Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)


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Slight crescendi may be made at "Dass Jagdhorner dich wecken," and at "dass dein edles Ross erlag. And a peace he cannot understand fills his soul when he thinks of her as she is reflected in the moon's mirror. The melody is the same for all three verses, and the effective presentation of the song calls for an unpre- tentious, unmannered rendering, with simple expression and an even tone. This will fix its quiet, pensive mood, which the singer should not mar by sentimental over- emphasis.

The tempo is slow. A horn fanfare prelude is followed by a buoyant, virile theme; and the martial rhythm in the first part of the song, descriptive of the dangers and hardships of the chase, is softened to a pianissimo when the hunter dwells on his love. Each verse expresses the two contrasting moods of occupational hardship and consolatory passion. This is the key to the song's interpretation; but the contrasts in tone and expression should not be over-emphasized.

The last two stanzas may be dropped without inter- fering with the spirit or effect of the song, which is essentiallv one for a male voice. Craiger Composed Original key, F minor Op. The night is dark as the grave. Rave, winds! Xot long ago life's ferment swept me like the storm, my body trembled like these walls, love flamed in me as the lightnings flame, and the grave's darkness weighed my soul. Now rage as you list, storm, in your fury and power; my heart is at peace. The bride awaits her Heavenly Bridegroom. My soul has been tried in the fire: it is betrothed to its Infinite Lover.

I wait, my Saviour, with yearning glance! Hark, peacefully sounds the bell in the tower! Its sweet chime draws my spirit from earth to the eternal heights. Finck, this nocturnal tone-painting must be invested with due dramatic power by the singer. In the passages from the initial "Wie braust durch die Wipfel" with its precedent subdued instrumental prelude heralding the storm to "es leuchtet der Blitz"; from "Es brauste das Leben" to "Yetzo der Blitz"; and again, from "Nun tobe" to "Sturm," the crescendi must be well marked, offsetting the lovely alternating lyric sections.

The dramatic blending of elemental agitation and personal emotion, the violence of the storm and that of human passion — for the nun's soul-tempest centres about a mor- tal lover — yield to the fervid religious expression of the peace of heart she finds in her surrender to the Heavenly Bridegroom. The sinister powers of night are dispelled by the sound of the convent bell, filling the heart of the novice with peace. Its chime is the signal for carry- ing her mood of serene transfiguration to a climax whose rapture is no less intense because dynamically subdued.

The already described definite change of mood is emphasized by the passing from the minor to major; substituting light and clarity; and the final musical phrasing of the word "Alleluia," should be the merest whisper. The song is best suited to a medium female voice. The male singer is advised against singing it. The personification is very definitely feminine, and there is an element of the ludicrous in the efforts of a baritone to express convincingly the psychic and physical tem- pests raging in the soul of an adolescent girl, and her yearning for a "Heavenly Bridegroom.

And he sees his days whirled away like the wreaths by the restless brook, and his youth fading swiftly as the flowers fade. It is vain to ask him why he mourns in youth's heydey, when all rejoices in hopes the new spring brings. In his heart spring's myriad voices wake only sorrow. And he cries, "One alone I seek, near and yet distant, spreading yearning arms for the dear shadow I cannot clasp, my heart's hunger unappeased.

Descend, proud beauty, from your proud castle! I'll fill your lap with spring's first flowers. Hark, the grove resounds with song, the brook runs clear! The humblest cottage will hold a pair of happy lovers. The tone-quality of the voice, however, must change when the comparison is made, "So fliehen meine Tage. Soft - ly mur-mur-ing spring!

Yet verdure and waters breathe only Louise's name! The accompaniment, imitative of the brook's sleepy murmer, should be played with drowsy evenness and a subdued tone, and be followed by an awestruck, solto voce ending, after which come two forte chords. The singer should never forget that while dramatic effect and expression are essential, there is a difference between dramatic and theatric rendition. Know'st Thou the Land? Grove says that in his song-setting of it Schubert wrote "what no one had ever attempted before, a Lied. Colma, astray in the hills amid roaring tempest and rushing torrents, bids moon and stars guide her to her lover's resting-place.

She calls on Salgar; bids the storm be silent that she may hear his voice. The moon floods the vale with light, but she sees him not. Yet who are these stretched on the heath? Salgar and her brother! They lie in their blood, their fierce swords bared. Why did they slay each other? Within which cavern can I find ye? No breath gives answer. Here I shall weep until dawn. Dig the grave, ye friends, but do not fill it in without me. How may I stay here. There on the torrent's brink let me rest forever with the friends I loved.

There is great agitation at the very start, where the storm that rages in the nocturnal darkness is musically ex- pressed, together with the tempest raging in the soul of the lonely woman seeking her lover. A high quality of dramatic expression is mandatory in this nocturnal scene. This restrained agitation bursts out again dramatically at "Ach, beide in ihrem Blute, entblosst die wilden Schwerter. The song is primarily meant for a dramatic female voice, preferably a mezzo-soprano. Whenever he emptied it tears filled his eyes. He watched it sink beneath the water, gleaming as it fell, and his own eyes closed — he had drunk his last.

Above this mezza voce, the voice should never rise, even in the crescendo passages. The tempo is even and not too slow, but a slight retard in the last three measures will prove effective. The singer in his projection of the song should remember that while it narrates an old legend of a king faithful to his love beyond the tomb, the king himself is not the narrator.

He hears their hymns, beholds the banner of the Cross above their helms. They enter the galley awaiting them, which vanishes on the green waves like a swan in flight. And the monk, looking after them, cries: "I too, am a pilgrim, though I stay at home. For the journey over life's treacherous and burning deserts is also a crusade to the Holy Land! The singer should bring out the picture of the vanishing galley in faint pianissimo, with a slight retard on the words u ist bald nur wie ein Schwan. Why I laugh with joy at sunrise and weep at eve I do not know.

