Schön war, das ich dir weihte Op.95 No. 7 - Score


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Steig auf, geliebter Schatten, Op. Strahlt zuweilen auch ein mildes Licht, Op. Bogen und Pfeil sind gut, Op. Treue Liebe dauert lange, Op. Vom verwundten Knaben, Op. Wehe, so willst du mich wieder, Op. Wenn ich mit Menschen und mit Engelzungen redete. Wie die Wolke nach der Sonne, Op. Wie froh und frisch, Op. Wie Melodien zieht es mir, Op. Wie rafft ich mich auf in der Nacht, Op. Wie schnell verschwindet, Op. Wie soll ich die Freude, Op. Willst du, dass ich geh? La chanson bien douce, Op. Deus meus from Seven Last Words of Christ. Nun sing' ich Dir ein neues Lied.

Ye men of Israel from The Kingdom Jerusalem. Ye men of Judea from The Kingdom Jerusalem. Faure Songs, Op. Faure songs, Op. With Pure Devotion from Christmas Eve. Ich sperrte zu mein Paradies from Peer Gynt. Arm, arm, ye brave! Awake the ardour of thy breast from Deborah. But who may abide the day of his coming? Freedom now once more possessing from Jephtha. In Battle, Fame Pursuing from Deborah. Pour forth no more unheeded pray'rs from Jephtha. Praise ye the Lord for all his mercies past from Solomon. Return, Return O God from Samson. That God is great from Chandos Anthem No.

Thou art gone up on high from Messiah. Thou art the King of glory from Dettingen Te Deum. When Thou tookest upon thee from Dettingen Te Deum. Why do the nations so furiously rage together? Pro pecatis suae gentis from Stabat Mater. Steht auf die breiten Wiesen hin! With Joy Th'impatient Husbandman Drives. Obedience, 'tis The Lord of Hosts Demandeth. Ave, ave crux! Altdeutches Lied, Op. An die Entfernte, Op. Auf der Wanderschaft, Op.

Consume them all from Saint Paul. Das erste Veilchen, Op. Das Heimweh Fanny Mendelssohn , Op. Der Blumenstrauss, Op. Die Nonne Fanny Mendelssohn , Op. Draw near, all ye people from Elijah. Er segne euch je mehr from Psalm For know ye not? Geistliches Lied, Op. Is not His word like a fire? Italien Fanny Mendelssohn , Op. Minnelied im Mai, Op. O God, have mercy from Saint Paul. Sehnsucht Fanny Mendelssohn , Op. Venetianisches Gondellied, Op. Verlust Fanny Mendelssohn , Op. Wartend Romance , Op.

Wenn sich zwei Herzen scheiden, Op. Des kleinen Friedrichs Geburtstag, K. Die ihr des unermesslichen Weltalls, K. Die Zufriedenheit, K. Lobegesang auf die feierliche Johannesloge, K. Oiseaux, si tous les ans, K. Verdankt sei es dem Glanz, K. Vocalise, Op. Pro peccatis from Stabat Mater. Quoniam from Petite Messe Solennelle. Four Songs from Gurrelieder arr. By Berg. Six Orchestral Songs, Op. Am Grabe Anselmos, Op. An Schwager Kronos, Op. Auf dem Wasser zu singen, Op.

Ave Maria, Op. Dass sei hier gewesen, Op. Dass sie hier gewesen, Op. Du Bist die Ruh, Op. Du Liebst mich nicht, Op. Eine altschottische Ballade, Op. Ellens Gesang I, Op. Ellens Gesang II, Op. Flug der Zeit, der, Op. Glaube, Hoffnung und Liebe, Op. Gruppe aus dem Tartarus, Op. Heimliches Lieben, Op. Hin und wieder fliegen Pfeile, Posth. Il modo di prender moglie, Op. Junge Nonne, die, Op. Lachen und Weinen, Op. Liebe hat gelogen, die, Op. Liebende schreibt, die, Op. Liebhaber in allen Gestalten, Posth. Lied der Mignon earlier version No. Lied der Mignon, Op.

Lied eines Schiffers an die Dioskuren , Op. Normanns Gesang, Op. Schlummerlied Schlaflied , Op. Schmetterling, der, Op. Sohn des Vaters from Stabat Mater. Sprache der Liebe, Op. Suleikas zweiter Gesang, Op. Vor meiner Wiege, Op. Wanderer an den Mond, der, Op.

