Here is a character who is related to one of the Eichendorff adventurers from an earlier song set, for the composer has not yet found the exalted mood characteristic of many of the male songs in the Italian cycle. The song is meant to impress, and it is quite possible that the young lady to whom this rispetto is addressed has heard about these Tuscan wonders but has not yet actually visited them. We must imagine her not only delighted with all the exaggerated comparisons but wide-eyed in wonder that she has a man of the world as a lover.
Or so he hopes. This song is often performed at a much slower speed than Wolf suggests with his metronome marking, and this is a pity. What it gains in introspection when sung more deliberately it loses in passion and Schwung. In the postlude the music of the introduction returns appassionata and faster, as if quickened by a surge of sexual desire for two bars. The two final bars seem suddenly abashed, as if the whole ploy to impress fair lady has not worked after all. It seems that he has overplayed his hand. Never mind, he will try another tack at winning her favour tomorrow, and the day after that.
Mais c'est sans importance, il essayera demain une autre tactique pour gagner ses faveurs, et ensuite il recommencera le jour suivant. Dieses Lied wird oft viel langsamer gespielt als die von Wolf vorgeschlagenen Metronomangaben, und das ist sehr schade. Sei's drum, er wird morgen etwas anderes versuchen, um ihre Gunst zu gewinnen, und auch am darauffolgenden Tag.
All the commentators agree that this song is a marvel. The verses are somewhat sentimental, even obvious, but here Wolf proves himself at one with that part of the Italian temperament which lavishes serious attention on kitsch ideas and thereby transforms them into beauty undreamed of by northern sceptics. The composer achieves this not by complicating the issue with layers of Germanic subtlety, but rather by painting with a brush broad enough for a mighty fresco.
So straightforward is the music on the printed page that this is one of the few songs in the set which might appeal to an Italian operatic tenor. Following an impressive opening motif on the piano which bows down reverently in an octave jump, it creates a vista of space and divine majesty. We not only get the feeling that the singer is praising God, but that in doing so he is re-living the act of creation, as if he himself were responsible for the succession of miracles to follow.
The catalogue of marvels is wonderfully managed. The list progresses quickly upwards with the left-hand motif rising with it; with these dotted figures the Almighty seems to place human pawns on the chequer-board of life with the precision which the piano's rhythm suggests. In the little downward interval we hear how small the ship is in the hands of God, and in the syncopation which follows, how easily fashioned it is, almost casually, before it is sent gliding on its way.
The whole point of this ever-ascending adumbration of achievements is that it leads to the beloved's face. Aided by a crescendo for both performers this seems to be leading to music louder and grander still. This proves to be the most awe-struck feeling of all, and only a bigot would deny that it too is religious in its way.
Never had a song built up so much in so short a space of time, only to knock it down in the name of love. In the postlude the hand of God places the finishing touches on his work. God is in his heaven, and peace, happiness and contentment reign supreme in the newly-minted universe. Weiter geht es auf der Liste nach oben; das Motiv in der linken Hand steigt ebenfalls an. Noch nie hat ein Lied in so kurzer Zeit soviel aufgebaut, um es dann im Namen der Liebe umzuwerfen. Im Nachspiel legt Gott letzte Hand an sein Werk. Songs II to X were composed in the order in which we hear them on this recording.
Selig ihr Blinden belongs to the earlier group which seems to have been conceived as a sequence. It was written the day after Gesegnet sei, durch den die Welt entstund and it is fairly likely that Wolf intended that the awe-struck postlude of No IV in E flat major , with its gaze heavenward, should prepare us for the quasi-religious prayer of V in the same key and almost the same tempo. This effect cannot be heard when baritones sing this cycle, for it is necessary to transpose Selig ihr Blinden down as much as a minor third when sung by lower voices. This is because the tessitura sits unremittingly and very tiringly in the passaggio of the voice.
This, allied to the fact that, unusually for Wolf, the vocal line is punctuated by the bare minimum of rests and even these have to be snatched , makes the song technically challenging. In the previous song God has created beauty and given the singer the eyes to behold it and the tongue to sing its praise; the beloved has the ears to hear songs in her honour. Has Wolf imagined a lover, perhaps the same one, rebuffed? The poem and the music are shaped in the manner of a litany where repetition is the name of the game. The accompaniment consists of two main motifs.
