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Mahler - The Song of the Earth (Century's recording: Kathleen Ferrier, Bruno Walter, Wierner Philharmoniker) https://youtu.be/XU_vuKSP2Z0 Mahler began to compose The Song of the Earth (Das Lied von der Erde) at Schluderbach, in the Tyrol, in the summer of 1907. His eleder daughter had just died at the age of four and a specialist had diagnosed the seriousness of his own heart condition. A friend had earlier given him Hans Bethge’s ‘The Chinese Flute’ for holiday reading and this collection of German translations and adaptations of Chinese poetry now suited his state of mind. He did not wish to die, but he accepted death’s inevitability, sooner rather than later in his case as he now realized, and in these poems he found expression of his own philosophy : that the beauties of Nature renew themselves year after year, and though man enjoys them for but a brief span and is gone, the earth blossoms again.
No firmer refutation of the theory that Mahler was ‘half in love with easeful Death’ can be found that in the opening bars of ‘The Song of the Earth’, with the brass’s defiant fanfare and the tenor’s reckless plunge into the midst of the orchestral tumult.
After deciding to set some of the Bethge poems, Mahler prepared for his new conducting post at the Metropolitan Opera in New York, and in the summer of 1908, at Toblach in the Dolomites, he completed the short scoe of what had now become a symphonic song-cycle on a large scale. He orchestrated it in New York during 1908-09 and he told his friend the conductor Bruno Walter that it was the most personal thing he had written.
He gave ‘The Song of the Earth’ the title of symphony, and one can trace a symphonic structure, with the short third, fourth and fifth movements forming a kind of scherzo. Exultant ecstasy, irony, loneliness, rage against the dying of the light, and intense passion are expressed in orchestration of the utmost mastery. Although a large orchestra is used, Mahler treats it like a vast chamber group, with many concertante solo passages (the principal oboe, flute and horne are as much soloists as the two singers) and inspired writing for celesta, mandolin and other exotic instruments.
The music evolves in perpetual variation, with scarcely any repetition, a web of melodic counterpoint unified by the subtle deployment of such devices as the intervals of fourth, a falling second (for yearning) and a rising minor third (space and loneliness) and of a three-note pentatonic phrase which evokes an oriental atmosphere.
The first movement (tenor) ranges from exhilaration to terror, with that remarkable passage about the ape howling in the moonlight on a grave, an episode which anticipates Schoenberg’s expressionist art.
The second song (contralto) is in D minor, the autumn tints incomparably suggested. The olowwing three movements (tenor, contralto, tenor) mirror the elegant artificiality of the Chinese scenes depicted, yet Viennese Angst is not far away.
The finale (contralto) is a long as all that has preceded it. It is the apotheosis of Mahler, as if the text had released the profoundest springs in his creativity. The movement encloses a great funeral march, and the final verse, when the soloist sings unforgettably of how ‘everywhere the lovely earth blossoms forth in spring and grows green anew.. for ever’ was, significantly, written by Mahler himself.
MAHLER : THE SONG OF THE EARTH. A NOTE ON THIS RECORING. This recording of ‘The Song of the Earth’ was made in Vienna in 1952 and is one of the classics of the gramophone. It is one of the three recordings of the work conducted by Bruno Walter, who was Mahler’s close friend in addition to being an interpreter who enjoyed the composer’s confidence. He was seventy-six when he conducted this performance, which has as tenor soloist Julius Patzak, one of the legendary stars of the Vienna Opera an unforgettable Florestan in Beethovens Fidelio. Something of the heroism he brought to that role can be heard here.
As contralto soloist there is Kathleen Ferrier, the British singer whose career did not really begin until 1943 when she was thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another of Mahler’s protégés, Klemperer, with whom she sang in the Second Symphony).
She first sang ‘The Song of the Earth’ with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as the tenor soloist). She was in tears towards the end and omitted the final ‘’ewig’’. When she apologised to Walter for such unprofessional conduct, he made the magnificent reply : ‘’My dear Miss Ferrier, if we were all such artists as you, we would all have been in tears’’.
Ferrier’s singing of Mahler was entirely intuitive. She had a natural sympathy with his idiom, an idiom she had to discover for herself, for there were few Mahler performances during her training days. It is scarcely possible to listen to this recorded performance without taking into account the personal circumstances of the artists concerned Walter, the composer’s friend, and Ferrier, who knew while she was making the recording that it was her own ‘Abschied’, that she would see the lovely earth grow green again only once more.
