Beethoven - Piano Trio In D Major Opus 70, No. 1 'Ghost'

The form of the piano trio, usually for the combination of violin-cello-piano (but also any two instruments with piano) became popular in the home during the 18th century. In the 37-year span of 1760-1797 Joseph Haydn wrote 45 piano trios. The early ones were dominated by the keyboard with the other instruments more or less accompanying.  With his later piano trios Haydn began to balance out the three instruments until they were in almost equal partnership. Mozart wrote 6 piano trios and did even more than Haydn in balancing out the contribution of the three instruments.

Both older composers influenced Beethoven, who worked the form to perfection with his 12 trios. The most well-known of the piano trios for violin-cello-piano is the Piano Trio In B-flat Major Opus 97 'Archduke'  written in 1811.  Three years previous to that work he wrote the two piano trios of Opus 70.  The first trio of that opus is in D Major, and is close in popularity to the 'Archduke' .  This trio also has the nickname Ghost, taken from the atmosphere of the 2nd movement. The Ghost trio was Beethoven's return to the form after he wrote his first trios ten years before.  Unlike most of his other piano trios, this one is in only three movements:

I. Allegro vivace e con brio - The first movement begins with a declaration of equality between all three instruments as they all play the same motive over a 4-octave span:

This motive acts as an introduction, but it recurs in different guises through the first movement. After the introduction, a theme is heard in the cello. This theme is related to the introductory material and goes through a short development before another theme is heard first in the strings, and then the piano. The exposition is repeated. The development begins with the introductory material and dissects it into smaller pieces that goes through imitative statements between the instruments. The recapitulation reworks the introductory material to a different key before the first theme is heard. This theme is also reworked and expanded. The second theme is given a slightly different treatment until a short coda brings back the first theme once more until a fragment of the introduction closes this short sonata form movement.

II. Largo assai ed espressivo -  Written in D minor, this movement is the longest of the trio. The movement begins with a stark dialogue between strings and piano:

With foreign harmonies and unstable tonality, the movement is one of the most strange Beethoven ever wrote. There is evidence that at the writing of this trio Beethoven was also thinking about writing an opera based on Shakespeare's Macbeth, with the music of this movement based on sketches of music for the Witches' Scene.  With deep tremolos in the piano like a creeping spectre and sharply accented chords like the howling of a damned spirit, it is no wonder the nickname of Ghost has lasted for so many years. After one last howl, the music tries to settle into a more calm major key mood, but the end comes quickly with short and dry notes in the piano and pizzicato in the strings on the key note of D.

III. Presto -  The finale resembles the opening movement as both are rather short in length and begin with a short motive that returns:

But the final movement is in a much needed more humorous mood to balance out the 2nd movement. All tension is broken as the finale makes its way to the end.

Bruckner - Motet 'Os Justi Meditabitur' WAB 30

After Anton Bruckner's father died in 1837, he was sent to the  monastery in the town of St. Florian as a choirboy.  While there he studied singing as well as organ and violin playing. The monastery of St. Florian in the town had a pipe organ that was originally built in the late Baroque era, which Bruckner played quite often.  The organ came to be called in later years the Bruckner Organ and the composer was buried underneath it after his death in 1896.

Bruckner was Austrian and Catholic with the years he spent in St. Florian as a youth and later as a young adult were formative. He was a devout Catholic all his life and some of the first music he was acquainted with was sacred music. While he is more well known for his symphonies, he wrote a considerable amount of music for the church. At first his compositions reflected his younger days as it was traditional and conservative, but by the time he had completed his studies with Simon Sechter (whom he began lessons with after he had been composing for a few years) he had been exposed for the first time to the music of Wagner and Liszt. 

He was slow to develop as a composer (he didn't write his first symphony until 1863 when he was 39 year old, and this symphony was an assignment from one of his last teachers). His progress as a composer can be seen clearly from his sacred compositions, the first which was written in 1836 up to the last written in 1892, but most of his vocal works differed from the symphonic works. The sacred works reflect Bruckner's faith in that they were written simply (and the later ones very skillfully) and reverentially.  