The first of these is a one-bar phrase of four descending crotchets in the right hand mostly doubled in the left; the other is an upward scale, also in octaves, and three or four bars long, which makes a collision course with the descending vocal line. With the introduction of each new disability the harmonic tension mounts and we feel we are at a different station of the Cross.
For all its hushed reverence, the song seems like a bitter parody of the Sermon on the Mount with the lover changing the text to suit his amatory predicament. The winding-down of the postlude gently ends not in the tonic E flat major , but in A flat major with all the churchy associations of the subdominant and plagal cadences. L'accompagnement consiste en deux motifs principaux: Das Gedicht und die Musik sind in Form einer Litanei angelegt, bei der sich alles um Wiederholungen dreht. Die Begleitung besteht aus zwei Hauptmotiven: Das Nachspiel endet sanft auf der Subdominante As-dur mit all ihren kirchlichen Assoziationen und nicht auf der Tonika.
There was a gap of almost six weeks between the composition of Selig ihr Blinden and this song. In October the songs were mostly tender and deeply felt. On reviewing his achievement thus far, the composer obviously decided he needed a lively song by way of contrast, and he found a suitable rispetto with a vengeance. Everything is found in the music and there is no room and certainly no time to deflect from his scrupulously laid ground-plan. The young man to whom the song is addressed has come to see one of his girlfriends. It is quite obvious that he has paid her scant attention in the recent past, and he is now to be called to account.
We do not, and should not, see this on stage; it is enough that the music so graphically suggests it with its little runs working themselves up to fury with a succession of triplet upbeats, and a vocal line supported by short sharp quavers like so many slaps on the face or stamps of the foot. Nevertheless, we immediately sense that this spirited response in the major key conceals a great deal of hurt.
In this case we can sense a lot of body movement — and a female body at that. The pacing up and down and jabbing fingers make up in vehemence for what they lack in the male aggression of bass-clef harmonies. In any case the composer denies the suitor a chance to turn this song into a duet. He loses his opportunity to make amends. The postlude suggests pride fighting with hurt: The door is slammed in the face of the young man; the world has been waiting in vain for the last hundred years to hear his side of the story.
Le jeune homme du lied auquel le lied s'adresse est venu voir une de ses petites amies. En tout cas le compositeur refuse au soupirant la chance de transformer cette chanson en duo. Der junge Mann, an den sich das Lied richtet, besucht eine seiner Freundinnen. Er hat ihr offensichtlich in der letzten Zeit wenig Aufmerksamkeit geschenkt und wird jetzt zur Rechenschaft gezogen. Er ist nicht schnell genug, um diese Chance einer Atempause zu nutzen. Wie auch immer, der Komponist versagt dem Freier die Gelegenheit,das Lied in ein Duett zu verwandeln. Some of the most beautiful songs in the Italienisches Liederbuch are those in which the composer takes the exaggerated and hyperbolic imagery of the poem absolutely literally and translates it into the most profound music.
This song is a case in point. The girl to whom these compliments are addressed takes them with a pinch of salt, but Wolf believes them utterly and immortalizes them with a touch of genius. The miffed moon has given warning that he no longer wishes to stand in the sky; from the beginning of this song he has already made good his threat, as sombre chords in E flat minor suggest. We are thus in the dark in more ways than one, for the composer knows already that the poet has been blinded.
In playing the accompanying chords — his left hand doubling the right for most of the time — the pianist, like a blind minstrel, feels his way on his instrument and moves step by careful step down the keyboard. There is also a great formality about this music, and of course Wolf has also taken seriously the idea of a complaint by the moon with God as arbiter.
These most serious charges of theft are announced with each two-bar phrase unrolling a new segment of the legal parchment, the insistence on one note for much of the vocal line suggesting the intonation of legal proceedings. If the singer plays the part of the prosecutor, however, his unashamed partiality for the plaintiff is soon revealed: There is a note of the sweetest resignation here which falters as it fights back tears in unseeing eyes. We note that the song ends, as if lost in the stars, in the subdominant tonality of C flat major.
The other song which features blindness and the sweet masochism of suffering for love No V, Selig ihr Blinden also ends in the subdominant. Of the forty-six songs in the set, only five end in keys other than the tonic, and always for carefully planned reasons. V Selig ihr Blinden se termine aussi par la sous-dominante. V, Selig ihr Blinden handelt, auch auf der Subdominante endet.
