Morgen! (Richard Strauss)
From Wikipedia, the free encyclopedia
Morgen!, Op. 27 No. 4, is the last in a set of four songs by the German composer Richard Strauss. The love poem "Morgen!" was written by Strauss' contemporary John Henry Mackay. Born in Scotland of a German mother, the individualist, anarchist, thinker, and writer Mackay grew up in Germany, his work being written in German. History
Strauss had met Mackay in Berlin, and set "Morgen!" to music on 21 May 1894. It was the one of his four lieder Opus 27, a wedding present to his wife Pauline. Initially he set the accompaniment for piano alone, and for piano with violin. It was not until two years later, in 1897, that he made the beautiful arrangement for orchestra, still with the violin solo which is its feature. It remains one of Strauss's well-known and widely recorded works, and one of his most beautiful songs. Instrumentation and accompaniment
Strauss wrote the serene accompaniment for the orchestral strings, with the addition of a solo violin, a harp and three french horns. The orchestral strings are muted, and the dynamic throughout is pianissimo or softer. The harp, playing arpeggios, and the solo violin accompany continuously, and the horns do not play until the last few bars when the violin pauses before ending with an ascending phrase. The last chord is joined by a solo horn.[1] Lyrics
The poem reads as follows: Morgen![2]
Und morgen wird die Sonne wieder scheinen
und auf dem Wege, den ich gehen werde,
wird uns, die Glücklichen[3] sie wieder einen
inmitten dieser sonnenatmenden Erde…
und zu dem Strand, dem weiten, wogenblauen,
werden wir still und langsam niedersteigen,
stumm werden wir uns in die Augen schauen,
und auf uns sinkt des Glückes[4] stummes[5] Schweigen...
Literal translation: Tomorrow
And tomorrow the sun will shine again
and on the way that I will go,
will she us, the happy ones, again unite
amidst this sun-breathing earth,
and to the beach, wide, wave-blue
will we still and slowly descend
silently we will look in each other's eyes
and upon us sinks the mute silence of happiness
Poetic English translation of the German song: Tomorrow!
Tomorrow again will shine the sun
And on my sunlit path of earth
Unite us again, as it has done,
And give our bliss another birth...
The spacious beach under wave-blue skies
We’ll reach by descending soft and slow,
And mutely gaze in each other’s eyes,
As over us rapture’s great hush will flow.
English edition of the song by John Bernhoff, 1925 Universal-Edition
Tomorrow!
Tomorrow's sun will rise in glory beaming,
And in the pathway that my foot shall wander,
We'll meet, forget the earth, and lost in dreaming,
Let heav'n unite a love that earth no more shall sunder...
And towards that shore, its billows softly flowing,
Our hands entwined, our footsteps slowly wending,
Gaze in each other's eyes in love's soft splendour glowing,
Mute with tears of joy and bliss ne'er ending...
See also
Other songs by Richard Strauss, Op. 27 Op. 27 No. 1 "Ruhe, meine Seele" (Nicht ein Lüftchen regt sich leise)
Op. 27 No. 2 "Cäcilie" (Wenn du es wüßtest)
Op. 27 No. 3 "Heimliche Aufforderung" (Auf, hebe die funkelnde Schale)
Lied
From Wikipedia, the free encyclopedia Lied (German pronunciation: [ˈliːt]; plural Lieder, [ˈliːdɐ]) is a German word, meaning literally "song"; among English speakers, however, the word is used primarily as a term for European romantic music songs, also known as art songs. More accurately, the term perhaps is best used to describe specifically songs composed to a German poem of reasonably high literary aspirations, most notably during the nineteenth century, beginning with Carl Loewe and Franz Schubert and culminating with Hugo Wolf. The poetry forming the basis for Lieder often centers upon pastoral themes, or themes of romantic love. Typically, Lieder are arranged for a single singer and piano. Some of the most famous examples of Lieder are Schubert's Der Tod und Das Mädchen (Death and the Maiden) and Gretchen am Spinnrade. Sometimes Lieder are gathered in a Liederkreis or "song cycle"—a series of songs (generally three or more) tied by a single narrative or theme, such as Schumann's Frauenliebe und Leben or Schumann's Dichterliebe. The composers Franz Schubert and Robert Schumann are most closely associated with this genre of romantic music. History
For German speakers the term Lied has a long history ranging from 12th century troubadour songs (Minnesang) via folk songs (Volkslieder) and church hymns (Kirchenlieder) to 20th-century workers songs (Arbeiterlieder) or protest songs (Kabarettlieder, Protestlieder). In Germany, the great age of song came in the 19th century. German and Austrian composers had written music for voice with keyboard before this time, but it was with the flowering of German literature in the Classical and Romantic eras that composers found high inspiration in poetry that sparked the genre known as the Lied. The beginnings of this tradition are seen in the songs of Mozart and Beethoven, but it is with Schubert that a new balance is found between words and music, a new absorption into the music of the sense of the words. Schubert wrote over 600 songs, some of them in sequences or song cycles that relate a story—adventure of the soul rather than the body. The tradition was continued by Schumann, Brahms, and Hugo Wolf, and on into the 20th century by Strauss, Mahler and Pfitzner . Other national traditions
The Lied tradition is closely linked with the German language. But there are parallels elsewhere, notably in France, with the mélodies of such composers as Berlioz, Fauré, Debussy and Francis Poulenc, and in Russia, with the songs of Mussorgsky and Rachmaninoff in particular. England too had a flowering of song, more closely associated however with folk song than with the 19th-century art song, in the 20th century represented by Vaughan Williams and Benjamin Britten. At the end of the 19th and during the 20th century classical lieder produced in the Netherlands where usually composed in several languages; Alphons Diepenbrock and Henk Badings composed Dutch, German, English and French songs and in Latin for choirs. Making the Dutch lieder tradition the only strong cosmopolitan one in Europe and being influenced primarily by French Expressionism and German Romanticism.
藝術歌曲
維基百科，自由的百科全書
藝術歌曲（德語：Lied，複數：Lieder）與歌曲有所不同；藝術歌曲（Lied）的德語字義即是「歌曲」，但「藝術歌曲」通常特指歐洲古典音樂中的一種歌曲型式，英語也可稱為「art song」。典型的藝術歌曲表演型式是由一位歌唱者與鋼琴伴奏一起演出。有時候多首藝術歌曲（Lieder）可以組成一組聯篇歌曲（德語：Liederkreis，英語：song cycle）—由一串歌曲連接成單一故事或主題。作曲家舒伯特及舒曼即擅長寫作這類型的音樂作品。因為在德語中，「Lied」僅指「歌曲」，因此德語的使用者也經常以更精確的字「Kunstlied」來指稱「藝術歌曲」。
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