The motet Os Justi Meditabitur was written in 1879 at about the same time as the 6th Symphony.  It written in response to a group of church music reformers known as the Cecilians.  This group of Catholic priests and musicians was in reaction to the modernization of church music since the Enlightenment.  Bruckner's work is a motet that was intended as a gradual, a piece of music connected with the ritual of the Eucharist (Communion in the Protestant church).  The motet is written in the key of F but uses no sharps or flats in either the key signature or the written notes, thus it is in Lydian mode, the fifth mode of eight in the system of church modes instituted sometime in the 8th century.  The motet is for a usual four-part a capella choir, but there are two places in the work where it is written in eight parts. Bruckner dedicated the work to Ignaz Traumihler, who was choir director at St. Florian as well as a Cecilian.  The text is taken from Psalm 36 in the Latin Vulgate, verses  30-31:

The mouth of the righteous utters wisdom,
and his tongue speaks what is just.
The law of his God is in his heart:
and his feet do not falter.
Alleluia

Monteverdi - Beatus Vir SV 268

The Italian composer Claudio Monteverdi was born in 1567 and is considered one of the most important musicians in the history of music. He was a transitional composer that was as adept at composing music in the style of the Renaissance era as he was in the newer style of the Baroque era.

He received training in music as a choir member as well as at the University of Cremona.  He worked as a singer and violist and had some motets published as early as 1582. He also became music director and conductor at various courts until he was appointed music director and conductor at St. Mark's Basilica in Rome.

He composed nine volumes of madrigals in his many years as a composer (over 150 works) and it was in the later volumes of madrigals that he began to include more and more compositions in the new Baroque style of composition. As with any innovator, Monteverdi received his share of criticism as his new style was attacked for being crude and taking license with the traditional composing methods. Monteverdi weathered the criticism and continued to innovate the art of music. He began to compose opera in 1607 with L'Orfeo, based on the Greek tragedy of Orfeus. This is the oldest opera that is still performed with any regularity.  Monteverdi wrote for an orchestra of about forty players and was one of the first composers to assign music to specific groups of instruments, although the work wasn't orchestrated in the modern sense and still followed the Renaissance tradition of giving the players a certain amount of freedom in  execution. The video below gives an idea of how Monteverdi's orchestra may have sounded as the first few minutes of L'Orfeo are played:


 Monteverdi also composed many sacred compositions such as the collection titled Selva morale e spirituale (Moral And Spiritual Forest) that was printed in 1640 and 1641. This collection contains 37 works for various combinations of voices and instruments. Included in this set is one of Monteverdi's most recognized works, his setting of Psalm 111 from the Latin Vulgate (Psalm 112 in the Protestant Bible), known from the first two Latin words of the psalm as Beatus Vir.  It is scored for 6 - part choir (2 sopranos, 1 alto, 2 tenors, 1 bass)  2 violins, 3 viols or trombones and continuo. It was composed around 1630. The motet begins with a feeling of rejoicing. The middle section becomes more subdued and dramatic until  the rejoicing returns with the opening music of the Beatus vir. The music ends with a beautiful and reverent Amen.

Beatus vir, qui timet Dominum, in mandatis ejus volet nimis.
Praise the Lord. Blessed is the man who fears the Lord, who finds great delight in his commands.
Potens in terra erit semen ejus, generatio rectorum benedicetur.
His children will be mighty in the land; the generation of the upright will be blessed.
Gloria et divitiae in domo ejus, et iustitia ejus manet in saeculum saeculi.
Wealth and riches are in his house, and his righteousness endures forever.
Exortum est in tenebris lumen rectis, misericors et miserator et iustus.
Even in darkness light dawns for the upright, for the gracious and compassionate and righteous man.
Iucundus homo, qui miseretur et commodat, disponet res suas in judicio,
Good will come to him who is generous and lends freely, who conducts his affairs with justice.
quia in aeternum non commovebitur. In memoria aeterna erit iustus,
Surely he will never be shaken; a righteous man will be remembered forever.
ab auditione mala non timebit. Paratum cor ejus, sperare in Domino,
He will have no fear of bad news; his heart is steadfast, trusting in the Lord.
non commovebitur, donec despiciat inimicos suos.
His heart is secure, he will have no fear; in the end he will look in triumph on his foes.
Dispersit dedit pauperibus; justitia ejus manet in saeculum saeculi, cornu ejus exaltabitur in gloria. He has scattered abroad his gifts to the poor, his righteousness endures forever; his horn will be lifted high in honor.
Peccator videbit et irascetur, dentibus suis fremet et tabescet. Desiderium peccatorum peribit.
The wicked man will see and be vexed, he will gnash his teeth and waste away; the longings of the wicked will come to nothing.

