The beginnings of Haydn's motet Insanae et vanae curae (Insane and stupid worries flood our mind) began in 1775 with the composition of his first oratorio Il ritorno di Tobia (The Return of Tobias). The work written to an Italian liberetto was first performed in 1775 in Vienna and was a resounding success. But by 1781 the public's musical taste had changed so much that another planned performance in Vienna in 1781 failed to materialize due to lack of interest. Haydn revised the work and in 1784 a performance of the revision was performed in a benefit concert in Vienna. The oratorio had one more performance in 1808, after which Haydn took one of the choral numbers from the oratorio and rewrote it to a Latin text.
While Il ritorno di Tobia was popular in its day, it could not compete with Haydn's two masterpieces in the form The Creation and The Seasons. Perhaps that is why Haydn extracted this fine choral piece from it and revised it as a stand-alone work. The piece is in two contrasting sections. The first section is one of fear and dread, the second section is a more lyrical one. Each section is repeated. The original was written for choir and orchestra, but there is a version for choir and organ that was not written by Haydn that is sometimes performed.
Insane and stupid worries flood our minds, often mad fury fills the heart, robbed of hope, O mortal man, what good does it to strive for worldly things, if you neglect the heavens? All things work in your favor, with God on your side.
Born in Norway, Edvard Grieg was educated at the Leipzig Conservatory and steeped in the German tradition of serious music, but came to use the folk music of his native country. His Piano Concerto In A Minor is one of the most well-known concertos in the literature, and although it has been compared to the Piano Concerto In A Minor of Robert Schumann, Grieg's work has examples of the folk music of his native Norway. The other work by Grieg that is very well known is his incidental music to Henrik Ibsen's play Peer Gynt. His use of folk melodies made him the first Norwegian composer of international reputation.
Grieg's song cycle Haugtussa (literally translated from Norwegian as maid of the hill spirits) is based on a book of poems by the same title that were written by Arne Garborg. The book consisted of 71 poems and was published in 1895. Grieg read the book shortly after publication and was quite taken with the book and the musical quality of the poems. He began to envision settings for some of the poems and wrote a letter to friend that said:
I have been deep in a highly remarkable poem … Haugtussa. It is a quite brilliant book, where the music is really already composed. One just needs to write it down.
Grieg worked with some of the poems and finally settled on eight of them to tell the story of a maid in the mountains and of her first love and heartbreak. Haugtussa was the only song cycle Grieg wrote, and some consider it his finest set of songs. The songs range in mood from happy to contemplative to sad, with the final song being sung to the ever-present babbling brook of the Romantic era poets and composers.
Enticement
Oh, if you know the dream, and if you know the song,
you will always retain the notes.
And though time and again you may go astray,
you will never be able to forget.
Oh you enchantress!
you shall live with me,
on Blue Mountain you shall turn your silver spinning wheel.
You shall not fear the gentle night
when the dream spreads out its wings
to softer strains than daylight can offer,
and music from more delicate strings.
The hill rocks us gently;
all strife fades away,
and daylight does not know these hours of bliss.
You shall not tremble at fiery passion,
that sins and weeps and forgets
Arne Gaborg
His arms are hungry, his heart is meek,
and he can tame wild bears.
Oh you enchantress!
you shall live with me,
on Blue Mountain you shall turn your silver spinning wheel.
The Little Maid
She is small and dark and slender
with dusky, pure features
and deep gray eyes
and a soft and dreamy manner.
It is almost as though
a spell lay over her.
In her movements, in her speech
there is this muted calm.
Beneath her forehead, lovely but low,
her eyes shine as if through a mist.
They seem to be staring
deep into another world.
Only her breast is tight and heavy,
and there is a quiver about her pale mouth.
She is tremblingly frail and delicate,
and at the same time, charming and young.
Blueberry Hill
Just look how blue it is here!
Now, my cows, we can rest.