Wanderers Nachtlied, Op. Wandrers Nachtlied, Op. Willkommen und Abeschied, Op. Zur Namensfeier des Herrn Andreas Siller. Liebste, was kann den uns scheiden? Am leuchtenden Sommermorgen A , from Dichterliebe, Op. Am leuchtenden Sommermorgen Bb , from Dichterliebe, Op. Anfangs wollt ich fast verzangen Bm , from Liederkreis, Op.

Auf einer Burg Am , from Liederkreis, Op. Der Nussbaum Eb , from Myrten, Op. Der Nussbaum F , from Myrten, Op. Die Lotosblume Db , from Myrten, Op. Die Lotosblume Eb , from Myrten, Op. Die Stille F , from Liederkreis, Op. Die Stille G , from Liederkreis, Op. Du bist wie eine Blume E , from Myrten, Op. Du bist wie eine Blume Gb , from Myrten, Op. Es treibt mich hin Am , from Liederkreis, Op. Freisinn Eb , from Myrten, Op. From: Songbook for the Young, Op.

Hauptmanns Weib Cm , from Myrten, Op. Hauptmanns Weib Dm , from Myrten, Op. Hinaus ins Freie! Ich grolle nicht C , from Dichterliebe, Op. Ich hab im Traum geweinet C m , from Dichterliebe, Op. Ich hab im Traum geweinet Ebm , from Dichterliebe, Op. Ich will meine Seele tauchen Am , from Dichterliebe, Op. Ich will meine Seele tauchen Gm , from Dichterliebe, Op. Im Walde A , from Liederkreis, Op. Im Walde G , from Liederkreis, Op. Im Westen D , from Myrten, Op. Im Westen Eb , from Myrten, Op. In der Fremde Em , from Liederkreis, Op.

In der Fremde F m , from Liederkreis, Op. In der Fremde Gm , from Liederkreis, Op. Intermezzo F , from Liederkreis, Op. Intermezzo G , from Liederkreis, Op. Liebesbotschaft Eb , from Sechs Gedichte, Op. Lied der Suleika F , from Myrten, Op. Lied der Suleika G , from Myrten, Op. The transition from bar 17 to bar 18, in particular, needs a bit of room, but with enough momentum to continue the sentence after the comma. How can he be on his knees and at the same time wander around seemingly not noticing where he is going?

The speaker might be aware that his actions are morally reprehensible, pretends to hesitate, but cannot stop himself. This might also explain the use of present tense in the first two verses and the use of past tense in the later verses. The music just resolves into nothingness. Keeping in mind the conception of the entire cycle, it is important to find the right balance between tension and stasis in this song, so that it is possible to feel the increasing intensity from the third to the eighth song and further. Song V. Dass ich aus der reichsten lade. Zarte seidenweben hole,.

Dass ich meine wange breite,. Tell me on which path. She might stride by today —. That I from the richest chest. May fetch delicate woven silks,. Pick roses and violets,. That I may spread my cheek,. Hun skrider forbi i dag —.

Slik at jeg fra den rikeste kiste. Henter sarte silkevev,. Plukker rose og fiol,. Slik at jeg brer mitt kinn,. He addresses an unspecified person or group of people and asks them to tell him when the beloved will pass by so that he can fetch delicate silk fabrics for her, pluck roses and violets, and lay down his cheek in front of her to serve as her footstool.

The song is calm and straightforward without any rhythmic challenges and with few tempo changes. As my second singer wanted a slightly faster tempo, I had to adjust the ritardandi so they would not feel exaggerated and chop up the sentence. It is unclear who the speaker addresses. He does not know if he will see the beloved as she does not come with the purpose to meet him. The verb to stride also hints at her high social status and elegance.

This song is the warmest of the cycle and requires rich and full harmonies and beautiful lines.


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The speaker wants to woo the beloved with delicate silk fabrics. Often, the pianist will have to move the phrase subtly forward to support the singer. My first singer, however, was able to sing the phrase very slowly, and as a result, I had difficulties shaping this long line. Playing with the image of small and delicate underlying movements of the fabric in my mind made it a lot easier.

While I continue to play rich harmonies, the image requires a softer, more delicate touch even though the place is only marked piano in the piano part. V, bars In the fifth verse, the speaker states that he wants to pluck roses and violets for the beloved. Roses are usually associated with love and beauty, 78 while violets symbolise modesty and faithfulness. The rose is prominently positioned at the beginning of the verse, whereas the violet is placed at the end, even after the verb. It is noteworthy that the singular forms of rose and violet are used. To give her a little pleasure and comfort, he is willing to take on the highest discomfort.