Rachmaninoff - Vocalise Opus 34, No. 14

The term vocalise can be traced back to the Italian/French composer Jean-Baptiste Lully as well as other French composers of the Baroque period who wrote songs without words that were known for their value as exercises in vocal technique, as etudes for the voice. Later vocalise were written specifically for teaching purposes.  In the 19th century these exercises for voice were sometimes written with piano accompaniment to further train the singer in execution and style.  The beginning of the 20th century saw composers writing wordless music for soloists as well as choruses. These works treated the voice more as music of expression rather than technical studies.


Sergei Rachmaninoff wrote his opus 34 set of Fourteen Songs to various texts with the final song Vocalise being one of his most popular and well known works. The songs of opus 34 were originally written for solo voice and piano, with Vocalise being the final song written in 1915.  The other 13 songs in the set are seldom performed, but Vocalise was an audience favorite from the start. The song has been transcribed for many different instrumental combinations, with individual instruments like the violin or cello playing the vocal part. Rachmaninoff himself transcribed the work for soprano and orchestra and orchestra alone.

Vocalise is one of Rachmaninoff's most beautiful melodies. The soloist sings no words, but in a constant vowel sound. The soloist covers two octaves as the melody begins in a whisper, reaches a climax and ends in a whisper.  As with many of Rachmaninoff's melodies, there is a hue of Russian melancholy about it. The original version is written in the key of C-sharp minor.

Beethoven - Adelaide, Opus 46

Germany has a long tradition of Lieder (songs) that began as early as the 12th century with the sung poems of the troubadors as well as church music and folk song.  Late in the 18th century the Romantic Movement began in Europe, and flowered in Germanic countries somewhat later than other areas. Writers, poets and playwrights such as Goethe, Heine, Herder and many others attempted to create a synthesis of philosophy, art and science.  As the movement grew, so did the use of highly dramatic, emotional and psychological prose. But not all Germanic Romantic literature was serious. There was room for humor as well as tension, simple words that reflected the wonder of nature as well as author's soul-searching seriousness.

Lieder for solo voice and bass continuo that were written in the Baroque era gave way to songs written for voice with keyboard accompaniment. C.P.E. Bach was an early composer of this kind of lied which moved away from the complexity of polyphony and figured bass to a simpler style. Haydn, Mozart and other composers of the Classical era continued to develop the form, but lied was considered a lesser form in the late 18th century.

Before Beethoven arrived in Vienna in 1792 he had already written lieder in Bonn.  Beethoven had become a voracious reader, perhaps to try and make up for a poor general education. He came to know the early Romantic writers and set many poems to music.  With over 60 lieder, Beethoven showed at least a passing interest in the form. He carried on a young tradition of voice and piano compositions that led the way to the first true master of German Lieder, Franz Schubert.

One of Beethoven's most popular songs  is set to a poem by Friedrich von Matthisson, a poet of the Romantic movement.  The song was written after Beethoven settled in Vienna. It was published in 1797 and was dedicated to the poet. In 1800 Beethoven sent a copy of the song to Matthisson along with a letter:

Friedrich von Matthisson

MOST ESTEEMED FRIEND,- You will receive with this one of my compositions published some years since, and yet, to my shame, you probably have never heard of it. I cannot attempt to excuse myself, or to explain why I dedicated a work to you which came direct from my heart, but never acquainted you with its existence, unless indeed in this way, that at first I did not know where you lived, and partly also from diffidence, which led me to think I might have been premature in dedicating a work to you before ascertaining that you approved of it. Indeed, even now I send you "Adelaide" with a feeling of timidity. You know yourself what changes the lapse of some years brings forth in an artist who continues to make progress; the greater the advances we make in art, the less are we satisfied with our works of an earlier date. My most ardent wish will be fulfilled if you are not dissatisfied with the manner in which I have set your heavenly "Adelaide" to music, and are incited by it soon to compose a similar poem; and if you do not consider my request too indiscreet, I would ask you to send it to me forthwith, that I may exert all my energies to approach your lovely poetry in merit. Pray regard the dedication as a token of the pleasure which your "Adelaide" conferred on me, as well as of the appreciation and intense delight your poetry always has inspired, and always will inspire in me. When playing "Adelaide," sometimes recall 

Your sincere admirer, 
BEETHOVEN.