Oh, what splendid berries
the hillside's fairly teaming with them!
Never have I seen the like!
How good it is on the mountain.
Now I shall eat my fill;
I shall stay here till evening!
But what if the great bear should come!
There's room here for both of us.
I'd never dare say a word
to such a splendid fellow.
I'd say only: "Help yourself!
Now you mustn't be shy.
I won't bother you a bit;
take as much as you like."
But if it were the red fox,
he'd get a taste of my stick;
I would strike him dead
even if he were the Pope's brother.
Such a sly, scheming rascal!
He steals both cows and lambs,
And even though he is so handsome,
he has neither pride nor shame.
But if it were the wicked wolf,
as mean and mad as the bailiff,
I'd take myself a birch club
and fetch him one on the snout.
He's forever slaughtering
Mother's sheep and lambs;
Oh yes, just let him show his face,
he'll get what's coming to him!
But if it were the nice boy
from over in Skare-Brôte,
He too would get something on the mouth,
but, I hope, something quite different.
Oh, rubbish, what am I thinking of!
The day is getting on...
I'd better see to the herd;
there's "Dolly" dreaming of salt.
Meeting
One Sunday she sits pensive on the hillside,
while sweet thoughts flow over her,
and her heart beats full and heavy in her breast,
and a shy dream wakens within her.
Suddenly, enchantment steals along the hilltop.
She blushes red; there he comes, the boy she loves.
She wants to hide in her confusion,
but timidly she raises her eyes to him;
their warm hands reach out for one another,
and they stand there, neither knowing what to say.
Then she bursts out in admiration:
"My, how tall you are!"
Love
The crazy boy has bewitched my mind.
I am caught like a bird in a net.
The crazy boy, he struts so confidently.
He knows the bird won't try to escape.
Oh, if only you would beat me with rushes,
beat me till they burned to ashes!
If only you would draw me so tightly to yourself
that the whole world vanished for me!
If I could work magic, do witchcraft,
I would like to grow inside that boy,
I would like to grow inside you,
and be only with my own boy.
Oh, you who live deep in my heart,
you have taken hold of my thoughts,
so that every fluttering fancy
whispers only of you, of you.
When the sun shines from the brilliant sky,
she sees you, who are in my every thought.
When the day sinks and darkness falls:
Will he really think of me tonight?
Young Goats Dance
Oh hip and hop,
and tip, and top,
on such a day.
Oh nip and nap,
and trip and trap,
in just this way.
And it's stay-in-the-sun,
and it's play-in-the-sun,
and it's shimmer-on-the-hill,
and it's glimmer-on-the-hill,
and it's laughter
and commotion
on a sunny day.
Oh a nip on the neck,
and a dip to the slope,
and all on tiptoe.
Oh run in a ring,
and trip and swing,
and heigh-ho.
And it's lick-in-the-sun,
and it's lie-in-the-sun,
and it's joy-on-the-hill,
and it's noise-on-the-hill,
and it's twittering
and glittering
and a quiet corner.
Oh trip and trap,
and a tap on the noggin
is what you'll get!
Oh snip and snap,
and a kiss on the nose,
this you can take.
And it's roll-in-a-ring,
and it's song-in-a-swing,
and it's up-on-your-toes,
and it's speed-on-your-toes,
and it's heisa,
and it's hoppsa,
and tra-la-la.
Sorrowful Day
She counts the days and hours and endless evenings
till Sunday comes; he has promised so faithfully
that even if hailstones fall on the mountaintop
they will meet in the "Gjætarstova."
But Sunday comes and goes in rain and mist;
she sits all alone, weeping, under the bushes.
As a bird, wounded beneath its wing,
drips blood, so her hot tears fall.
She drags herself sick and shivering home to bed,
and tosses and sobs all night long.
Her heart is broken and her cheeks are burning.
Now she must die; she has lost her lover.
At Gjaetle Brook
You swirling brook,
you rippling brook,
you flow along so warm and clear.