The emotional qualities of the text help me to time the caesura between bars 12 and The following phrase requires the most sensual touch and a gradual increase in tempo and dynamics. Song VI. Dich mir nahzurufen mit den sinnen,. Neue reden mit dir auszuspinnen,. Von allen dingen ist nur dieses not Und weinen 84 dass die bilder immer fliehen Wann der kalte klare morgen droht.

To any labour I am henceforth dead. To call you close to me with the senses,. To spin new talks with you,. Service and reward, permission and prohibition,. Of all things only this is necessary. And crying that the images always flee. Which thrived in pleasant darkness —. When the cold clear morning impends. In the sixth poem, the speaker declares, that he is henceforth dead to all human endeavour.

He only wants to conjure the beloved to his mind and imagine new conversations with her. Nothing else matters to him, and he cries when the images from his dreams disappear in the cold morning. The emotional contrasts in the text and the different dynamics and textures in the music facilitate the shaping of this song. In the first verse, the speaker declares that he cannot enjoy and dedicate himself to anything. The speaker firmly emphasises that he is oblivious and insensitive to everything. After the first contact has been established in the fourth song, there is no doubt left: his sole future purpose is to serve her.

The stressed cadence and the dark vowels at the end of the verse further underline the absoluteness of his statement. After the soft starts of the previous songs, the sixth song opens loudly and directly.

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We discovered that the beginning works best with little time between the songs. It is important that the singer sings marcato on every note to convey the intensity of the words. I have to ensure that I play my hard, rigid chords on the vowel so that the text can be understood and the timing conveys the finality of the statement.

The mood changes completely in the second verse as the speaker gets caught up in his fantasies of the beloved. The lighter vowels, in particular towards the end of the verses, contribute to the atmosphere of delicate sensuality and longing fantasy. Instead, it gets suddenly interrupted by the fourth verse.

We explored the possibilities of more or less vibrato and diminuendo. I found it important to play all voices clearly but softly, both to convey the fragile, yet sensual quality of the dream and to pre-empt balance issues as the singer sings in a rather low register. At the beginning of my work on Opus 15, I found the coordination of these bars challenging.

I repeatedly practised playing and speaking the text myself, so I could feel exactly how the voices fit together. VI, bars The fourth verse takes up the idea of serving from the previous poems as it lists its contrasting sides service and reward, permission and prohibition.

The change from trochaic to iambic metre in the fifth verse and the inversion of the clause underline the statement that these are the only things that matter. Almost as an afterthought, the speaker adds crying as another necessary activity in the sixth verse. It is not enough for him to see the beloved in his dreams as the images disappear when he is faced with the harsh reality of the morning.

Each of the following verses is one syllable shorter as if the images disappear one by one from the speaker's mind. The transition to the slower tempo in bar 12 can be difficult to shape. The slower basic tempo and thinner texture tempt both performers to get even slower. Keeping in mind the harsh awakening from the dream that follows makes it is easier to stay in tempo despite the flexibility. The text inspires both performers to find a similarly wide range of colours and to enjoy the contrasts the music offers while simultaneously keeping a sense of the whole song.

Song VII. Angst und hoffen wechselnd mich beklemmen,. Meine worte sich in seufzer dehnen, Dass ich mich an rast und schlaf nicht kehre Dass ich jede freude von mir wehre Dass ich keines freundes trost begehre. Fear and hope alternately oppress me,. My words stretch into sighs,. Such wild yearning besets me. That I do not turn to rest and sleep. That tears flood my bed. That I deny myself every joy. Mine ord blir til sukk,. Slik uregjerlig lengsel plager meg. At jeg verger enhver glede fra meg. The seventh poem describes the speaker's growing emotional imbalance.

As a result of his obsessive desire, he is caught between fearful uncertainty and hopeful longing. He cries, he cannot sleep, and he cannot take comfort from anything or anyone. Unlike in the previous poem, the speaker does not address anyone directly. The poem consists of only one sentence. His emotions have overwhelming physical effects. While it is easy to imagine that the uncertainty and apprehension about his future with the beloved immobilise him, it is noteworthy that hope has the same effect.

In the second and third verse, they are further emphasised by their prominent positions at the beginning of the clause. Nothing can get him out of this state, and it is evident that he will soon reach a breaking point where he can endure no more. The fourth verse consists almost entirely of monosyllables that illustrate the speaker's restlessness. Both clauses express a similar sentiment that is underlined by opposite grammatical structures: The speaker does not want any comfort.