Like Mahler she answered the challenge of a death sentence by reaching the pinnacle of her art. Yes, she shows some strain on her top G, but the radiance, vibrancy and transcendental compassion of her singing here place it beyond the reach of carping criticism.
Album available // Mahler: Das Lied von der Erde by Bruno Walter
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Mahler - The Song of the Earth (Century's recording: Kathleen Ferrier, Bruno Walter, Wierner Philharmoniker) https://youtu.be/XU_vuKSP2Z0 Mahler began to compose The Song of the Earth (Das Lied von der Erde) at Schluderbach, in the Tyrol, in the summer of 1907. His eleder daughter had just died at the age of four and a specialist had diagnosed the seriousness of his own heart condition. A friend had earlier given him Hans Bethge’s ‘The Chinese Flute’ for holiday reading and this collection of German translations and adaptations of Chinese poetry now suited his state of mind. He did not wish to die, but he accepted death’s inevitability, sooner rather than later in his case as he now realized, and in these poems he found expression of his own philosophy : that the beauties of Nature renew themselves year after year, and though man enjoys them for but a brief span and is gone, the earth blossoms again.
No firmer refutation of the theory that Mahler was ‘half in love with easeful Death’ can be found that in the opening bars of ‘The Song of the Earth’, with the brass’s defiant fanfare and the tenor’s reckless plunge into the midst of the orchestral tumult.
After deciding to set some of the Bethge poems, Mahler prepared for his new conducting post at the Metropolitan Opera in New York, and in the summer of 1908, at Toblach in the Dolomites, he completed the short scoe of what had now become a symphonic song-cycle on a large scale. He orchestrated it in New York during 1908-09 and he told his friend the conductor Bruno Walter that it was the most personal thing he had written.
He gave ‘The Song of the Earth’ the title of symphony, and one can trace a symphonic structure, with the short third, fourth and fifth movements forming a kind of scherzo. Exultant ecstasy, irony, loneliness, rage against the dying of the light, and intense passion are expressed in orchestration of the utmost mastery. Although a large orchestra is used, Mahler treats it like a vast chamber group, with many concertante solo passages (the principal oboe, flute and horne are as much soloists as the two singers) and inspired writing for celesta, mandolin and other exotic instruments.
The music evolves in perpetual variation, with scarcely any repetition, a web of melodic counterpoint unified by the subtle deployment of such devices as the intervals of fourth, a falling second (for yearning) and a rising minor third (space and loneliness) and of a three-note pentatonic phrase which evokes an oriental atmosphere.
The first movement (tenor) ranges from exhilaration to terror, with that remarkable passage about the ape howling in the moonlight on a grave, an episode which anticipates Schoenberg’s expressionist art.
The second song (contralto) is in D minor, the autumn tints incomparably suggested. The olowwing three movements (tenor, contralto, tenor) mirror the elegant artificiality of the Chinese scenes depicted, yet Viennese Angst is not far away.
The finale (contralto) is a long as all that has preceded it. It is the apotheosis of Mahler, as if the text had released the profoundest springs in his creativity. The movement encloses a great funeral march, and the final verse, when the soloist sings unforgettably of how ‘everywhere the lovely earth blossoms forth in spring and grows green anew.. for ever’ was, significantly, written by Mahler himself.
MAHLER : THE SONG OF THE EARTH. A NOTE ON THIS RECORING. This recording of ‘The Song of the Earth’ was made in Vienna in 1952 and is one of the classics of the gramophone. It is one of the three recordings of the work conducted by Bruno Walter, who was Mahler’s close friend in addition to being an interpreter who enjoyed the composer’s confidence. He was seventy-six when he conducted this performance, which has as tenor soloist Julius Patzak, one of the legendary stars of the Vienna Opera an unforgettable Florestan in Beethovens Fidelio. Something of the heroism he brought to that role can be heard here.
As contralto soloist there is Kathleen Ferrier, the British singer whose career did not really begin until 1943 when she was thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another of Mahler’s protégés, Klemperer, with whom she sang in the Second Symphony).
She first sang ‘The Song of the Earth’ with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as the tenor soloist). She was in tears towards the end and omitted the final ‘’ewig’’. When she apologised to Walter for such unprofessional conduct, he made the magnificent reply : ‘’My dear Miss Ferrier, if we were all such artists as you, we would all have been in tears’’.