And splash yourself clean,
and glide over stones,
and sing and whisper
so softly to yourself,
and glitter in the sunlight with your soft waves.
Oh, here I shall rest, rest.
You tickling brook,
you trickling brook,
you run so gaily along the bright slope.
With splashing and gurgling,
with singing and sighing,
with rustling and murmuring
through your leafy house,
with a wonderful surge and a restful sleep
Oh, here I shall dream, dream.
You whispering brook,
you humming brook,
you make your bed beneath the soft moss.
Here you dream
and lose yourself,
and whisper and sing
in the great stillness,
with healing for heartache and sick longing.
Oh, here I shall remember, remember.
You wandering brook,
you foaming brook,
what did you think about on your long journey?
Through empty spaces,
among bushes and flowers?
When you slipped into the earth,
when you found your way out?
Did you ever see anyone so much alone as I am?
Oh, here I shall forget, forget.
You hissing brook,
you rippling brook,
you play in the branches, you sing in the stillness.
And smile at the sun,
and laugh in your solitude,
and wander so far
and learn so much,
oh, do not sing of what I am thinking now.
Oh, let me close my eyes!
After the successful premiere of his First Symphony in 1926, Dmitri Shostakovich was the darling of the Communist Government in Russia. But with the rise in power of Stalin the political climate changed. In 1936 Shostakovich was no longer the pride of the Soviet government. This was the year of the beginning of the Great Purge of anyone that the paranoid Stalin considered a rival or a danger to his authority. This purge affected the leadership of the Red Army, members of government, all areas of Soviet life including the arts. Shostakovich lost many friends and colleagues in the years 1936-1938 and he feared for his own life as well.
Shostakovich managed to weather the storm of 1936 and by the time of the outbreak of World War Two his reputation had improved considerably, so much so that Stalin used his music as propaganda in the Russian war effort. But Shostakovich was not one to stay out of trouble for long. In 1948 he was denounced again. He lost his position at the Conservatory along with a considerable part of his income and once again he expeected to be hauled off in the middle of the night, never to return. He wrote film scores and other works to try and rehabilitate his official image again, but by this time Shostakovich also was writing works that were not meant for performance. He wrote these works purely out of an inner need to do so. One of these private works was the song cycle From Jewish Folk Poetry.
Antisemitism in Russia ran so deep that it was considered a tradition. Shostakovich was not raised in this tradition by his liberal-minded parents, and as a result he was sensitive to the plight of Jewish people all his life. This deepened late in 1944 as news about the Nazi death camps was being brought to light. Stalin was also carrying out a campaign against the Jews in Russia beginning in 1948, when they were removed from public life with many being executed.
Shostakovich took his text from a collection of Jewish Folk Poetry that was published in 1947. He set eight songs and after a private performance he wrote three additional songs to lyrics he thought would be more acceptable to the authorities. But by that time antisemitism was running rampant with the government and the song cycle didn't have its premiere until 1955 after Stalin's death. The original version of the song cycle is for soprano, mezzo-soprano and tenor with piano accompaniment. Shostakovich orchestrated the songs later for chamber orchestra and it is this version heard at the link.
1) Lament For A Dead Child Sun and rain, shine and mist, the fog has descended, the moon has grown dim. Whom did she give birth to? To a boy, to a boy. And how did they name him? Moyshele, Moyshele. And in what did they rock Moyshele? In a cradle. And what did they feed him with? With bread and onions. And where did they bury him? In a grave. Oy, little boy in the grave, in the grave, Moyshele in the grave.