Looking at the score , one immediately notices that the piano part is written only on the staff for the right hand. The physical discomfort that comes both from the effort of playing places like bar 9 as a line and from the missing balance that playing with both hands would provide helps me to bring out the almost unbearable tension of the poem.

VII, bar 9 piano part. Due to the small note values and the large leaps that make the vocal lines, particularly in the beginning and in bar 9, difficult to sing, the indicated tempo feels very fast. Although many of the other songs contain phrases where voice and piano are not aligned, here the tension between the phrases seems to be particularly strong.

The two major tempo changes are difficult to coordinate, but a feeling for the entire song as one long sentence makes it easier to get a feeling for the proportions. In this song, the performers can easily get caught up in the agitation the text conveys and start the crescendi too early or play too loudly in general. This would reduce the effect of the almost unbearable, overwrought tension that leads towards the climax of the following song.

Song VIII. Wird der faden meiner seele reissen. Wie zu sehr gespannte sehne. Der ich wankend draussen lehne. If I do not touch your body today,. The thread of my soul will tear. Like over-taut string. Dear signs be mourning bands. To me who has suffered since I have been yours. Judge if such agony pertains to me,. Sprinkle coolness on me, the one hot from fever. Who is shakily leaning outside. Som en overspent sene. Som lener seg vaklende utenfor. He has been suffering since his soul belonged to the beloved, whom he asks to judge if he really deserves such pain and to relieve him from his agony.

Despite the very fast tempo, it is important that the singer articulates the text clearly, so the intense sounds of the language get conveyed. The image might allude to the thread of life that is spun and controlled by Moira, the personification of fate from Greek mythology, or it might be a thread that connects body and soul. Either way, the speaker implies that he would die if his desire were not satisfied. The third verse compares the soul's thread to a bowstring that will tear and become useless if it is overdrawn. The fourth and fifth verse are linked together through the rhyme and an almost identical vowel progression.

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Due to the interchangeability of subject and subject complement, the sentence can be read in two different ways, both of which can be found in existing translations of the poem. Or, as in the Decca translation, mourning bands are dear to the speaker as he is used to suffering. By making her judge if he deserves such pain, he gives her the power to decide over his life or death.

He compares his need for her to the relief from sickness and puts her in a position of healer and saviour, when he, in contrast to his previous wish to serve her, now asks her to sprinkle cold water on him to alleviate his fever. He is too weak to stand as he leans shakily against the wall and in a final, desperate attempt appeals to her to let him inside. Due to its high tempo, this song is one of the most demanding in the cycle regarding ensemble coordination. When I started learning it together with my first singer, we had to practice it slowly for a long time, often with the singer just speaking the text as the large leaps are tiring for the voice.

Gradually , the song became more familiar, and we could try it at a faster tempo. For most of the cycle, it was enough for me to practise speaking the text and playing my part simultaneously in the early learning stage. This song, however, I practised this way again in the preparation of each of the concerts. VIII, bars The quick succession of rhythmic impulses in the text and the piano part makes it extremely challenging to speak and play simultaneously without disturbing the phrasing.

The following sound example is an attempt I made shortly after I rehearsed the song with my second singer for the first time, in which I have not quite gained the independence I wished for. VIII, Practice: speaking the text while playing, Balance is another ensemble issue in this song. I discovered that the text could be better understood if I played the right hand clearly but not too dominating at the beginning. From bar 18, the singer must articulate as clearly as possible while I try to be alert to possible balance problems and play fortissimo but not too heavy and with clear pedal.

An awareness of the text can help both performers to become more flexible and work out small details instead of just rushing through the song metronomically in an attempt to stay together. At the same time, it helps to shape the song as a whole. Although tempo, register and dynamics change in bar 8 and the singer has to breathe, we try to convey the connection in the sentence. Instead of slowing down on the first beat and waiting for the singer, I breathe before her at the bar line. Occasionally, the text might tempt the performers to exaggerate certain words.

While this helps with the ritardando, it is important to keep the rest of the sentence in mind, so it does not get too slow.

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Song IX. Was vermocht ein kurzer kuss? Eines regentropfens guss. Die ihn ungenossen schlingt,. Neue labung missen muss. Und vor neuen gluten springt. Fortune is harsh on us and brittle,. What did a short kiss achieve? The shower of a raindrop. On parched pale barrenness. Which devours it without enjoying it,. Has to be devoid of new refreshment. And cracks from new heats. Hva klarte et kort kyss? Som sluker den uten nytelse,. Og sprekker av nye heter. After the ever-increasing intensity of the previous songs, the ninth poem contemplates the ephemeral nature of happiness.