Ferrier’s singing of Mahler was entirely intuitive. She had a natural sympathy with his idiom, an idiom she had to discover for herself, for there were few Mahler performances during her training days. It is scarcely possible to listen to this recorded performance without taking into account the personal circumstances of the artists concerned Walter, the composer’s friend, and Ferrier, who knew while she was making the recording that it was her own ‘Abschied’, that she would see the lovely earth grow green again only once more.
Like Mahler she answered the challenge of a death sentence by reaching the pinnacle of her art. Yes, she shows some strain on her top G, but the radiance, vibrancy and transcendental compassion of her singing here place it beyond the reach of carping criticism.
Album available // Mahler: Das Lied von der Erde by Bruno Walter
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Quiz of the day (easy level): Which of these silhouettes is Anton Bruckner's?
Answer to the last quiz (44% correct answers): As a contralto soloist, there is Kathleen Ferrier, the British singer whose career only really began in 1943 at the age of thirty-one and lasted only ten glorious years until her death in 1953 from cancer. Walter passionately admired her singing (as did another Mahler protégé, Klemperer, with whom she sang in the Second Symphony). She first sang "The Song of the Earth" with Walter at the first Edinburgh Festival in 1947 (with Peter Pears as tenor soloist). She was in tears near the end and omitted the last "ewig". When she apologized to Walter for her unprofessional conduct, he responded beautifully, "My dear Miss Ferrier, if we were all artists like you, we would all have been in tears."
Ferrier's singing about Mahler was entirely intuitive. She had a natural sympathy for his idiom, an idiom she had to discover for herself, for there were few performances of Mahler during her formative days. It is hardly possible to listen to this recorded performance without considering the personal circumstances of the artists involved: Walter, the composer's friend, and Ferrier, who knew while she was recording that this was her own "Abschied", that she would see the beautiful land turn green only once more. Like Mahler, she took up the challenge of a death sentence by reaching the peak of her art.
Album available // Mahler: Das Lied von der Erde by Bruno Walter
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—
Quiz du jour (niveau facile) : Laquelle de ces silhouettes est celle d'Anton Bruckner ?
Réponse au dernier quiz (44% de bonnes réponses) : En tant que soliste contralto, il y a Kathleen Ferrier, la chanteuse britannique dont la carrière n’a véritablement commencé qu’en 1943, à l’âge de trente et un ans, et qui n’a duré que dix glorieuses années jusqu’à sa mort en 1953 d’un cancer. Walter admirait passionnément son chant (tout comme un autre protégé de Mahler, Klemperer, avec qui elle chanta dans la Deuxième Symphonie). Elle chanta pour la première fois Le Chant de la Terre avec Walter lors du premier Festival d'Édimbourg en 1947 (avec Peter Pears comme ténor soliste). Elle pleurait près de la fin et omis le dernier « ewig ». Lorsqu’elle s’excusa auprès de Walter pour son comportement peu professionnel, il répondit magnifiquement : « Ma chère Mademoiselle Ferrier, si nous étions tous des artistes comme vous, nous aurions tous été en larmes. »
Le chant de Ferrier sur Mahler était entièrement intuitif. Elle avait une sympathie naturelle pour son idiome, un idiome qu’elle a dû découvrir par elle-même, car il y avait peu d’interprétations de Mahler au cours de ses années de formation. Il est presque impossible d’écouter cet enregistrement sans penser aux circonstances personnelles des artistes impliqués : Walter, l’ami du compositeur, et Ferrier, qui savait en enregistrant que c’était son propre « Abschied », qu’elle ne verrait le beau pays devenir vert qu’une seule fois de plus. Comme Mahler, elle releva le défi d’une condamnation à mort en atteignant le sommet de son art.
Album disponible // Mahler: Das Lied von der Erde by Bruno Walter
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—
Quiz del día (nivel fácil) : ¿Cuál de estas siluetas es la de Anton Bruckner?
Respuesta al último cuestionario (44% de respuestas correctas): Como solista contralto, está Kathleen Ferrier, la cantante británica cuya carrera realmente comenzó en 1943 a la edad de treinta y un años y que solo duró diez gloriosos años hasta su muerte en 1953 a causa del cáncer. Walter admiraba apasionadamente su canto (al igual que otro protegido de Mahler, Klemperer, con quien cantó en la Segunda Sinfonía). Ella cantó por primera vez La Canción de la Tierra con Walter en el primer Festival de Edimburgo en 1947 (con Peter Pears como tenor solista). Estaba llorando cerca del final y omitió el último «ewig». Cuando se disculpó con Walter por su conducta poco profesional, él respondió hermosamente: «Querida señorita Ferrier, si todos fuéramos artistas como usted, todos habríamos estado llorando».