Shostakovich was influenced not only by Jewish poetry but by Jewish klezmer music. This influence can be heard in many of his compositions and especially in this song cycle. 2) The Thoughtful Mother And Aunt Bye, bye, bye, to the village, Daddy go! Bring us an apple, so our eyes won’t hurt! Bye… Bye, bye, bye, to the village, Daddy, go! Bring us a chicken, so our teeth won’t hurt! Bye… Bye, bye, bye, to the village, Daddy, go! Bring us a duck, so our chest won’t hurt! Bye… Bye, bye, bye, to the village, Daddy, go! Bring us a goose, so our stomach won’t hurt! Bye… Bye, bye, bye, to the village, Daddy, go! Bring us some seeds, so our crown won’t hurt! Bye… Bye, bye, bye, to the village, Daddy, go! Bring us a rabbit, so our fingers won't hurt! Bye…
3) Lullaby My son who is the most beautiful in the world, sleep,
but I’m not sleeping. Your father is in chains in Siberia, The Tsar holds him in prison, Sleep, lu-lu-lu, lu-lu. Rocking your cradle, your mother sheds tears. Later you will understand yourself what grieves her heart. Your father is in far Siberia, and I suffer in misery. Sleep while you’re still carefree, and lu-lu-lu, lu-lu-lu. My grief is darker than the night, sleep, but I’m not sleeping. Sleep, my beautiful, sleep, my son, sleep, lu-lu-lu, lu-lu-lu.
4) Before A Long Parting Soprano:Oy, Abram, how will I live without you? Me without you, you without me, how will we live apart?
Tenor: Do you remember when we were under the porch, what you told me in secret? Oy, oy, Rivochka, let me kiss your lips, my darling!
Soprano: Oy, Abram, how will we live now? Me without you, you without me, oy, such a door without latch. Tenor: Do you remember when we were walking hand in hand, what you told me on the boulevard? Oy, oy, Rivochka, let me kiss your lips, my darling!
Soprano:Oy, Abram, how will we live now? Me without you, you without me, How will we live without happiness? Tenor: Oy, Rivochka, how will I live without you? Me without you, you without me, How will we live without happiness?
Soprano: Do you remember when I was wearing a red skirt? Oy, as I was beautiful then!
Oy, Abram ,! Oy, Abram! Tenor: Oy, oy, Rivochka, let me kiss your lips, my darling!
5) A Warning Listen, Khasya,
You must not go out, Do not adventure out, Don’t date anyone, Take care, take care! If you go out,
and if you walk until morning, oy, Then you will weep bitterly, Khasya! Hear! Khasya!
6) The Abandoned Father Mezzo-soprano: Heleh the old man put on his coat. His daughter ran off with a policeman.
Tenor: Tsirélé, girl! Come back to your father, I will give you a beautiful dress for your wedding. Tsirélé, girl! I will buy you earrings and rings for your fingers. Tsirélé, girl! And a fine young man, a young man I will give you also. Tsirélé, girl!
Mezzo-soprano:I do not need clothes,
I do not need rings. I will marry my policeman.
Mr. Policeman Please, hurry, hurry up and drive This old Jew away! Tenor:
Tsirélé, girl! Come back to me! Tsirélé, girl! Come back to me! Oy, come back to me, come back to me. Tsirélé, girl!
7) The Song of Misery The roof sleeps sweetly in the attic under the straw. In the cradle sleeps a child without swaddling, all naked. Hop, hop, higher, higher! A goat eats straw from the roof! Hop, hop, higher, higher! A goat eats straw from the roof, oy! The cradle is in the attic, In it a spider weaves misfortune. It sucks away my happiness, Leaving me only misery. Hop, hop, higher, higher! A goat eats straw from the roof! Hop, hop, higher, higher! A goat eats straw from the roof, oy! A rooster is in the attic, With a bright red comb. Oy, wife, borrow for the children A piece of stale bread. Hop, hop, higher, higher! A goat eats straw from the roof! Hop, hop, higher, higher! A goat eats straw from the roof, oy!
8) Winter My Sheyndl is lying on the bed, with a sick child. There is not a branch to warm the cottage, and the wind howls around the walls. Ah ... The cold and the wind have returned, There is no strength to suffer in silence. Cry and weep, my children, winter has returned. Ah ...