Beethoven's worrying about whether Matthison liked the song turned out to be for nothing. A collection of Matthison's poems was published in 1825 and in the introduction Matthison wrote:

Several composers have animated this little lyrical fantasy through music; I am firmly convinced however that none of them so threw the text into the shade with their melody as did the genius Ludwig van Beethoven in Vienna.

Adelaide was very popular in Beethoven's day and it went through many editions. As written, the song couild be sung by soprano or tenor voice, but it has been transposed to make it more suitable for other voices:

Adelaide
Alone does your friend wander in the Spring garden,
Mildly encircled by magic light
That quivers through swaying, blossoming boughs,
Adelaide!

 In the mirroring stream, in the snow of the Alps,
In the dying day's golden clouds,
In the fields of stars, your image shines,
Adelaide!

Evening breezes whisper in the tender leaves,
Silvery lilies-of-the-valley rustle in the grass,
Waves murmur and nightingales pipe:
Adelaide!

One day, o wonder! upon my grave will bloom
A flower from the ashes of my heart;
And clearly on every purple leaf will gleam:
Adelaide!

Loewe - Sir Olaf Opus 2, No. 2

The Erlking (Erlkönig in German)  is a Scandinavian folktale that was introduced to Germany in the 18th century and is most closely associated with the poem written by Johann Goethe in 1782 and set to music by Franz Schubert.  Goethe's Erlking poem was inspired by a translation by Johann Herder of a much older poem originally published in 1739 in Denmark. Scholars reckon that the original Danish poem dates from sometime in the Middle ages, which in turn may have been passed down from old Breton legends.

Johann Herder

The poem that Herder translated didn't deal with the Erlking directly, but with the Erlking's daughter. The Danish poem was known as Oluf han rider, (Olaf he rides).  The ballad tells of Sir Olaf riding through the woods to his wedding. On the way he meets a group of elves dancing in the forest and the Erlking's daughter repeatedly asks him to dance with her. Olaf refuses repeatedly her offers of gold until the Erlking's daughter becomes angry and strikes him a painful blow. Sir Olaf makes it back to his home and mother. The next morning Olaf is found by his bride dead under his red cloak.

Carl Loewe set the poem in 1821 and it was published in 1824 in his opus 2 set of songs. Loewe was a well regarded baritone singer as well as a composer and conductor. He wrote in many different genres but was most well known for over 400 songs.  The beginning of the 21st century has seen an increased interest in Loewe and his songs, especially in Germany.

SIR OLAF
Sir Olaf rides late and far to
summon his wedding guests.
Elves are dancing on a green bank,
and the Erlking's daughter offers him her hand.
"Welcome, Sir Olaf, come dance with me
and I will give you golden spurs."

"I cannot dance, I do not wish to dance - for tomorrow is my wedding-day."
"Come closer, Sir Olaf, come dance with me,
and I will give you a shirt of silk, a shirt of silk so white and fine -
my mother bleached it with moonbeams!"
"I may not dance, I do not wish to dance -
for tomorrow is my wedding-day."

"Come closer, Sir Olaf, come dance with me
and I will give you a heap of gold."
"A heap of gold I would gladly take,
but I cannot and should not dance with you."
"If you will not dance with me, Sir Olaf,
then plague and sickness will follow you!"

She dealt him a blow to the heart,
and all his life he had never felt such pain.
Then she heaved him up upon his horse:
"Ride home to your worthy lady then!"
And when he came to the door to his house,
his mother, trembling, stood before him.

"Tell me, my son, and tell me true,
Why are you so pale and sick?"
"And should I not be pale and sick?
I was in the Erlking's realm."
"Tell me, my son, so dear, What should I tell your bride?"
"Tell her that I rode to the wood,
To test my horse and hound."

At early morning when day had hardly dawned,
his bride arrived with the wedding crowd. They poured mead and wine:
"Where is Sir Olaf, my bridegroom?"
"Sir Olaf rode to the wood,
To test his horse and hound."
The bride lifted up the cloth scarlet red,
Under it lay Sir Olaf: he was dead.