The speaker asks, what a short kiss could achieve and compares it to the shower of a single raindrop on a desert that still cracks in the heat from lack of water. The harshness of the two adjectives is underlined by the combination of voiceless fricatives, stops and trill consonants, their prominent positions at the beginning and the end of the verse and the inversion of the sentence. The sound and emotional content of these adjectives inspire my piano introduction. Although it starts with a singing line, I try to add a certain brittleness to the sound. The desire has only temporarily and very slightly receded.

First, the eleventh song will be calm and satisfied. Here, there is still an underlying intensity, which can be difficult to feel after the powerful and physically taxing eighth song. It is stronger yet not that urgent anymore, and perhaps the speaker already feels disillusioned or has an inkling that there is no ultimate satisfaction or happiness. There is a sense of emptiness and desolation that is interrupted by outbursts of longing. It seems unlikely that the speaker uses it to refer just to himself as he has not done so in the previous poems.

Though it might be directed at the audience with whom the speaker shares his new insight that happiness is fickle, it most likely addresses the beloved. Now, he thinks of them as a couple and implies that she suffers similarly from unfulfilled desire. I further elaborate on how my second singer and I worked on shaping and colouring this place when I reflect on collaborating with different singers. In the third verse, the kiss is compared to the shower of a raindrop on a desert, a contradicting image that underlines its futility.

IX, bars The sense of growing tension that the text provides can help with the shaping of both the accelerando in bar 16 and the postlude. In the postlude , it is important to keep the intensity in the repetitive movement of thirds instead of following the up and down dynamically. Only the final phrase disappears, like the single raindrop on the desert and the ineffective single kiss, into nothingness with a light, nervous touch and just a little pedal at the beginning. Song X. Drin ragen kelche mit geflecktem sporne.

Und sammtgefiederte geneigte farren. Und in der mitte glocken weiss und mild —. Von einem odem ist ihr feuchter mund. I contemplate the beautiful bed while waiting,. It is fenced with purple black thorn. Chalices with speckled spurs tower within. And velvety pinnate inclined ferns. And fluffy tufts, water-green and round. And in the middle bells, white and smooth —. Of one breath is their moist mouth.

As sweet fruit from heavenly realm. Jeg betrakter det vakre bedet mens jeg venter,. Det er inngjerdet av purpursvart torn. Inni rager begre med spettet spore. Og i midten klokker, hvite og milde —. The tenth poem stands out after the depiction of the gradually building tension between the lovers in the previous texts as it once again, like the first and second poem, seems to describe just the scenery.

The speaker waits and contemplates a beautiful flower bed, which he portrays in detailed sensual images. He waits with a purpose and is sure that his expectations will be fulfilled. In the second to sixth verse, the speaker describes the flower bed in detail as he lets his gaze wander from the outside to the centre. Purple-black thorns surround the bed. The speaker enthuses over the magnificence of the flower bed.

The song opens with one of the longest piano introductions that marks the special place the poem has in the cycle. Despite the very descriptive text, it is not easy to find the right tempo and mood for the beginning. The warm sound often tempts me to take the beginning too slowly. Nevertheless, being aware of that, I must not overcompensate and play the beginning too rushed without enjoying the warmth and beauty.

X, bars The descriptive text offers many opportunities for enriching the performance with tone colours and subtle tempo alterations. Until bar 19, the images get more and more delicate. The long lines of the end can be challenging for the singer if we start the seventh verse too intensely or do not manage to get back in tempo. Song XI. Warden uns erdachte seligkeiten? Ich erinnere dass wie schwache rohre. Beide stumm zu beben wir begannen Und dass unsre augen rannen — So verbliebest du mir lang zu seiten.

When we behind the flowery gate. At last felt only our own breath. Were we bestowed with imagined bliss? I remember that like frail reeds. We both began to tremble silently. When we merely gently touched each other. And that our eyes watered —. Thus you remained at my side for a long time. Da vi bak den blomsterdekte porten. Ble vi skjenket forestilte saligheter? Jeg husker at som veke siv. Slik forble du lenge ved min side. The speaker asks if they were bestowed with the bliss they expected. He remembers that they started shaking and crying as they finally touched each other and that she stayed with him like this for a long time.

The song begins again with a lengthy piano introduction, in which I try to convey the fragile intimacy of the text. It is the calmest and softest song of the entire cycle, and after the intensity of the previous songs, it can be challenging to feel the necessary physical calmness and control for the pianissimo start and not be tempted to shorten the long notes, whose sound has to carry to the last seat despite the pianissimo. Due to the thin texture and soft dynamics, each voice feels very exposed and fragile, particularly at the beginning when the right hand and left hand move in different metres.