This song, more than any other in the set, has been misrepresented by countless performances in the wrong tempo, as Walter Legge never tired of saying. With the exalted mood of so many of the other love songs in the set ringing in our ears particularly the companion peace-making song Wir haben beide lange Zeit, XIX the temptation is to turn these rocking triplets into a dreamy lullaby.
The important point is that peace between the warring lovers has not yet been fully achieved but is still in the process of being won. The song is about the art of loving persuasion. The singer and this is one of those songs which can be sung by either sex needs to charm his or her way back into the heart of the beloved, and there is more than a trace here of gently teasing someone out of a bad mood.
This is the first song in the set so far to use compound time, and the gentle movement Sanfte Bewegung of triplets in this context seem to soften the rigidity of the bar-line; we have left the more public arena of the formal love song and entered into a secluded corner of the village, if not the privacy of a bedroom. The word-setting is masterly; the varied accentuation in compound time displaces accents in syncopations which push the vocal line forward in urgent plea, or hold it back at cadences full of tender meaning.
Wolf achieves this by the simple expedient of lengthening the note values of the two words; in a sea of crotchets and quavers these two dotted crotchets B flat and G stand out as beacons — key-notes of grave sincerity in the home key. There is another of these little eloquent cadences just before the postlude. The outcome was never seriously in doubt perhaps, but the process of reconciliation has deepened the relationship in such a way that perhaps the quarrel has been worthwhile. Dies ist bis jetzt das erste Lied im Zyklus, das eine zusammengesetzte Taktart verwendet.
Die sanfte Bewegung der Triolen scheint in diesem Zusammenhang die Steifheit der Taktstriche zu mildern. Kurz vor dem Nachspiel findet sich eine weitere dieser beredten Kadenzen. Wir haben es mit dem Aspekt des nie zu Ende gehenden Liebesspiels zu tun, dem wir mehr als einmal in diesem Liederbuch begegnen.
For the first time in the work he sets a text in triple time. There are only three instances in the songbook when he does this, and this is the only song in There has always been some controversy about the tempo; the metronome marking is slower than one would think, and much slower than is usually performed. But a really solemn pulse provides an unmistakable majesty appropriate to the words, and more scope for the required accelerando in the second half of the song. The text talks of a miracle of religious conversion; the battle for the singer which a demanding maestoso performance involves conveys the right overtones of the fighting pilgrim and triumphant missionary.
The poem is ridiculous, of course, but as always Wolf takes it at face value. Provided the song is not performed too fast, the impression is of someone making up the poem as he goes along — a type of game of consequences where one unlikely conceit is topped by the outrageous invention of the next.
But the singer is so wrapped up in the story that there is not a trace of blague. The solemn beginning is visionary in its intensity. A single bar of left-hand repeated Cs then marks the passage of time, an introduction to further stages in this patchwork quilt of a Christian fairy-tale. The repeated quaver triplets in the right hand betoken the all-pervasive spread of the new faith.
The singer now really warms to his theme, and as Christianity spreads like wildfire among the heathen kingdom, Wolf directs that the tempo should gather pace. A short but massive bar of piano interlude, with trombone-like octaves in the left hand, returns us to Tempo I and a proclamation of a mass conversion is trumpeted to the skies.
The effect, in Lieder terms, is of a massive orchestral tutti. The brassy tune in the left hand employs a dotted motif of a falling interval preceded by a semiquaver anacrusis; a similar motif has been heard in the left hand to signify the miraculous workings of God over a vast canvas in Gesegnet sei, durch den die Welt entstund II.
The poem goes on to its last line which describes the successful conversion of each and every heathen, but Wolf avoids yet more bombast. Another bar of repeated left-hand notes this time Fs prepare us for a classic envoi. The postlude which follows aspires heavenward and concludes with a trinity of F major chords, as seraphic as the new-found faith which the girl has inspired. Mais le chanteur ce faisant est tellement pris au jeu qu'il y perd toute notion de blague. Die wiederholten Achteltriolen in der rechten Hand zeigen die alles durchdringende Verbreitung des neuen Glaubens an.
This miniature is as sparse and delicate as a song by Webern, with a similar sense of pointillist exactitude, the composer demanding that the performers should be in control of each tiny nuance. Indeed, the evolution of the twentieth-century Lied may be seen on the one hand as Schoenberg taking the rich harmonic world of Brahms beyond the bounds of tonality, and on the other Webern composing the tiny bejewelled fragments which seem prophesied in length, form and clarity, if not harmony, by Wolf in his Italian songs.