Mahler - Songs From Des Knaben Wunderhorn

Des Knaben Wunderhorn or The Boy's Magic [Hunting] Horn is one of the most important early Romantic era collections of German poetry and songs that was published in three volumes from 1805 to 1808.  The poems were idealized Romantic versions of folk poems as well as original poems written by the editors of the collection.  The collection was very popular across German-speaking Europe and was an influence on early German nationalism.

Poems from the collection were set to music by many composers, including Gustav Mahler. He first
read the collection in 1887 and was immediately attracted to the unsophisticated naivety of  the style of the poems as well as the subject matter of the poems. Mahler, a great lover of nature, explained his attraction to these songs in a letter of 1905:

I have devoted myself heart and soul to that poetry (which is essentially different from any other kind of ‘literary poetry’ and might almost be called something more like Nature and Life - in other words, the sources of all poetry—than art) in full awareness of its character and tone.

He set two dozen poems from the collection in his life; for piano and voice, for orchestra and voice and for orchestra with no voice. Indeed, his first four symphonies incorporate various Wunderhorn songs in vocal as well as instrumental versions. A twelve song collection published in 1899 was titled Humoresken. This set was written for voice and orchestra between 1892 and 1898. Two other songs were removed from this collection and replaced by two others. Modern day performance practices can add or subtract songs at the conductor's discretion. The version in the link below contains 14 songs:

Revelge - (Reveille) -  Mahler was a composer who used the sounds and impressions of street music he heard during his youth in his works. One of his first musical memories was of a military band as he related to a friend:

"One day when I was not yet four, a funny thing happened. A military band, something I delighted in all my childhood came marching past our house one morning. I no sooner heard it than I shot out of the living room. Wearing scarcely more than a chemise I trailed after the soldiers with my little accordion until some time later a couple of ladies from nearby discovered me at the marketplace. By that time I was feeling a bit frightened and they said they would only promise to take me home if I played them something the soldiers had been playing, on my accordion. I did so straight away, upon a fruit stand where they set me, to the utter delight of the market women, cooks, and other bystanders."

The music for this poem about a fallen drummer boy is a intense military march as soldiers proceed on their way, leaving the drummer boy for dead. The atmosphere turns eerie toward the end of the song when the strings play col legno in depicting the skeletons of the dead soldiers standing in rank and file.  Written in 1899, this was one of the replacement songs for one of the original twelve.

In the morning between three and four,
we soldiers must march
up and down the alley,
trallali, trallaley, trallalera,
my sweetheart looks down!

Oh, brother, now Iʼve been shot,
the bullet has struck me hard,
carry me to my billet,
trallali, trallaley, trallalera,
it isnʼt far from here!

Oh, brother, I canʼt carry you,
the enemy has beaten us,
may dear God help you!
Trallali, trallaley,
trallali, trallaley, trallalera,
I must, I must march on until death!

Oh, brothers, oh, brothers,
you go on past me
as if I were done for!
Trallali, trallaley,
trallali, trallaley, trallalera,
youʼre treading too near to me!

I must nevertheless beat my drum,
I must nevertheless beat my drum,
trallali, trallaley, trallali, trallaley,
otherwise I will die,
trallali, trallaley, trallala.

His brothers, thickly covering the ground,
lie as if mown down.
Up and down he beats the drum,
he wakes his silent brothers,
trallali, trallaley, trallali, trallaley,
they battle and they strike their enemy,
enemy, enemy,
trallali, trallaley, trallalerallala,
a terror smites the enemy!

Up and down he beats the drum,
there they are again before their billets,
trallali, trallaley, trallali, trallaley.
Clearly out into the alley!

They draw before the sweetheartʼs house,
trallali, trallaley,
trallali, trallaley, trallalera,
they march before his sweetheartʼs house, trallali.

In the morning there stand thebones
in rank and file like tombstones,
in rank, in rank and file.

The drummer stands in front
for her to see.
Trallali, trallaley,
trallali, trallaley, trallalera,
for her to see!

Verlorne Mühʼ! - (Lost Effort) -  A song that has a woman trying to entice a man (with something ot nibble on no less) who will not be enticed.