XI, bars The sparse, fragmented piano part allows the singer to start very softly and intimately in this recitative-like phrase. The question of the third verse comes as a surprise to the reader since the text so far has been structured like a declarative sentence. The speaker wonders if they were granted the blissful happiness they dreamt about.

The question is not urgent, yet it is noteworthy that he asks it at all. Although the speaker's memories seem positive, the retrospect perspective conveys a certain thoughtfulness. The speaker compares the two lovers to frail reeds that tremble when they touch each other gently. Bars 13 to 15 are difficult to coordinate due to their rhythmic complexity and the rather slow tempo.

Speaking the text while playing can make it easier for the pianist to feel how the parts fit together. Despite the ensemble challenges, my second singer and I tried to convey the reminiscing atmosphere and fragile intimacy of the text, by avoiding a too metronomic pulse or additional impulses on the small notes. In the following sixth verse, I try to play my left-hand fragments as softly as possible, imagining the gentle touch of the lovers. The speaker also remembers that they cried, probably because their encounter felt so overwhelming.

This might be the reason why the beloved stayed like this with the speaker for a long time. She has not yet started to worry about their possible discovery. It can be challenging to convey the calmness of the final verse. As her last entry in bar 21 is difficult to pitch, the preceding piano interlude has to be played clearly despite the very soft dynamics. There is no room to slow down as the final phrase is heavy for her.

Although my second singer managed to sing the final sentence in one breath during rehearsals, it seems impossible to do so during a performance. Song XII. Wenn sich bei heilger ruh in tiefen matten. Verehrung lindert unsrer glieder brand:. So denke nicht der ungestalten schatten Die an der wand sich auf und unter wiegen,. Und nicht dass vor der stadt der weisse sand. When during sacred rest in deep meadows. Reverence soothes the burning of our limbs:. Then do not think of the shapeless shadows.

Which sway up and down the wall,. Not of the guards who may separate us swiftly. And not that in front of the town the white sand. Is ready to slurp our warm blood. In the twelfth poem, the speaker begs the beloved to ignore surrounding threats and to enjoy their time together. Although the former would fit better with the shadows on the wall vv. Although the atmosphere of the beginning is calm and peaceful, it soon becomes obvious that the lovers have to meet in the secrecy and darkness of the night because their relationship is forbidden.

The fourth verse provides a sharp contrast to the calm content of the first part as the speaker asks the beloved not to think about the shadows on the wall. The threat is vague, but the personification of the shadows and their swaying movement make it more frightening. The personification of the white sand that threatens to swallow their blood conveys in a dramatic way that they would not only be separated but sentenced to death. Although the threat of discovery, separation and ultimately death gets stronger and more evident throughout the poem, the speaker implores the beloved repeatedly not to think about it so that they can prolong their moment of shared pleasure and happiness.


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  • It is difficult to find the right tempo and mood for the twelfth song. While the second part contains many strong images that are easy to convey, the contrasting first part is more elusive. The outer quietness of the night contrasts the inner turmoil of feelings. The connection in the sentence also helps me to shape the interlude before the second part of the poem.

    The entry in bar 16 can be difficult for the singer if the preceding ritardando does not feel organic or gets too slow. I lead with the left hand while simultaneously bringing out the tension of the repeated right-hand chord syncopations. XII, bars Song XIII. Du lehnest wider eine silberweide. Umschirmest du das haupt dir wie mit blitzen. Und rollst als ob du spieltest dein geschmeide.

    In das ich dich vergeblich lud zu steigen. Die weiden seh ich die sich tiefer neigen. Und blumen die verstreut im wasser fahren. You lean against a silver willow. At the riverside, with the unyielding tips of the fan. You shield your head like with bolts of lightning. And roll your jewellery as if playing. I am in the boat which vaults of foliage protect. Which I invited you to board in vain. I see the willows that bend lower. And scattered flowers which travel on the water. Ved bredden, med viftens stive spisser. Skjermer du hodet som med lyn. Og ruller dine smykker som om du lekte. Og blomster som driver glissent i vannet.

    The speaker addresses the beloved who leans against a willow at the riverside with an air of defensiveness after she declined to join him in a boat. The beloved is the central character in the first quatrain. The first verse depicts her leaning against a silver willow, which might be a symbol of chastity , infertility or death. As she probably does not have the fan behind her head, she must cover her face entirely from him for the pointy tips to surround her head.