Tout cela ne peut avoir d'autre effet que d'enflammer encore plus son soupirant. Ist dies alles nur ein Spiel, und liebt sie ihn vielleicht letztendlich doch am meisten? Of all the great Lieder composers, Wolf was the cruellest. Or so it seems. It is almost impossible to find the truly malicious in Schubert and Schumann, and Brahms contented himself with outbursts of gruff anger. His female characters in particular are capable of great unkindness to their menfolk whom they needle and tease unmercifully, particularly in this set of songs.
In this song, however, he seems to be on the side of the female protagonist in finding musical incompetence worthy of sarcasm and derision. This little scena begins with the announcement of a falling three-note motif F—E natural—D flat which pervades the entire piece in one guise or another. It rises through three registers of the piano and settles for the fourth time high in the bass clef. This seems to be a musical analogue for a groan or grimace. The accompaniment to the first two lines of the poem consists of no less than five repetitions of this group of notes in the right hand supported by a left hand which rises imperceptibly in chords only a tone or semitone apart.
This varies the harmony in the most subtle manner, but the overall impression is of asking for the same thing again and again to no great effect. The third and fourth lines of verse aided and abetted by a modulating bar of interlude move into another key, D minor instead of F minor. At this point the singer has already seen the new man in her life and now prepares to parade him for our benefit. He is not quite the type of musician that she had in mind. As this violinist is introduced into the picture by the fifth and sixth lines of the poem, the music moves into semiquavers in the right hand the same motif of F—E—D flat, in diminution this time as is appropriate to a little fiddler supported by staccato semiquavers in the left hand.
This gives a conspiratorial air to the music as if a character in pantomime is making an entrance with dirty work afoot — if bad violin playing may be considered as such.
Bad music-making always received filthy looks, and criticism, from Wolf. The limelight is suddenly thrown on to the pianist who has to stand in for a string player. This is also one of the very few songs in the repertory which seem to demand something of a visual response from the accompanist as he diffidently finds his unpractised way around a slippery fingerboard; standing in for the violinist he winces at the appearance of sudden accents in unusual places, denoting the bow skidding off the strings.
In the concert hall the singer too has a visual challenge here. She had hoped for a beau with a reasonable beauing arm. This marking has disappeared from modern editions. Unfortunately it is not impossible that Wolf should have momentarily forgotten the Italian context of the words in order to echo the prejudices of his idol Wagner, and also those of many other Viennese of the period, in imagining this violinist, small and hunched of stature, as a racial stereotype.
On the other hand Wolf must have known that Paul Heyse was Jewish, and his admiration for the poet and co-begetter of the Italienisches Liederbuch, as well as other Jewish colleagues, was boundless and well attested. Pour la mauvaise musique, il ne faut attendre de Wolf que des critiques et un regard condescendant.
Wir haben es hier nicht genau mit dem Musiker zu tun, den sie sich vorgestellt hatte. Das Nachspiel, in dem es um komische Koordinierung geht, ist eine von Wolfs schwierigsten Herausforderungen. Once again it is the woman who puts the man in his place, but in this case with great good humour. It is a real moto perpetuo where the tempo only lets up at those moments when the music turns the corner into a new section or key. The pervasive dotted rhythm perhaps a deliberate follow-on from the postlude of the previous Lied and the jaunty syncopations off the beat in the first three bars of the introduction, cast the music in the style of a skipping song, the type of ditty made to accompany physical movement.
The vocal moves dive in and out of the complexities of the accompaniment with the skill of someone too deft to get her feet caught in the rope. The song after all is about independence and a refusal to be tied down, although subtleties in the music, fleet on the ear but manifold, imply that this complaint of being taken for granted is addressed to a young man who may, or may not, be guilty as charged. The introduction starts on the dominant seventh of the home key and in four bars the music rises by chromatic stages to the very moment when the girl gives voice to her qualms in G major.
The effect of this is of someone blurting out something which has been on her mind for some time; pricked by some last straw, her feelings come bubbling to the surface.
Unlike some of the other female characters in the set she is not in a towering rage, but dotted rhythms in the piano part flounce and pout in a pique which has an element of pose. As in a number of the other songs, delicate little rallentandos seem to accentuate certain words and ideas, the better to lead the young man by the nose as he hears sentence being passed on his behaviour. This section is in F sharp major, which is as far away as it is possible to be from the home key of G — a type of Sunday-best tonality to be brought out on high days and holidays.