She:
ʻLaddie, let's go!
Laddie, let's go out and look at the lambs!
Shall we?
Look at the lambs?
Come, come, dear laddie!
Come, I beg you!ʼ

He:
ʻSilly lassie,
I donʼt like you at all!ʼ

She:
You want perhaps,
You want perhaps a little bit to nibble?
Fetch yourself something out of my bag!
Fetch it, dear laddie!
Fetch it, I beg you!ʼ

He:
ʻSilly lassie,
Iʼll nibble nothing of yours at all!ʼ

She:
Should I give you my heart?
So you'll always think of me?
Always!
Take it! Dear laddie!
Take it, I beg you!ʼ

He:
Silly lassie,
I donʼt care for you at all!

Des Antonius von Padua Fischpredigt - (St. Anthony of Paduaʼs Sermon To The Fish) -  A swirling figure in the strings represents water as the fish listen to the sermon. But at the end of the sermon they leave unchanged. This song was the inspiration for the scherzo of Mahler's 2nd Symphony 'Resurrection'.

At sermon time Anthony
finds the church empty!
He goes to the rivers
and preaches to the fish!
They flap with their tails!

They gleam in the sunshine!

The carp with roe
have all congregated;
their jaws gaping,
intent on listening!
Never did a sermon
so please the fish!

Sharp-snouted pike,
that fight continually,
swam up in a hurry
to hear the holy man!
Even those odd creatures
that continually fast:
I mean the codfish,
appear for the sermon!
Never did a sermon
so please the codfish!

Good eels and sturgeon
that people of quality relish,
even they condescend
to attend the sermon!
Crayfish, too, and turtles,
usually slow movers,
climb hurriedly from the depths
to hear this voice!
Never did a sermon
so please the crayfish!

Fish big and fish small!
Of quality and common!
They raise their heads
like rational creatures!
At Godʼs command
they listen to the sermon.

When the sermon is finished,
each one turns away!
The pike remain thieves,
the eels great lovers;
the sermon was pleasing,
they all stay the same!

Das Irdische Leben - (The Earthly Life) -  A morbid song (written by a composer whose emotions could run to the exceedingly morbid) with words set against divided strings that play a restless accompaniment. Mahler makes the music as stark as the words.

Mother, oh mother, Iʼm hungry!
Give me some bread or I shall die!
Just wait! Just wait, my dear child!
Tomorrow we shall hurry to harvest!

And when the grain was harvested,
the child still cried out:
Mother, oh mother, Iʼm hungry!
Give me some bread or I shall die!
Just wait! Just wait, my dear child!
Tomorrow we shall hurry and go threshing!

And when the grain was threshed,
the child still cried out:
Mother, oh mother, Iʼm hungry!
Give me some bread or I shall die!
Just wait! Just wait, my dear child!
Tomorrow we shall hurry and bake!

And when the bread was baked,
the child lay on the funeral bier!

Trost im Unglück -  (Solace In Misfortune) -  A man soothing himself after a lost love.

Now then! The time has come!
My horse, it must be saddled!
Iʼve made up my mind,
I must ride away!
Off you go!
I have my due!
I love you only in folly!

Without you I can well live!
Yes, live!
Without you I can well exist!
So Iʼll sit on my horse
and drink a glass of cool wine,
and swear by my beard,
to love you forever!

You think, you are the handsomest
in the whole wide world,
and also the most pleasant!
But you are far, far off the mark!
In my fatherʼs garden
thereʼs a flower growing!

Iʼll keep waiting
till it is bigger!
And off you go!
I have my due!
I love you only in folly!
Without you I can well live!
Without you I can well exist!


You think Iʼm going to take you!
That I would not think of ever!
I am ashamed of you,
when I am in public!

Wo die schönen Trompeten blasen - (Where the Fair Trumpets Sound) -  Two lovers part as the man goes off to war.  The trumpets softly remind the man of his fate, and he describes his probable fate: the home of the green grass of the grave.

Who then is outside and who is knocking,
that can so softly awaken me?

It is your dearest darling,
get up and let me come to you!
Why should I go on standing here?
I see the red of morn arise,
the red of morn, two bright stars.
I long to be with my sweetheart!
With my dearest darling.

The maiden got up and let him in;
she bade him welcome, too.
Welcome, my dear lad!
You have been standing so long!
She offered him her snow-white hand.