El canto de Ferrier sobre Mahler era completamente intuitivo. Tenía una simpatía natural por su estilo, un estilo que tuvo que descubrir por sí misma, pues hubo pocas interpretaciones de Mahler durante sus años formativos. Es casi imposible escuchar esta grabación sin considerar las circunstancias personales de los artistas involucrados: Walter, el amigo del compositor, y Ferrier, que sabía mientras grababa que este era su propio «Abschied», que solo vería el hermoso país volverse verde una vez más. Al igual que Mahler, enfrentó la sentencia de muerte alcanzando la cima de su arte.
Album available // Mahler: Das Lied von der Erde by Bruno Walter
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Monteverdi: Altri canti d'amor, Il ballo per l’Imperator Ferdinando (reference rec.: Edwin Loehrer) https://youtu.be/1amDCSFVwRQ?si=Bvqfk... Harry Halbreich: "The Eighth Book of Madrigals, published by Monteverdi in Venice in 1638 at the age of seventy-two, preceded by a dedication to Emperor Ferdinand III dated September 1st, bears the title Madrigali Guerrieri e Amorosi. It represents the pinnacle and synthesis of his madrigal creations, being the last collection of this genre published during his lifetime.
This 1638 book stands as a summit, not only for the quality of the works it contains, which undoubtedly represent the quintessence of Monteverdi, but also for the richness of expression and the variety of styles employed. It is also a synthesis of its time. Some of the greatest pieces, especially those for six or eight voices, were composed shortly before their publication, while others are much older, likely dating back to 1619, the year of the previous book’s publication. Some pieces, known as alla francese, even date back to Monteverdi’s journey to the Netherlands in 1599, with the exception of Vago Augelletto.
Monteverdi’s genius gradually transformed the traditional framework of the madrigal, which none of his contemporaries, not even Marenzio or Gesualdo, had challenged. He infused it so deeply that he eventually broke it apart. As early as the Fifth Book (1605), the instrumental basso continuo appears as an option. In the Sixth Book (1614), it becomes mandatory in seven madrigals, and by the Seventh Book (1619), the decisive step towards the stile concertato is taken. Monteverdi introduces vocal solos and obbligato instrumental parts, while also exploring the new world of the cantata. The Eighth Book annexes the immense realm of illustrative and expressive dramatic music to the madrigal, which at times could be described as expressionistic. Monteverdi, at seventy-two years old, ardent and passionate, whose heart and senses know no rest, expresses himself with an intensity that even the greatest romantics would struggle to match.
The madrigals for six and eight voices with instruments are a culmination, comparable to Beethoven’s late quartets or sonatas. Among them, Vago Augelletto, classified among the alla francese pieces, beautifully closes the history of the madrigal. These works, of unprecedented expressive richness and complexity, mark an unparalleled fusion of the lyrical and the dramatic. They are likely the last to have been composed for the Eighth Book.
The work ***Altri canti d’Amor*** , which opens this collection, is preceded by a brief sinfonia for two violins, a viola, and a basso continuo. Monteverdi would reuse this sinfonia a few years later in the overture of his opera The Coronation of Poppea. Then, a monumental triptych unfolds, supported by exceptionally rich instrumentation. The entire beginning, set in 9/4 time and intensely expressive, is largely built upon an obstinate but freely treated basso. Moving chromaticism, striking parallel fourths, and silences mark the musica rappresentativa, which swells in the forthcoming Allegro.
Suddenly, the mood shifts to a martial one (di Marte furibondo), and Monteverdi, recalling his own Combattimento, boldly exploits the stile concitato. The converging movements of the voices symbolize the clashes, and the music visually evokes the clash of swords with the motif strider le spade. The following bass solo surprises with an abrupt modulation to E major, the dominant of A. This solo, dedicated to "Grand Fernando," adopts the noble style of the dithyramb and is taken up by the entire ensemble of voices and instruments, with new amplifications.
The piece concludes with a rising intensity, the music becoming a flame itself. This work, the only one for eight voices, is a musical whirlwind of titanic energy. Once again, Monteverdi shows that he spares no richness, with striking effects on words such as al ladro, tradimento, and acqua.