This emphasises the charge: The final two bars, a miniature gesture in which the young lady turns on her heels in a flurry of skirts, set the seal on the proceedings. The late Walter Legge likened the rush of these final nine notes to that of a smooth-furred cat streaking under the hand.
Unlike other songs in the set, though, there is very little real cattiness here; this little minx may have set up the whole of this complaint as a type of game to elicit the fervent denials of her wretched and devoted cavaliere servente. Es betont die Anklage: For the first time in the set we hear an outburst of anger from the tenor. It is hard not to imagine that the composer saw this as a male counterpart of XII written on the same day. The young man has had enough of this teasing and taunting and the introduction is similar to the opening of the previous song in that the expression of anger seems generated at first in the piano and catches fire in the voice.
If we have doubted that the girl was truly angry in XII, there is certainly no dissembling here, and yet, as in many of the great Wolf songs of wrath, the emotions have more than one dimension. If love is a game for the young lady, it is a thing of pain for the man, and we hear him being pulled two ways at once. This section is marked as slower than the rest, allowing the sneer of sarcasm to yield to audibly hurt feelings by the end of the phrase. This is a technique which Wolf has already used in Wer rief dich denn VI ; in both songs it is as if the errant beloved is being given a chance to interrupt with suitably soothing and contrite words.
In the absence of these the tirade resumes with the sarcastic references to birth, class and position which occur frequently in these poems. If this is so, he has presumably been refused for his lack of youth and beauty. This is an indication of how dangerous it is to imagine this book of songs as a dialogue between the same two lovers throughout the set, although Wolf himself could not resist building certain links and cross-references between adjacent songs. Is it only coincidence that both XII and XIII share the same metronome pulse of and that, as already noted, the introductions share certain characteristics?
Wolf dropped a much longer original postlude to this song in favour of this short, sharp shock. One of the things that gives such a restless atmosphere to this miniature is that although the song is written in F sharp minor, the very last chord is the first time we hear a tonic chord in this key This accentuates the impression that everything about this relationship has been leading to this conclusion. Up to this point we have heard only settings of rispetti, short and elegant. He had composed it a few days before XIII, but it is possibly significant that he decided to place it in the published sequence directly after that song of unfulfilment and rejection.
It is possible that Wolf knew it. He was certainly not above quoting the music of rival composers but usually in mocking parody. It is also possible that both Wolf and Strauss, who derived their language of motifs from the same Wagnerian sources, should have happened on a similar musical analogue for high-jinks and roguery.
The church in medieval times had the power of the social services today. The singer and his mate proposing this scenario remain firmly seated in the local hostelry and are probably too drunk to go anywhere. This was a subject on which Franz Schubert also felt strongly. It was in Vienna, after all, where sexual hypocrisy and double standards were a source of pain and difficulty for Wolf as they had been for Schubert. Everything about this music is fat and greasy, pomposo and bogus. The motif we have heard in the beginning slips and slithers in the left hand.
Her tremulous piety is cruelly exaggerated in the telling as she cringes before the would-be priest. The bowing and scraping and embarrassment that the bread is not yet baked are all supported by an accompaniment of pious quavers; mention of her sick daughter turns these mezzo staccato as if one has to tread on vocal tiptoe so as not to disturb the patient. His priestly function continues to be represented by the placid quavers of the right hand, but other functions leap to the fore with the left; as the rogue senses he is getting near to his prey he can scarcely control an outbreak of the excited semiquavering of lust.
As with most fantasies there is no follow-through. Et comme la plupart du temps dans les fantasmes, il n'y pas de suite. Im Mittelalter hatte die Kirche die Rolle der heutigen staatlichen Sozialleistungen. Denn in Wien war es, wo sexuelle Heuchelei und doppelte Moral vielen Leuten Kummer und Schwierigkeiten bereiteten, unter anderem auch unserem Komponisten. Seine priesterliche Rolle wird weiterhin durch die friedlichen Achtel in der rechten Hand dargestellt, andere Aufgaben tun sich jedoch in der linken Hand hervor. Wie bei den meisten Phantasiegebilden wird die Sache nicht weiter verfolgt.
The male singer has had a substantial song, so Wolf now gives a more extended piece to the soprano in his carefully considered sequence. It is no less of an outrageous fantasy in its own way with a story-line of almost surreal imaginings. They have a good laugh at masculine expense, and, if men only knew, it was ever thus. The use of hyperbole suggests that they egg each other on in exaggerating the deficiencies of the men they know; and yet because, after all, these men are their lovers, the tone is not vitriolic but affectionate.