9) A Good Life Of wide fields, dear friends, I did not sing songs long ago. Not for me did the fields bloom, Not for me did dew-drops flow down. In a narrow cellar, in humid darkness, Lived I once, worn out by misery. And a sad song ascended from the cellar, Of grief, of my unparalleled suffering. Kolkhoz river, flow joyfully, Quickly give my regards to my friends. Tell them that my home is now in the kolkhoz. A blossoming tree stands under my window. Now the fields bloom for me, They feed me with milk and honey. I’m happy, and you tell my brothers: I’ll write songs to the kolkhoz fields.
10) The Young Girl's Song In a meadow near the forest, from dawn to dusk, we keep the kolkhoz herd. And I'm sitting there on a hill, with my little flute, and I can’t stop to watch enough the beauty of my country. Trees covered in bright foliage stand so gracefully and so delicately, in the fields wheat ripens full of goodness and delight. Oy, oy, Lyou-Lyou! Now a branch smiles at me, and then a wink, and a feeling of great joy lights a spark in my heart. Then sings my little flute! Together we sing quietly! Mountains and valleys listen to our song full of joy. But do not cry, my flute! Forget the sorrows of the past, and let your tunes flow gracefully into the country. Oy, oy, Lyou-Lyou! The kolkhoz makes me happy, do you hear? My life is so full! More cheerfully, more cheerfully, my flute, you must sing!
11) Happiness I boldly took my husband’s arm, So what if I’m old and my date is old, too! I took him with me to the theatre, And we bought two tickets to the pit. Sitting there with my husband late into the night, Everyone succumbed to the happy thoughts About what wealth surrounds The Jewish shoemaker’s wife. Oy, oy, oy, oy, what wealth surrounds The Jewish shoemaker’s wife. Oy! And to the whole country will I tell About my happy and bright lot! Doctors, doctors, have become our sons – A star shines above our heads! Oy, oy, oy, oy, a star shines, A star shines, A star shines above our heads! Doctors, doctors, Have become our sons! A star shines Above our heads. Oy!
Franz Liszt as composer is most often thought of a writer of music for the piano and for his thirteen Symphonic Poems, but he also wrote 87 songs. Although he was Hungarian by birth, he was closely aligned with the German music aesthetic and about 53 of his songs were set to German lyrics. Liszt's music faded in importance after his death and outside of a handful of works, it was performed little. There is a renewed interest in his music, but his songs are still rarely performed.
The Lorelei
The first song is a setting of the poem Die Lorelei by Heinrich Heine. Heine based his poem on the ancient legend associated with The Lorelei, a large rock formation on the Rhine River. The name comes from old German words that meanmurmuring rock, given to the rock because of the noises given off by a small waterfall and current of the river that can be heard as murmuring echos off the rock face. The name Lorelei is also given to a female water spirit that legend says sits on the top of the rock and murmurs as it combs its hair, and while doing so distracts sailors from guiding their boats around the narrow channel of the river and causes their vessels to destruct on the rocks.
Liszt wrote two versions of the song, the first in 1841. He revised the song in 1854 and it is this second version that is heard at the link below.
Die Lorelei
I can't explain what it means
This haunting pain:
A tale of bygone ages
Keeps running through my brain.
The air cools in the twilight,
Heinrich Heine
And peaceful flows the Rhine,
The rocky summits reflect
The sunset's waning light.
The loveliest maiden is sitting
High-throned on the rock.
Her golden jewels are shining,
She combs her golden hair;
She combs with a comb that is golden,
And sings a strange refrain
That causes a deadly enchantment
In the listener's ear.
The sailor in his drifting sailboat,
Is entranced by sad sweet tones,
He doesn't see the breakers,
He sees the maid alone.
The wind and water engulf him!
So perish sailor and ship;
And this, with her baleful singing,
Is the Lorelei's gruesome work.