After 90 measures of this sonic storm, the torrent abruptly ceases, and the Lover regains a terrible lucidity, explaining that the thief is actually two beautiful eyes. The second half of the piece, slower, adopts a dialogued style, alternating between pairs of voices and violins in duo, leading to the tragic and pathetic conclusion, where G minor ends with a tierce picarde, a pale glimmer of liberating death.
***Il ballo per l’Imperator Ferdinando*** ,a very different piece from Ballo delle Ingrate, Il Ballo is primarily a simple ballet entrance, dedicated to Emperor Ferdinand III, crowned in 1637. In fact, the entire Eighth Book is dedicated to this emperor. Like many works of that time, this ballet is a framework composed of two parts: a vocal introduction, accompanied by two violins and a basso continuo, followed by four reprises of the instrumental Entrata, framing three stanzas sung by a soloist. The soloist, a poet, sings in praise of the sovereign, receiving a chitarrone from one nymph and a garland from another, before inviting the Nymphs of the Danube to dance in honor of the Emperor. The ballet, written for five voices, is a true danced madrigal, rich in vocal runs and descriptive effects. Between the two halves of this piece, an instrumental work is interwoven, where Monteverdi suggests a Canario, a Passamezzo, or another dance.
Conclusion
In conclusion to this brief overview, which I hope has given listeners a glimpse of the wealth contained within these masterpieces, it is important to emphasize that Monteverdi was a prodigious magician of words."
The recording by Edwin Loehrer was awarded the Grand Prix of the Académie Charles Cros as well as the National Grand Prix of Belgium.
Full Album available // Monteverdi: Madrigali Guerrieri e Amorosi by Edwin Loehrer
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Fanny Mendelssohn: Easter Sonata in A Major / World Premiere (Century’s recording: Eric Heidsieck) https://youtu.be/CgROnJeTYaQ?si=-Ii65... The Easter Sonata was attributed to the composer Felix Mendelssohn, although musicologists suspected that the manuscript may have been written by his sister Fanny, herself a pianist and composer but whose vocation was thwarted by her family. The disappearance of the manuscript for many years made it impossible to substantiate this thesis. The manuscript was rediscovered by the bookseller Marc Loliée, who immediately gave it to the current owner. At the time, it seems that it was sold as if it was in the hand of Felix Mendelssohn. Fanny Mendelssohn (1805-1847), before her marriage to the painter Hensel, mentioned in several letters a sonata she had written, now identified with our manuscript. One hypothesis suggests that it might have been a farewell gift to her brother Felix. The manuscript, composed of 17 pages, is dated 1828, one year before its first mention in Fanny's diary under its title of Osternsonate. This four-movement piece in A major, played in 1972 by pianist Eric Heidsieck, is a world premiere.
Eric Heidsieck: "It is every performer's dream to be the first to transmit a composer's work to the public (imagine the emotion of a Czerny suddenly facing the Appassionata). Now, all things considered, and by an incredible coincidence, I find myself, 144 years after its composition, the unexpected "dedicatee" of an authentic masterpiece by Fanny Mendelssohn. Indeed, it is not a work that has lost the public's esteem over the years, but an important manuscript recently found in the home of a descendant of the composer..."
Album available // Fanny Mendelssohn: Easter Sonata Eric Heidsieck
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184 - 0
Poll of the day: What is your favorite vocal range?
Album available // Monteverdi: Madrigali Guerrieri e Amorosi by Edwin Loehrer
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Berlioz - Les Nuits d'Été Op. 7 / Summer Nights Op. 7 (ref.record.: Régine Crespin, Ernest Ansermet) https://youtu.be/hxmWnkCUyw4 Throughout her career, Régine Crespin has dominated both the operatic stage and the concert hall. In the latter field, she has made French mélodie her specialty. Her recordings of the famous cycles of melodies accompanied by orchestra by Berlioz and Ravel have become classics by which to measure the excellence of other interpretations. Régine Crespin was able to enter completely into the spirit of each piece, capturing both the haunting melancholy of Berlioz and the languid exoticism of Ravel. Ernest Ansermet was also a master of the tonal palette of French music, and nowhere is this more apparent than in these two works.
In Shéhérazade, the distant mystery of the Orient is evoked by some of Ravel's richest, most colorful pages. The texts by Tristan Klingsor (a close friend of Ravel's), breathe a somewhat heavy, hothouse atmosphere, on which Ravel's music lingers with delight. As in all his instrumental music, Ravel shows here his incomparable orchestral mastery; his vocal line demands just the right degree of voluptuous diction that Régine Crespin knows how to clothe it with.