The governing motif of the song is the figure of a quaver phrased away, in finicking manner, to a semiquaver generally either directly above or below it. As Eric Sams has pointed out, there is also a sense of restraint in this song, as if there is an order and dignity in being as small as this. The vocal line, hushed and careful not to jump or move too suddenly to alarm the tiny specimen, is delicate and careful in the manner of a research scientist examining an exquisite find under the microscope. And then the fun begins with a catalogue of all the dangers to be endured by the Lilliputian.
Wolf has tremendous fun in giving the accompanist whirring semiquavers for the fly and nose-dive runs for the bluebottle. It is all perfectly imagined in the manner of a Disney cartoon half a century before its time. The final page is a coda with no less than six tempo markings hastening the music on and pulling it back as the girl veers between two moods: Despite the fact that he is scarcely built to come up to her expectations she has to bend to kiss him she loves him nevertheless. The postlude resumes the music of smallness and self-containment and, as so often in this set, the final chords set the seal on the mood.
Here two F major chords, one long and the other short, are married by the pedal in a manner ineffably tender. Wolfs Metronomangabe scheint genau richtig. Sie ist so zart und vorsichtig wie ein Forscher, der einen seltenen Fund unter dem Mikroskop betrachtet. In der Art eines Disney-Cartoons ist alles genau geplant — seiner Zeit jedoch ein halbes Jahrhundert voraus. After the song of the miniature lover from Maremma, the set continues with the soprano once again a spokesman for a small lover not able to fend for himself.
Like XV, it seems that the song is a joke whereby the girl imagines a little scene with soldiers and, to the amusement of her peers, acts out a scenario of ridiculous special pleading. The only real danger here is for the pianist for whom the quickly repeated notes represent a tricky, finger-tangling challenge. These young Italians march to the beat of the same drummer. Wolf had already tackled this theme with perfect sincerity in Sie blasen zum Abmarsch from the Spanish Songbook after all, and the songs share the use of a fanfare motif in double thirds which denote companionable activity, the fingers walking in parallel rank.
The vocal line runs alongside the accompaniment as if trying to keep up with it as the singer attempts to stop the soldiers to speak to them in mid-march. There are a number of fleetly felicitous touches. Und die Lieder haben ein Fanfarenmotiv in doppelten Terzen gemeinsam, das auf leutselige Betriebsamkeit verweist, da die Finger in parallelen Linien marschieren.
Nevertheless, there are a good many Italian blondes, and this rhapsodic outpouring of fervent melody is one of the most Italianate of the set in its tone and mood, if not its harmonic vocabulary. Spread chords here denote the act of combing hair — the five fingers separating the luxurious strands like a five-tooth comb.
Wolf had already composed a song which mentioned the combing of hair — In dem Schatten meiner Locken from the Spanisches Liederbuch, but that had been written from the point of view of the coquettish owner of those tresses.
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In a Wolf song this seems to add to the Italian flavour of the music. The use of the mediant C major, unconstrained by sharps and flats, emphasizes the untrammelled nature of this release from inhibition. A girl such as this would probably only undo her tresses in front of a man as a prelude to love; he knows this and can only dream.
The girl, like her tresses, is as good and pure as gold, and throughout this song we hear both admiration for, and frustration with, her Madonna-like status. The stirrings of longing in the loins are prefigured by the rustlings of nature, depicted by a ground swell of harp-like arpeggios drifting up the bass stave. Here similarly insinuating left-hand arpeggios are introduced at the magical moment when a static landscape is brought alive by the movement of breezes after a rapt opening section. In Ganymed we sense the god at work animating the whole picture, but here it is the human goddess at her toilette.
The piano finishes off in two bars of short phrases, with a rising figure repeated in sighs without resolution — the masochistically sweet contemplation of unattainable beauty. Dieses Lied wurde jedoch aus dem Blickwinkel der koketten Besitzerin dieser Locken geschrieben. Zu Beginn scheint die Gesangslinie hier fast gesprochen zu werden, sechs Achtel lang bleibt sie auf derselben Note stehen, und dies ist ein Merkmal der ersten Seite des Lieds. Both are for tenor and both are intimate love lyrics. It is connections such as these which make one believe that Wolf planned his order for this set with much intention and care.
