song expresses feelings of dark torment, doubt, and despair, yet with an astonishingly spare use of the available instruments; then, in the final stanza, Mahler breaks forth into the major mode and a chorale style reminiscent of the similar stylistic transition the closes the Second Symphony. Here the delicacy and chamber-music transparency of the orchestration, as well as the overall mood of tranquility, are striking.
Liebst du um Jugend, O nicht mich liebe! Liebe die Meerfrau, sie hat viel Perlen klar! Liebst du um Liebe, O ja mich liebe! Love the sun, which has golden hair! If you love for the sake of Youth, then do not love me! Love the spring, which is young every year. If you love for the sake of treasures, then do not love me! Love a mermaid, she has many bright pearls!
If you love for the sake of love, then yes, do love me! Love me forever, you will I love evermore. Wie lieblich war der Lindenduft!
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Wie lieblich ist der Lindenduft, das Lindenreis brachst du gelinde! Ich atme leis im Duft der Linde— der Liebe linden Duft. In the room stood a branch of linden, a gift from a beloved hand. How lovely was that fragrance of linden! How lovely is that fragrance of linden, the branch of linden that you picked so delicately! I breathe gently the fragrance of the linden, the delicate fragrance of love.
It refers instead to any tree of the linden family genus Tilia ; the American variety is commonly called basswood. Blicke mir nicht in die Lieder! Selber darf ich nicht getrauen, ihrem Wachsen zuzuschauen.
Rückert Lieder, song collection for voice & piano (or orchestra)
Deine Neugier ist Verrat! Biene, wenn sie Zellen bauen, lassen auch nicht zu sich schauen, schauen selbst auch nicht zu. Do not gaze into my songs; I cast my eyes down, as if caught in an evil deed. I dare not even trust myself to watch them growing. Do not gaze into my songs! Your curiosity is betrayal!
Bees, when they build cells, also do not let themselves be observed, and do not even watch themselves. When the rich honeycombs are brought to the light of day, you shall be the first of all to taste them! At midnight I kept watch and gazed up at heaven; no star from that starry host smiled down on me at midnight. At midnight I sent my thoughts far out into the dark limits of space; no vision of light brought me consolation at midnight.
At midnight I took note of the beating of my heart; a single pulsebeat of sorrow challenged me back at midnight. At midnight I fought the battle, O mankind, of your sufferings; I was unable to win the decisive victory with my own power at midnight. At midnight I gave my strength into Thy hands! Lord of death and life, Thou keepest the watch at midnight!
My account
Ich bin der Welt abhanden gekommen, mit der ich sonst viele Zeit verdorben; sie hat so lange nicht von mir vernommen, sie mag wohl glauben, ich sei gestorben! Ich kann auch gar nichts sagen dagegen, denn wirklich bin ich gestorben der Welt. I have gotten lost from the world on which I wasted so much time; for such a long time it has heard nothing of me, it may well believe that I am dead.
Not that it concerns me at all, of it considers me to have died.
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I live alone, in my own heaven, in my love, in my song. He composed the Sixth between August 27 and October 15, , dedicating it to the conductor Hans Richter. The first performance took place in Prague on March 25, , with Adolf Cech conducting. The score calls for two flutes second doubling piccolo , pairs of oboes, clarinets, and bassoons, four horns, two trumpets, three trombones and tuba, timpani, and strings. Duration is about 41 minutes. His beginnings could hardly have been more unpromising as the son of a village butcher and innkeeper in rural Bohemia.
He heard music only from traveling musicians and village bands, inevitably of mediocre ability. He took lessons from the village schoolmaster and played violin locally. By the age of twelve he had already left school with the aim of apprenticing as a butcher. The teacher there doubled as the town organist and was able to offer the musical boy instruction in violin, viola, piano, organ, and practical keyboard harmony. Practical experience as a copyist preparing parts for the town orchestra gave him the opportunity to get at music from the inside.