From far away the nightingale sang,
then the maiden began to weep.
Ah, do not weep, beloved mine
after a year you will be my own.
My own you shall become,
as is no other on earth!
Oh love on the green earth.
Iʼm off to war, on the green heath,
the green heath is so far away!
Where there the fair trumpets sound,
there is my home, my home of green grass!

Wer hat dies Liedel erdacht? - (Who Thought Up This Little Song?) -  A song of a lover in a house on a mountain, with some pretty silly lyrics, quite typical of some of the poems of the Wunderhorn collection.

Up there on the mountain,
in the high house,
in the house!
There peers out a dear maiden!
There is her home!
She is the innkeeperʼs daughter!
She lives on the green heath!

My heart has a wound!
Come, sweetheart, make it well!
Your dark brown little eyes,
they have wounded me!
Your rosy mouth
makes hearts well.
It makes young people rational,
brings the dead back to life,
makes the ill healthy,
yes, healthy.

Who then thought up this little song?
Three geese have brought it over the water!
Two grey and one white!
And whoever cannot sing this little song,
they can whistle it!
Yes!

Lob des hohen Verstands - (Praise Of Lofty Judgement) -  A singing match between a cuckoo and a nightingale, with an ass as the judge. The beginning of the song inspired the motives for the finale of Mahler's 5th Symphony.

Once in a deep valley
the cuckoo and the nightingale
struck a wager.
Whoever sang the masterpiece,
whether won by art or won by luck,
Would take the prize.

The cuckoo spoke: ʻIf you agree,
I have chosen the judge,ʼ
and he at once named the ass.
ʻFor since he has two large ears,
he can hear all the better,
and recognize what is right!ʼ

Soon they flew before the judge.
When he was told the matter,
he decreed that they should sing!
The nightingale sang out sweetly!
The ass spoke: ʻYou muddle me up!
You muddle me up! Heehaw! Heehaw!
I canʼt get it into my head!ʼ

There upon the cuckoo began quickly
his song in thirds and fourths and fifths.
It pleased the ass, and he spoke out:
ʻWait! Wait! Wait!
I will pronounce thy judgement,
yes, pronounce.

You have sung well, nightingale!
But, cuckoo, you sing a good chorale!
And hold the beat precisely!
I speak from higher understanding!
And even if it cost a whole country,
I thus pronounce you the winner, the winner!ʼ
Cuckoo, cuckoo! Heehaw!

Der Tamboursg'sell - (The Drummer Boy) -  Another song about a drummer boy, this time one that is condemned to death by hanging. The words are accompanied by a slow funeral march. This song was the last poem set in 1905.

I am a poor drummer boy!
They are leading me out of the dungeon!
If Iʼd remained a drummer,
I would not be imprisoned!

Oh, gallows,
you look so frightening!
I wonʼt look at you any more!
Because I know thatʼs where I belong!

When soldiers march past,
that are not billeted with me.
When they ask who I was:
Drummer of the first company!

Good night! You marble rocks!
You mountains and hills!
Good night, officers,
corporals and musketeers!
Good night!
Good night, officers!
Corporals and grenadiers!

I cry out with a clear voice:
I take leave of you!
Good night!

Das himmlische Leben - (The Heavenly Life) -  This song was not included in the original set of Wunderhorn songs for voice and orchestra. It is used as the final movement of Mahler's 4th Symphony.

We enjoy heavenly pleasures and
therefore avoid earthly ones.
No worldly tumult is to be heard in heaven
 All live in greatest peace.
We lead angelic lives,
yet have a merry time of it besides.
We dance and we spring,
We skip and we sing.
Saint Peter in heaven looks on.

John lets the lambkin out,
and Herod the Butcher lies in wait for it.
We lead a patient,
an innocent, patient,
dear little lamb to its death.
Saint Luke slaughters the ox
without any thought or concern.
Wine doesn't cost a penny in the heavenly cellars;
The angels bake the bread.

Good greens of every sort grow
in the heavenly vegetable patch,
good asparagus, string beans,
and whatever we want.
Whole dishfuls are set for us!
Good apples, good pears and good grapes,
and gardeners who allow everything!
If you want roebuck or hare,
on the public streets they come running right up.