This should give pause to modern performers who have a go at shuffling the pack in the belief that the composer has dealt them an unsatisfactory hand. This song must rank as one of the greatest in the book. Just as the lover measures out each word as a precious pearl of sincerity and truth in order to be perfectly understood, the composer ensures that there is neither a note too many, nor too few. A perfect balance is struck between expressive intent and musical means: The rhythm of the accompaniment is unvarying — a gentle barcarolle propelled along by the ardour of a lover, but also held back by the gentle care not to shock or alarm.
Yes, because there is something prayer-like about this love-song in the form of a litany; the supplications and articles are paragraphed as if in a petition to the Virgin. This is, however, no game, for love such as this is to be taken in deadly earnest. He announces in advance how long his petition is and we hear him point to his heart the better to get across his message that it is breaking. One of the touching features of the accompaniment is how for each line of poetry the piano has three quavers of commentary after the vocal line has finished. With the art that conceals art a song of tremendous complexity sounds simplicity itself.
Just when we think that the last miniature modulation has gone as deep as possible into the emotions of singer and composer, another harmonic shift opens up new vistas of vulnerability and tender concern. This song is about love in the deepest sense; not only does it show a man attracted to a woman to the point of worship, but it also captures his open-heartedness and willingness to take risks in declaring his love. This enables us to imagine for a moment that most private and closely guarded state of affairs — the composer himself in love.
Le rythme de l'accompagnement ne varie pas: Wolf schafft ein perfektes Gleichgewicht zwischen ausdrucksvoller Absicht und musikalischen Mitteln: Dieses Lied handelt von tiefster Liebe. This song is in two sections, contrasted to show the difference between silence and speech, discord and harmony, barren strife and fruitful concord. At the beginning the music is tight-lipped and inhibited, the piano in sombre octaves which are ungenerous in their lack of harmony and which sulk within the compass of a tritone.
The voice stays on an F which in this very slow tempo illustrates both the length of time during which the lovers have not been speaking, as well as the lack of music i. The toneless grumblings of the first two bars are here replaced by a scale — in the minor key, but a scale nevertheless. As speech returns to the pair, chords fill out and blossom into harmony.
Mehrere Romane wurden mit Preisen ausgezeichnet. Doch seine dunkle Vergangenheit holt ihn wieder ein.
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Phantasien sind wie Drogen. Vorort von New York. Hinter den gepflegten Fas-. Obwohl sie selbst ein schmutziges Geheimnis hat. Jason Starr lebt in New York. Noch jemand anders ist frisch geschieden und abenteuerlustig. Willkommen in der Savage Lane. Er klopft die Sprache auf ihren Hintersinn ab, schafft aberwitzige. Das Warten hat ein Ende: Joe Coughlin ist ein. Bis eines Tages aus heiterem Himmel ein Kopfgeld auf ihn ausgesetzt wird und auf dem Spiel steht, was ihm am wichtigsten ist: Brauchen wir eine Kultur des Erinnerns? Wie weit geht unsere Verantwortung? Was ist das Schlimme am Verrat?
Was bedeutet es, Jurist zu sein? Neben dem Telefon stand eine Vase mit Rosen; ihr Duft wetteiferte mit dem Karbol, obsiegte aber nicht. Dort lernt er auch die. Joyboy, den hauseigenen Meister der Einbalsamierungskunst, geworfen hat. Im Krieg diente Waugh als Offizier. Er starb in Taunton Somerset. Eine Abrechnung mit allem, was verlogenen Seelen heilig ist. Tabus, Schande und Verrat: Kindes Kind ist Sittenbild und Psychothriller zugleich.
Doch was, wenn einer von ihnen mit einem Dritten zusammenleben will? Damals wie heute scheinen sie direkt zu uns zu sprechen: Sie handeln von der Liebe, der. Er starb in Badenweiler. Peter Urban erhielt zahlreiche Preise und Auszeichnungen. Er starb in Weidmoos im Hohen Vogelsberg. Seit lebte sie an verschiedenen Orten in Europa, seit im Tessin.
Patricia Highsmith starb in Locarno. Auch zwei Teenager sind nicht mehr auffindbar. Ross Macdonald zeigt, wie schnell der Californian Dream zum Alptraum wird. Seine Kriminalromane gelten als Spiegel der amerikanischen Gesellschaft. Detektiv Lew Archer verzweifelt nach dem kleinen Ronny Broadhurst.