    By putting something between them, she distances herself from him. The sharp points of the fan and the comparison to bolts of lightning in the third verse underline her defensiveness and might also illustrate that she has the power to hurt the speaker. She appears to be bored or embarrassed as she leans against the willow in a seemingly lazy gesture, plays with her jewellery and ignores the speaker.

    It is tempting to choose a faster tempo for the first half to bring out the contrast between the two characters. However, there is a certain cold elegance to the beloved that comes better across if the tempo is not too fast. However, the tempo should not become too slow and laboured either. Unlike the previous songs, this one does not begin with a lengthy piano introduction. I want to convey the sharp, repelling sting of the accent in bar 1, but should not play it too actively as that might invite the singer to start too fast.

    Therefore, I think of the triplet upbeat as a gentle wave in the water with a slight sting of the suddenly revealed fan on the beat. XIII, bars The pianist must be aware that the singer might rush towards the end of bar 4 to get more time for the breath on the first beat of bar 5. Nevertheless, the place is most effective without a metronomic pulse or accented beats.

    Speaking the text and playing can again help the pianist to feel how voice and piano go together. The distance between them gets further enhanced as the speaker is in a boat on the water while the beloved is on land. In contrast to the stiff, pointy shapes of the beginning, the images in the second part contain rounder, softer forms like the arches of foliage.

    The sixth verse ends with two dots as if he wants to say more or as if he dwells on his dreams of the past. Bars 8 and 9 can be difficult to coordinate. It is helpful to think of the gentle sway of the boat on the water to feel the beats together without resolving to a stiff, metronomic counting. The speaker has to accept the fact that the beloved no longer belongs to him, and the willows on the riverside, a symbol of his sorrow, seem to bend even deeper.

    He appears to lower his gaze in resignation as he sees scattered flowers drifting on the water, creating an image that might symbolise the transience of life and love. I try to play the postlude very softly and think of the alternating triplets as not too expressive but cradling. As the speaker is just in the process of grasping the situation, we found it important not to get lost in sadness but rather to end in a more contemplative mood. Song XIV. Sprich nicht immer. Von dem laub,. Windes raub , Vom zerschellen. Reifer quitten,. Von den tritten.

    Der vernichter. Von dem zittern. Der libellen. In gewittern Und der lichter Deren flimmer. Do not always speak. Of the foliage,. Of the smashing. Of ripe quinces,. Of the steps. Of the destroyers. Late in the year. Of the trembling. Of the dragonflies. In thunderstorms. And of the lights. Whose glimmer. Snakk ikke alltid. Vindens rov,. Om knusingen. Av modne kveder,.

    Om trinnene. Om skjelvingen. Og til lysene. Hvis flimmer. In the fourteenth poem, the speaker must come to terms with the fact that the relationship is over. He is faced with images of autumnal change and decay but does not want to accept them. The poem features short verses of only three to four syllables that are often connected by enjambments into bigger units of meaning and a concentrated syntactic structure almost without conjunctions. Although George ended the eighth verse with a full stop, the second half does not form a complete sentence but continues the sentence of the first half.

    As the speaker asks the addressee not to repeatedly speak about the signs of late autumn that he associates with the ended relationship, it seems unlikely he addresses an onlooker like in the fifth poem. In the first three verses, he asks her not to speak about the foliage. While leaves were associated with protection in earlier poems, here, they convey an image of decay that gets enhanced as the personified wind forcibly takes them v.

    The fourth and fifth verse employ yet another autumnal image as the speaker asks the beloved not to speak of the quinces that smash on the ground. The ripe quinces that could be a symbol of fertility are wasted and destroyed. The third image, the steps of the destroyers in the sixth to eighth verse, is vaguer and seems therefore even more threatening than the previous images. They could be the personification of autumn that approaches with quick steps and destroys the summery beauty of the garden.

    The image of the trembling dragonflies in thunderstorms evokes associations of death and decay. Paradoxically, he makes them more tangible by speaking about them himself, although he begs the beloved not to mention them. At the end of the poem, he asks her not to speak of the trembling of the lights that are characterised by an unsteady, changing glimmer. The speaker does not want the change to be real and begs the beloved to ignore it, but he is powerless against the many signs of autumn.

    His plea is not dramatic or intense but light and melancholic without hope. This song is perhaps the one in which my perception of tempo and character changed most notably. In the beginning, I was mostly occupied with the trembling, disappearing and harsh images of autumn.