Album available // Berlioz: Les Nuits d'été & Ravel: Shéhérazade by Régine Crespin
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Quiz of the day (easy level): Who bid farewell to music and the stage by performing 'The Song of the Earth' by Gustav Mahler?
Answer to the last quiz (86% correct answers): Maurice Ravel and Sergei Prokofiev wrote concertos for the left hand. It was in the 19th century that works for the left hand, often virtuosic, began to appear. Two opportunities: the evolution of piano technique with the use of the thumb playing the melody and the advent of the pedal sustaining the bass, the right pedal. Wars have been great providers of one-handed pianists. Several concert pianists, having escaped death during World War I, commissioned works from great composers. Paul Wittgenstein, from an industrialist family, is the best-known patron of this period. He is the dedicatee of Ravel's Concerto for the Left Hand.
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Quiz du jour (niveau facile) : Qui fit ses adieux à la musique et à la scène en interprétant "Le Chant de la Terre" de Gustav Mahler.
Réponse au dernier quiz (86% de bonnes réponses) : Maurice Ravel et Sergueï Prokofiev ont écrit un concerto pour la main gauche. C’est au 19ᵉ siècle qu’apparaissent les œuvres pour la main gauche, souvent virtuoses. Deux opportunités : la technique pianistique qui évolue avec l’usage du pouce jouant la mélodie et l’avènement de la pédale qui tient les basses, la pédale de droite. Les guerres ont été de grandes pourvoyeuses de pianistes manchots. Plusieurs pianistes concertistes, ayant échappé à la mort durant la Première Guerre mondiale, ont donc commandé des œuvres aux grands compositeurs. Paul Wittgenstein, issu d’une famille d’industriels, est le mécène le plus connu de cette période. Il est dédicataire du concerto pour la Main gauche de Ravel.
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Quiz del día (nivel fácil) : ¿Quién se despidió de la música y de los escenarios interpretando 'La Canción de la Tierra' de Gustav Mahler?
Respuesta al último cuestionario (86% de respuestas correctas): Maurice Ravel y Serguéi Prokófiev escribieron conciertos para la mano izquierda. Fue en el siglo XIX cuando empezaron a aparecer obras para la mano izquierda, a menudo virtuosas. Dos oportunidades: la evolución de la técnica pianística con el uso del pulgar tocando la melodía y la llegada del pedal que sostiene los bajos, el pedal derecho. Las guerras han sido grandes proveedoras de pianistas mancos. Varios pianistas concertistas, que escaparon de la muerte durante la Primera Guerra Mundial, encargaron obras a grandes compositores. Paul Wittgenstein, proveniente de una familia de industriales, es el mecenas más conocido de este periodo. Es el dedicatario del Concierto para la Mano Izquierda de Ravel.
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Beethoven: 14 Lieder Nach Verschiedenen Dichtern (reference recording: Dietrich Fischer-Dieskau) https://youtu.be/7vgEJBOjemQ?si=j0YCT... Beethoven Songs. We do not customarily think of Beethoven as a composer of songs, hardly even as a writer for the singing voice. The Choral Symphony, the Mass in D major, and large portions of Fidelio are challenges more than causes for gratitude for the singer. Beethoven seems more like an instrumental composer who thought in terms of short, striking musical phrases that could be momentously extended and reshaped by the philosopher and architect combined within him. As a result, we tend to think of him as excluding the sweet singer.
It has even been claimed by more than one reputable musician that Beethoven was not good at writing tunes and that when he did, the tune invariably took an unsatisfactory turn before long. Yet, it is worth remembering that Beethoven occupied himself with songs of one kind or another from his early youth until his deathbed. The type of thematic material he developed for his great instrumental music was an evolution and concentration of pure, flowing bel canto. The songs recorded here abound in bel canto, and they represent rather less than a third of Beethoven's output in song. The catalogues list 93 songs, including numbers from Fidelio and Egmont. The standard editions include 76 of these, from which the present selection is made.
It is often piously stated that the history of Lieder begins with Schubert's Erlkönig. These records should make it clear that Beethoven can hardly be ranked with the prehistory of the German Lied. It is true that Beethoven was too much of a self-disciplinarian to scatter easy melodies like Schubert or Weber, and too much a servant of musical passions to confine himself, like Wolf, to the service of only the most suitable poetry. But he initiated the concept of the song cycle, responded more closely to Goethe's poetic style than any other composer (perhaps because Goethe's artistic and social environment attracted him and was his own by time), and in the Gellert songs, he applied himself to a form of musical epigram that looks forward to Hugo Wolf.