The next song is a work that is more often heard in a transcription for solo piano that Liszt had published under the title of Liebesträume No. 3. The song was set to a poem by German poet Ferdinand Freiligrath in 1845.
O love, love as long as you can!
O love, love as long as you will!
Ferdinand Freiligrath
The time will come, the time will come,
When you will stand mourning at the grave.
And let it be that your heart glows
And nurtures and carries love,
As long as another heart is still
Warmly struck by love for you!
And to one who gives his heart to you,
O to him, do what you can, in Love!
And make him happy every hour
And never let him be gloomy for an hour.
And guard your tongue tightly,
So no angry word spills out,
O God, even if no harm was meant,
The other may recoil, hurt and sighing.
The world of 18th century opera was a markedly different environment in many ways than the modern day opera house. With no copyright protection for composers, many of them supervised the first productions of their operas to earn some money off of their music before it was pirated by other opera companies and publishers. But the best singers back then, like the best singers now, were the stars of the show. Most opera composers wrote music with specific singers in mind, and the singers themselves would take many liberties with the music for the sake of displaying particular vocal strong points, so much that the original music could get lost in a sea of added ornamentation, runs and long held notes.
Composers could be part of this cavalier attitude towards opera as well. A custom of the time was for composers to write arias for specific singers that were called insertion arias because they would be inserted in place of an original aria written by the opera's composer. In Mozart's time the use of insertion arias had been going on for so long that they had become a tradition, and many of Mozart's concert arias were originally written as insertion arias. Vorrei spiegarvi, oh Dio! (Let me explain, oh God!) K.418 is just such an insertion aria. Mozart wrote it for his sister-in-law Aloysia Weber, a soprano that had a successful career on the Vienna opera stage. At one time Mozart had wanted to marry Aloysia, but he ended up marrying her sister Constanze instead. Mozart wrote other insertion arias for Aloysia and she performed roles in some of his operas as well. She must have been a fine singer because the arias Mozart wrote for her are quite demanding.
Vorrei spiegarvi, oh Dio! was written to be inserted in an opera titled Il curioso indiscreto (The Curious, Indiscreet Man) by the composer Pasquale Anfossi. The libretto was based on the book Don Quixote. The aria begins in a slow tempo with muted strings and a beautiful part for oboe that continues in duet with the soprano who sings the part of Clorinda, who is in love with a Count, who is promised in marriage to another woman named Emilia. Clorinda sings that she wishes she could explain to him why she appears not to return his
love. The tempo quickens in the second part of the aria as she urges him to leave
her, telling him to go to Emilia. Mozart puts the soprano through her paces as he uses notes that span over two octaves in this effective and impressive aria.
Let me explain, oh God,
What my grief is!
But fate has condemned me
To weep and stay silent.
My heart may not pine
For the one I would like to love
Making me seem hard-hearted
And cruel.
Ah, Count, part from me,
Run, flee
Far away from me;
Your beloved
Emilia awaits you
Don't let her languish,
She is worthy of love.
Ah, pitiless stars!
You are hostile to me.
I am lost when he stays.
Part from me, run,
Speak not of love,
Her heart is yours.
As a reaction to the Age of Enlightenment, artists of the late 18th century began to create works that were reflections of their ideals of free expression. This was the beginning of the Romantic movement, a movement that was guided by numerous influences, with the emphasis on emotion. The emotion most often represented was love, which sometimes took the form of unrequited love that ended in the violent end of one or both the parties involved.