Should a fast day come along,
all the fishes at once come swimming with joy.
There goes Saint Peter running
with his net and his bait
to the heavenly pond.
Saint Martha must be the cook.

There is just no music on earth
that can compare to ours.
Even the eleven thousand virgins
venture to dance,
and Saint Ursula herself has to laugh.
There is just no music on earth
that can compare to ours.
Cecilia and all her relations
make excellent court musicians.
The angelic voices gladden our senses,
so that all awaken for joy.

Lied des Verfolgten im Turm - (Song of the Prisoner in the Tower) -  Another military style song that incorporates a dialog between a prisoner and his sweetheart that stands outside the tower he is imprisoned in.

The prisoner:
Thoughts are free,
who can guess them;
they rush past
like nocturnal shadows,
no man can know them,
no hunter can shoot them,
it remains thus:
thoughts are free!

The maiden:
Summer is a time for merriment
on high, wild mountains.
There one finds a green place,
my loving sweetheart,
I do not wish to part from you!

The prisoner:
And if they lock me up
in a dark dungeon,
all this is but in vain;
for my thoughts
tear the bars apart
and the walls destroy,
thoughts are free!

The maiden:
Summer is a time for merriment,
on high, wild mountains.
There one is always quite alone,
on high, wild mountains.
There one hears no children yelling!
There the air invites one to himself,
yes, the air invites one to himself.

The prisoner:
So may it be the way it is!
And if it happens,
may it all happen in the silence,
only everything in the silence!
My wish and desire
can be restrained by no one!
It remains thus,
thoughts are free!

The maiden:
My sweetheart, you sing as cheerfully here
as a little bird in the grass.
I stand sadly at the prison door,
if I only were dead, if I only were with you,
alas, must I then always complain?

The prisoner:
And since you complain so,
Iʼll renounce you and your love!
And if I dare, nothing can worry me!
Then in my heart I can always
laugh and be jovial.
It remains thus:
Thoughts are free!
Thoughts are free!

Rheinlegendchen - (Rhine Legend) -  A dream of a maiden that longs to find a sweetheart by throwing her ring in the Rhine. 

Now I mow by the Neckar,
now I mow by the Rhine;
now I have a sweetheart,
now Iʼm alone!

What good is mowing
if the sickle doesnʼt cut;
what good is a sweetheart,
if he  doesnʼt stay with me!

So when I mow
by the Neckar, by the Rhine,
I will throw
my little gold ring in.

It will float in the Neckar
and float in the Rhine,
it shall swim right down
into the deep sea.

And when it swims, the little ring,
a fish will eat it!
The fish will land
on the kingʼs table!

The king would ask,
whose ring can it be?
Then I would say:
ʻThe ring belongs to me!ʼ

My sweetheart would spring
up hill and down hill,
would bring back to me
my fine little gold ring!

You can mow by the Neckar,
you can mow by the Rhine!
You can always toss in
your little ring for me!

Der Schildwache Nachtlied - (The Sentinelʼs Nightsong) -  Another dialog song.  Military style music of the sentinel  is interrupted by tender music that accompanies the words of his sweetheart.

I cannot and will not be cheerful!
When everyone is asleep,
then I must keep watch!
Yes, keep watch!
Must be sorrowful!

Dear lad, you mustnʼt be sad!
Iʼll wait for you
in the rose-garden!
In the green clover!

To the green clover I will not go!
To the armory!
Full of halberds!
I am posted!

If you are on the battlefield, may God help you!
On Godʼs blessing
is everything dependent!
Whoever believes it!

He who believes it is far away!
Heʼs a king!
Heʼs an emperor!
He wages war!
Halt! Whoʼs there!
Patrol!
Stand back!
Who sang here? Who sang just now?!
A solitary field sentinel
sang it at midnight!
Midnight!
Field sentinel

Urlicht - (Primeval Light) -  Another song that was used in Mahler's 2nd Symphony. For many years it was not included in performances of the Wunderhorn songs. 

O little red rose!
Man lies in greatest need!
Man lies in greatest pain!
I would rather be in heaven!

Then I came upon a broad path.
There came an angel and wanted to turn me away.
Ah no, I would not be turned away!
Ah no, I would not be turned away:
I am from God and want to return to God!
The loving God will give me a little of the light,
will illuminate me into eternal blessed life!