What is more, the songs sung here include some light music, with a superficiality all the more delightful because it is unexpected from a serious symphonist like Beethoven. Not many singers champion Beethoven's songs; purely in point of style, they seem less gratifying than those of the great Lieder composers. Three or four of them, along with the song cycle An die ferne Geliebte, are reasonably familiar, but most of the others demand a technical control and beauty of tone that can defeat even the experienced interpreter of Schubert. Beethoven's vocal style is halfway back towards that of Mozart, and Mozart's music is some of the most difficult in the world to sing properly. In a sense, Beethoven's music is even more difficult because the superficial rewards are smaller, but an artist who is a musician and a fine technician will find his own rewards.
The poets who inspired Beethoven's imagination were a diverse group, ranging from the greatest of all—Goethe—to versifiers so obscure that they rate no mention in biographies or histories of German literature. Johann Wolfgang von Goethe (1749–1832) needs no further identification. Beethoven set his poetry often and in all moods. Gotthold Ephraim Lessing (1729–1781), a pioneer in German literature, is best known as the author of Laocoon, a study of the boundaries between painting and literature. Macaulay called Lessing "the first critic of Europe." His interest in comparative religion led to strong opposition, and to his play Nathan the Wise.
Christian Felix Weiße (1726–1804), a friend of Lessing, collaborated with him for a time. Weiße wrote tragedies on Shakespearean subjects, spiced with his own imaginings, but his comedies were more admired. Mozart, as well as Beethoven, set Weiße's poetry to music. Friedrich von Matthisson (1761–1831), championed by Schiller, had a gentle, melancholic gift that did not rise above pretty miniatures or landscapes in verse. His name survives largely because of the music set to his words. Christoph August Tiedge (1752–1840) is best known for his long moral poem Urania, on which Beethoven drew for An die Hoffnung. It was hailed as a gospel of rationalism. Beethoven made two settings of the passage beginning Die du so gern, and for the second version, he prefaced the ode with a few lines of recitative.
Christian Fürchtegott Gellert (1715–1769) was a widely loved theologian and philosopher. Goethe described his writings as "the basis of German moral culture," and Frederick the Great called him "the most reasonable of all German scholars." Gellert’s Fables were familiar in every German home and are still quoted for their common sense and humor. Though he fought ill health and died young, he was mourned by Germans from all walks of life. The six pious songs that Beethoven set to music are written in the simple phraseology of the Bible.
Of the other poets represented in this selection of Beethoven's songs, the most eminent is the Italian Giuseppe Antonio Carpani (1752–1825), who lived much of his life in Vienna. He wrote on music, translated operas, and wrote librettos. He was friendly with Haydn and wrote a memoir of him, which was translated by Stendhal and published as his own work, though not without much printed abuse from Carpani.
The remaining authors are more obscure. Little is known of Paul, Count von Haugwitz (1791–1856), or Karl Friedrich Wilhelm Herrosee (1754–1821). Samuel Friedrich Sauter (1766–1846) should not be confused with Schubert's friend Sauter. He wrote Der Wachtelschlag in 1796, which Schubert set to music, as he did Christian Ludwig Reissig's (1793–1839) Der Zufriedene. Hermann Wilhelm Franz Ueltzen (1759–1808) was a clergyman whose pretty poems were as admired as his sermons in their day. His name was quickly forgotten, save through this song. Obstinate curiosity has failed to uncover the forenames of Goeble.
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Quiz of the day (easy level): Which composer wrote a concerto for the left hand?
Answer to the last quiz (74% correct answers): Frycek was Frédéric Chopin's childhood nickname.
Album available // Chopin: 4 Ballades by Sviatoslav Richter
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Quiz du jour (niveau facile) : Quel compositeur a écrit un concerto pour la main gauche ?
Réponse au dernier quiz (74% de bonnes réponses) : Frycek était le petit nom d’enfance de Frédéric Chopin.
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Quiz del día (nivel fácil) : ¿Qué compositor escribió un concierto para la mano izquierda?
Respuesta al último cuestionario (74% de respuestas correctas): Frycek era el apodo de infancia de Frédéric Chopin.
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