Tuesday, May 25, 2010

Der Abschied / The Farewell (Hans Bethge et al)

In German or English, this is memorable stuff - one of those rare pieces that captures the Romantic Era in an understandably modern way. Yet the words themselves came from medieval Chinese poetry. Hans Bethge translated them into German, then Gustav Mahler added the last five lines and composed his long lament scored for mezzo-soprano voice, his sixth and final movement from Das Lied von der Erde.

Peruse the original translation if you like, then hop ahead to the English. If you've ever experienced an inexplicable loss, this one's for you. It's about someone having a hard time understanding why a good friend has to travel to the mountains for the last time (this being a nice metaphor, as you might imagine.) I used a Decca Records English translation and changed some small things around for better flow.


Der Abschied

(Hans Bethge, 1876-1946,
nach Mong-Kao-Yen, 689/691–740,
und Wang-Wei, 698–761;
letzte Strophe vom Komponisten hinzugefügt)


Die Sonne scheidet hinter dem Gebirge.
In alle Täler steigt der Abend nieder
Mit seinen Schatten, die voll Kühlung sind.
O sieh! Wie eine Silberbarke schwebt
Der Mond am blauen Himmelssee herauf.
Ich spüre eines feinen Windes Wehn
Hinter den dunklen Fichten!

Der Bach singt voller Wohllaut durch das Dunkel.
Die Blumen blassen im Dämmerschein.
Die Erde atmet voll von Ruh und Schlaf,
Alle Sehnsucht will nun träumen.
Die müden Menschen gehn heimwärts,
Um im Schlaf vergessnes Glück
Und Jugend neu zu lernen!
Die Vögel hocken still in ihren Zweigen.
Die Welt schläft ein!

Es wehet kühl im Schatten meiner Fichten.
Ich stehe hier und harre meines Freundes;
Ich harre sein zum letzten Lebewohl.
Ich sehne mich, o Freund, an deiner Seite
Die Schönheit dieses Abends zu genießen.
Wo bleibst du? Du lässt mich lang allein!
Ich wandle auf und nieder mit meiner Laute
Auf Wegen, die vom weichen Grase schwellen.
O Schönheit! O ewigen Liebens, Lebens trunkne Welt!

Er stieg vom Pferd und reichte ihm den Trunk
Des Abschieds dar. Er fragte ihn, wohin
Er führe und auch warum es müsste sein.
Er sprach, seine Stimme war umflort:

"Du, mein Freund,
Mir war auf dieser Welt das Glück nicht hold!
Wohin ich geh? Ich geh, ich wandre in die Berge.
Ich suche Ruhe für mein einsam Herz.
Ich wandle nach der Heimat, meiner Stätte.
Ich werde niemals in die Ferne schweifen.
Still ist mein Herz und harret seiner Stunde!

Die liebe Erde allüberall
Blüht auf im Lenz und grünt
Aufs neu! Allüberall und ewig
Blauen licht die Fernen!
Ewig... ewig..."

The Farewell

The sun goes down behind the mountain,
Into all the valleys the evening descends
And brings cooling shades.
O see! Like a silver bark
The moon floats up the blue lake of heaven.
I feel a gentle breeze stirring
Behind the dark spruce.
The brook sings melodiously through the darkness.
The flowers grow pale in the gloaming.
The earth is breathing, full of peace and sleep.
All longing now turns into dreams.
Tired men make for home,
In sleep to recapture forgotten happiness
And youth!
The birds hold still in the branches.
The world is falling asleep.

A cool wind blows in the shadow of the spruce.
I stand here waiting for my friend;
I wait to bid him a last farewell.
I long, my friend, at your side
To enjoy the beauty of this evening.
Where do you linger? You have left me alone for so long!
I wander up and down with my lute
On paths soft with swelling grass.
O beauty! O deep love, so drunk with life!

He dismounted his horse and proffered
the parting glass. I asked him where
He was going and why it had to be.
He said, voice trembling:

"O my friend,
In this world fortune was hard on me.
Where I am going? I am going to wander into the mountains.
I seek peace for my lonely heart.
I am making for home, for my resting place.
I will never roam again to distant lands.
My heart is still and awaits its hour.

The dear earth everywhere
Blossoms in spring and grows green
Anew! Everywhere, forever,
Blue lights on the horizon!
Forever... forever... "

-      -      -      -      -      -

Cheers,
Angus

Sunday, April 18, 2010

Dvořák: Symphony No. 9 "New World" & Carnival Overture - Barry Tuckwell, LSO























Home run! This is an excellent digital recording. Barry Tuckwell, once the principal horn player of the London Symphony Orchestra, also proved his mettle as a conductor. He has won many awards for his work as a musician and is still going strong. This recording has all the energy and sweetness needed to keep the adrenaline pumping; moreover, this is great Dvořák.

My grandmother got me this CD when I was in ninth grade, right after I bought a new stereo system with the money I earned as a newspaper delivery boy. MCA Classics is no longer in business, and this recording is no easy find, so enjoy!

Download here (no password):
http://www.mediafire.com/?8p4l4szm4nky4g7

Cheers,
Angus

Friday, March 26, 2010

Walton: Symphony No. 1 - Leonard Slatkin






















William Walton's Symphony No. 1 in B flat minor is a new favorite of mine. It's a wordless tale of anxiety, struggle, and triumph, composed in the 1930s. Though the 1966 Previn/LSO recording is the benchmark, Slatkin does an awesome job with the London Philharmonic Orchestra in this out-of-print recording from 1987. The recording also includes the Portsmouth Point Overture. The album cover shows the very painting by Rowlandson that inspired Walton to compose the overture.

[ File is currently unavailable. ]

I hope you enjoy this. If you like, feel free to check out Previn's recording of the First Symphony on William Walton: Collected Works - an excellent compilation album of classic performances.

Walton also composed a second symphony, which he finished in 1960 - completely different in character but quite excellent in its own strange, cerebral way. See my review page for more thoughts on Walton and other musicians, authors, etc...

Cheers,
Angus

Saturday, March 20, 2010

Shostakovich on the Finale of the Fifth

Dmitri Shostakovich had a wry sense of humor. On the finale of the fifth, Shostakovich wrote:

"What exultation could there be? I think it is clear to everyone what happens in the Fifth. The rejoicing is forced, created under threat... It's as if someone were beating you with a stick and saying, 'Your business is rejoicing, your business is rejoicing,' and you rise, shaky, and go marching off, muttering, 'Our business is rejoicing, our business is rejoicing.' What kind of apotheosis is that?"

"A Soviet artist's reply to just criticism" was how Shostakovich billed the release of the symphony ... ha! The government was ready to send him to Siberia, so he had to change the tone of his music or wither away in a camp. What he managed to do was make the Party happy while snickering at them. You can hear it in the music.

The ending still conveys a kind of hard-won triumph, even more so when we listen to it today. Those were tough circumstances for creating art and music - always a dictator to please.

Cheers,
Angus