Knopf, New York, unter dem Titel: Die Theatergarderobe ist voll davon. Kann man zu sehr bewundert werden? Brunetti ermittelt in den Kulissen der Oper. Donna Leon lebt heute in Venedig und in der Schweiz. Jede dieser Stories hat ihr eigenes Flair, ob sie sich nun auf einem ausgelassenen Maskenball oder einer eleganten Yacht anbahnt, unter. Um Geld zu verdienen, ging Fitzgerald als Drehbuchautor nach Hollywood, wo er starb.
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Wie kein anderer vermag F. Mut Buch-Kalender ca. Die heute in Barcelona lebende international bekannte Illustratorin hat ihre Wurzeln nicht vergessen. In ihren farbenfrohen Arbeiten findet sich noch immer dieses kindliche Staunen. Ein Kalender, der Mut macht, sich selbst treu zu bleiben. Vielleicht ist das Leben doch nicht wie eine Pralinenschachtel, sondern wie dieses Buch: Der Schluss ist atemberaubend. Februar und im Museum Folkwang Essen Aber wer genau ist Tomi Ungerer?
Nummerierte und signierte Vorzugsausgabe mit exklusivem Siebdruck ca. Ordnung ist das halbe Leben. Eine Vermisstenanzeige aufzugeben ist sein erster Gedanke. Vielleicht doch keine so gute Idee. Habseligkeiten nennt man die Dinge, die man so hat. Und Alfred Sauermann hat viele Dinge: Alfred merkt, dass er allein nicht weiterkommt, und tut das einzig Richtige: Er ruft seine Schwester an. Schwestern wissen immer, was man tun muss. Ordne deine Sachen in Gruppen. Ihr seid neugierig, wie die Geschichte ausgeht? Dann macht Euch auf etwas gefasst.
Tucker hat fast alle Zeichnungen gemacht.
Diogenes Vorschau Herbst by diogenesverlag - Issuu
Die Bildergeschichte eines wunderbaren, kunterbunten Durcheinanders. September Ab 3 Jahren. Da muss der kleine Nick sich dringend etwas einfallen lassen und schreibt dem Weihnachtsmann einen Brief — mal sehen, was diesmal an Heiligabend unter dem Weihnachtsbaum liegt. In diesen zehn Geschichten dreht sich alles um die aufregende Zeit im Dezember. Nicks Papa hat allerdings gesagt, der.
Dieses Jahr ist der Weihnachtsmann knapp bei Kasse. Oktober Neuausgabe Ab 5 Jahren. Doch Allumette kann nur staunend die Schaufenster betrachten. Oktober Neuausgabe Ab 6 Jahren. Wir waren im August gekommen. Mutter hatte schon im Mai vier gehabt. Wir waren zu viel.
Waechter starb in Frankfurt am Main. Er ist ihr Held: Juli im Kino! Dort entschied er sich gegen ein Studium und widmete sich dem Schreiben. Seinen Lebensunterhalt bestritt er mit diversen Nebenjobs.
- You Dont Know Me.
- Der Stechlin: Roman by Theodor Fontane.
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Sein dritter Roman Fast genial stand monatelang auf der Bestsellerliste. Nach Jahren in Barcelona lebt Wells inzwischen wieder in Berlin. Geburtstag von Ingrid Noll am Noll, Kuckuckskind 5 Ex. Noll, Ladylike 5 Ex. Noll, Apothekerin 5 Ex. Noll, Abendhauch 5 Ex. Noll, Hahn ist tot 5 Ex. Noll, Ehrenwort 5 Ex. Plakat Noll, Aktion, Geburtstag A1 1 Ex. Plakat Noll, Foto, Medien und Polizei sind sich rasch einig: Das sind schlichtweg die besten deutschsprachigen Kriminalromane, die derzeit geschrieben werden. Ihre Freundin Lilly erzahlt Marchen, die sie getraumt hat, als ob sie wahr waren.
Alfred ist ein Junge, den Carla auf mysteriose Weise kennenlernt.
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Ein Traum Lillys, der von einem Zirkus handelt, dem unbedingt geholfen werden muss, schweisst die Kinder zu einem schlagkraftigen und erfolgreichen Trio zusammen. Gemeinsam erfahren sie, dass Traume wahr werden konnen. Read more Read less. Applicable only on ATM card, debit card or credit card orders. Cashback will be credited as Amazon Pay balance within 10 days.
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