    Due to their fleeting nature and the thin opening figure in the piano, it seemed natural to me to start the song rather fast. He knows there is no hope. The new tempo made the shaping of the song more difficult at first. For my second singer, who had sung it faster with another pianist, intonation felt differently, whereas I had to get used to a new feeling for the polyrhythms.

    A lack of synchronisation is very audible as the f sharp in bar 2 must be played not be too soft for it to sound for almost two whole bars before it resolves into the f. The synchronisation of the ensemble is most difficult in the polyrhythms in bars 7 and 8, where the singer must not rush in the quadruplets even though the words tempt her to shorten the vowels.

    XIV, bars Song XV. Lauben, lichten tempel, pfad und beet. Hohe blumen blassen oder brechen, Es erblasst und bricht der weiher glas. Und ich trete fehl im morschen gras, Palmen mit den spitzen fingern stechen. We inhabited the evening-gloomy. Bowers, light temples, path and bed. Joyfully — she with smiles, I with whispers —. Now it is true that she will leave forever. High flowers pale or break,. And I misstep in the decaying grass,. Palm trees with their pointed fingers prick. Invisible hands chase jerkily.

    The night is overclouded and sultry. Vi befolket de kvelds-dystre. Lysthusene, lyse templer, sti og bed. Gledelig - hun med smil, jeg med hvisking —. Tjernets glass blekner og brister. Palmer med de spisse fingrene stikker. Jages rykkevis av usynlige hender. Ute rundt Edens gustne vegger. Natten er overskyet og lummer. The final poem could be considered an epilogue to the cycle.

    The decay of autumn that the speaker feared in the previous poem has progressed, and the once beautiful plants turn now against him and chase him out of the disintegrating garden. In the first three verses, he looks back on the time he spent together with the beloved in the gardens. The contrasting images of dusky bowers and light temples, paths and flower beds convey the beauty and sublimity of the place. Her smile might hint at her confidence and high social rank, whereas his whispering indicates his awe and tenderness but also his fear of discovery.

    The enjambments that connect the three first verses contribute to the reminiscent atmosphere that is interrupted by the harsh fourth verse, which consists almost entirely of monosyllables that underline the finality of the statement. His fears are confirmed : She will go forever. The distance between them is palpable as he no longer addresses her directly. It is noteworthy that according to him she leaves him, although he is the one who literally leaves the gardens. The singer starts with a quiet, almost unaccompanied line before the piano joins her in the third verse.

    If the singer does not rush through the longer notes, the small tempo shifts in the following bars are not difficult to coordinate despite the polyrhythms as the text consists of short and contrasting phrases that are easy to follow. The grim realisation of the fourth verse needs time and has to be prepared in the piano. XV, bars From the fifth verse, the landscape becomes uninviting.

    The harshness of autumn that has already been hinted at in the smashing of the quinces and the threatening steps of the destroyers in the previous poem has now become real. From the seventh verse, the once paradisiacal environment becomes hostile. The speaker is now a foreigner who does not belong there anymore. First, he missteps on the rotten grass either because it is slippery or because his grief weakens him.

    The eleventh verse indicates that the speaker has left the gardens as he sees them surrounded by pallid walls. The cold, pale nothingness illustrates that the gardens, which have once been a beautiful and inviting place, no longer welcome the speaker as they slowly decay and disintegrate. The complex piano part and the polyrhythms with the singer make bars 19 to 29 the most challenging to synchronise in the entire cycle. Even with repeated practice both with and without a metronome , we were only gradually able to fit our parts together.

    Playing and speaking the text when I practised alone between the rehearsals with the singer was very useful for feeling how the voices go together as it is sometimes the right hand and sometimes the left hand that should be together with the word. It is imperative that this challenging part is not performed metronomically as the song needs the flexibility to bring out the emotions of the text.

    The threatening images can be conveyed through clear articulation of the staccato notes and accents. In bars 19 and 20, a contrasting articulation between the hands — a sharp staccato against a lamenting legato — adds depth to the image.

    Schön war, das ich dir weihte Op.95 No. 7 - Score
    Schön war, das ich dir weihte Op.95 No. 7 - Score
    Schön war, das ich dir weihte Op.95 No. 7 - Score
    Schön war, das ich dir weihte Op.95 No. 7 - Score
    Schön war, das ich dir weihte Op.95 No. 7 - Score
    Schön war, das ich dir weihte Op.95 No. 7 - Score

Related Schön war, das ich dir weihte Op.95 No. 7 - Score



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