Mizra Shafi Vazeh
Another influence on the Romantics was the exoticism of different lands and peoples. These were often expressed as crude stereotypes such as the Janissary music imitated by Mozart in the third movement of his Piano Sonata In A Major K.331. But exoticism also exerted an influence through artists that were natives of those far away places. One of those artists was a poet from Azerbaijan, Mirza Shafi Vazeh, who continued the tradition of Azerbaijani classic poetry. He was also fluent in the Persian language and some of those poems were collected by one of his devoted German disciples Friedrich Martin von Bodenstedt. Mirza Shafi Vazeh was literate but seldom wrote down his poems. Bodenstedt wrote some of them down in the original Persian, translated them to German and in 1851 published them in a book titled Die Lieder des Mirza Schaffy. Anton Rubinstein chose twelve poems from this book to set to music for his opus 34 12 Lieder des Mirza-Schaffy, also known as Persian Love Songs.
Friedrich von Bodenstedt
Rubinstein was second only to Liszt in his ability to play the piano. His repertoire was vast, his stamina legendary, he also became a conductor and founded the St. Petersburg Conservatory. But he also had ambitions as a composer and wrote a huge amount of music in all the forms of the day. His 4th Piano concerto was once a staple of the repertoire, but despite a modern resurgence of interest, his music is rarely heard. Persian Love Songs has been recorded a few times and although the text Rubinstein set was in German, they are usually sung in Russian translation. The 9th song in the set, 'Swirling Waves', was a favorite of the Russian opera singer Feodor Chaliapin, whose interpretation of the song has become somewhat of a tradition. The video below has a recording sung by Boris Shtokolov, one of the most famous Russian bass singers of the modern era. His interpretation adds some of the falsetto singing introduced in the song by Chaliapin that deviates from Rubinstein's original music:
Johann Goethe was a writer that inspired the entire 19th century world of art, specifically the Germanic-speaking world. Franz Schubert fell under the spell of Goethe's works early on, and the first lied he set to Goethe's text was Gretchen am Spinnrade (Gretchen At The Spinning Wheel), the text of which was taken from a scene in Faust. The year was 1814 and Schubert was 17 years old. Goethe remained an inspiration to Schubert for the rest of his short life as he wrote over 80 lieder to texts of Goethe, including his famous setting of Der Erlkönig.
The scene depicts Gretchen at her spinning wheel as her mind drifts to Faust, a man she has recently met and fallen deeply in love with. Schubert uses the piano as an illustrative device as the music depicts the wheel spinning in the right hand notes, the clicking of the spool that gathers the yarn in the staccato eighth-note accompaniment in the left hand and the pedal that makes the wheel spin in the lower notes in the left hand:
The passion of Gretchen grows until it reaches near madness in the 7th stanza, when the piano depicts the halting of the spinning wheel as she is overcome with the thought of his kiss. The wheel makes a few false starts before it begins again. The passion grows once again, until the first stanza is repeated and the wheel stops. The song begins and ends in D minor, but Schubert takes the harmony far afield, a characteristic of Schubert's music that was to continue. This song of 1814 led to one of Schubert's most productive years when in 1815 he wrote over 100 lieder as well as many works for orchestra and chorus.
There were many composers that wrote works of musical imagery before Schubert. The cantatas of Bach as well as the oratorios of Handel are but two examples of works that contained illustrative music, but Gretchen am Spinnrade was a turning point in the history of the German lied. Schubert's fertile imagination and his pairing of the voice and piano as equal partners in musical expression influenced countless song composers.
Gretchen At The Spinning Wheel
My peace is gone,
My heart is heavy,
I will find it never
and never again.
Where I do not have him,
That is the grave,
The whole world
Is bitter to me.
My poor head
Is crazy to me,
My poor mind
Is torn apart.
My peace is gone,
My heart is heavy,
I will find it never
and never again.
I look only for him
Out the window
Only for him do I go
Out of the house.
His tall walk,
His noble figure,
His mouth's smile,
His powerful eyes,
His mouth's
Magic flow,
His touch,
and ah! his kiss!
My peace is gone,
My heart is heavy,
I will find it never
and never again.
My bosom urges itself
toward him.
Ah, might I grasp
And hold him!
And kiss him,
As I want,
With his kisses
I should die!