Why I shed tears of sorrow at night, and how it is you can wake at morn with laughter, is something I must ask you to tell me, O heart of mine! It should be only "somewhat lively. Twice the melody turns to the minor mode when the poem alludes to weeping, and here there may be a slight softening and lingering. The melody returns to major when the text tells of laughter in the morning, on which the original tempo is resumed.

Original key, C minor Op. His tears flow; he bids his heart cease beating; then recurs to his original plaint. This fragmentary song portrays only one mood — the sadness of disappointed love. The singer must not try to make too much of it; he must remember that it is quite unpretentious.. Simplicity of presentation will produce the best effect, as in the case of a number of Schubert's songs.

The mood of quiet sadness is con- tinuous. There may be some agitation at "Es fliessen heisse Tropfen," and a crescendo at "Lass ab, mein Herz, zu klopfen," but all this should be very slight; and an even tempo must be maintained throughout. Love hastens to greet one; constancy must be sought out. These lines are from an unpub- lished Goethe play in three acts, of which the first is still in existence in the Library of Die Gesellschaft der Musikfreunde, in Vienna, the others having been burned by accident in The song is written in the style of an aria, and is best suited for a high female voice.

Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe) Sheet Music by Robert Franz

It should be sung fluently and with smoothness. The frequently recurring triplet on "Will" should not be taken too fast. Can one who has known these joys care for others? Far from you, estranged from mine own, my circling thoughts ever return to that one and only hour, and I weep. Then, suddenly, my tears cease. He loves me — I think in my seclusion. Is not my love projected into the distance? O hear my heart's whisper! Your loving wish is all my earthly joy? Give me a sign that it exists! At the phrase "Entfernt von dir," the voice should assume a darker coloring.

The hunter laments the idleness of his hawk, hound and horse. Sick of captivity, he longs to course the hart in forest green. He whom the lark was wont to waken hates "the dull steeple's drowsy chime," the sunbeam inching along the wall. No more can he sun himself in Ellen's eyes; chase the deer, and at evening lay his trophy at her feet.

That is what life and love mean to him. The syncopated rhythm of the accom- paniment suggests emotional stress and the forte octaves underline the captive's impatience. The accompaniment imitates the calls of the hunting-horn, and with this in mind it will be easy to find the right tempo. A slight retard may be made where melody and accompaniment descend in octaves, as at "Mich krankt des Turmes Einsamkeit," and at "Der Sonnenstrahl so langsam schleicht," as well as at the concluding phrase of the last verse.

Yet forgotten is the iron game of arms; eternal peace is forced on us; sleep holds in gage the mailed fist's power. But lately we swung the sword in life and death combat; yet now the days of glorious battle have sounded out. Their heritage is lost, and soon will be no more than legend.

Particular attention should be paid to strictness of rhythm. All dotted notes should be brought out crisply and energetically, even in the softer passages. The sailors of classical antiquity prayed to them in a storm. This song is a prayer of the kind. The mariner begs the Great Twin Brethren to bring the ship safely to port; to watch over and protect him. And once the harbor made, he vows to hang the rudder they have guided on a column of their temple.

Soft, full, rolling chords, and a stately rhythm in the short instrumental prelude suggests the character of the song, which the voice sustains in a majestic theme. The opening phrases should be sung in a soft, yet firm voice, and with an accent of calm, manly confidence. A solid and sonorous quality of tone must be used at "Wer auch fest in sich gegriindet," while special atten- tion should be given to the phrasing at "Hange ich, so ich geborgen, auf.

There should be no retard at the end. At "Im Griinen, da werden die Sterne so klar," the key changes, and words and melody are full of meaning. Here the coloring of the voice may change accordingly. There is a return to the first more jovial and light-hearted mood at "Lasst heiter uns folgen den freundlichen Knaben.

They were written with no idea of sequence and without a specific plan. Their only interconnection is unity of subject; taken together they do not make up a "cycle," like "Die schone Miillerin" or "Winterreise. So, too, have the "Gesange des Harfners. The first song of the group following, Op. Mignon has vowed to the Mother of God that she will never again tell any one of her birth and her misfortunes. Book 5 of the romance. Fain would I reveal my inmost soul to you, but fate forbids. In due time the sun banishes dark night; the hard rock opens its breast to yield earth its hidden springs.

Every one seeks peace in the arms of a friend; upon his breast he can give way to his sorrow. But a vow has sealed my lips, and God alone can unclose them. The chord accompaniment supports the melody with unison top notes. Beginning pianissimo, there is a slight crescendo wave at "Allein das Schicksal" which, however, does not reach a forte.

There must be no retard on "Will es nicht," and the group of notes on the word "es" should be sung in strict time. The final phrases should be rendered with impressive significance, and a fortissimo climax with transition from F major to E minor is reached with the repetition of "Nur ein Gott vermag. The song for the most part should be taken mezza voce. The accent and swell on the word "Schicksal" should not reach a forte, and the phrase, "Der harte Fels schliesse seinen Busen auf," demands a plastic but not a loud tone.

The only phrase which calls for a deploy of the full voice in a forte climax occurs at the end, at "nur ein Gott vermag. Garbed as an angel, in a white robe, with a golden girdle and diadem, she is giving twin sisters little birthday gifts. Do not strip me of my white robe. I hasten from lovely earth to a solid house the tomb.

There I'll rest for a space, and then will open my eyes; I will leave behind my robe, girdle and wreath. The spirits celestial know no- sex; and neither clothes nor draperies cover the transfigured mortal frame. It is true I have lived innocent of care or trouble; yet I have known deep sorrow. There are two slight crescendo waves at "Dann offnet sich der frische Blick," and at "Doch fuhlt ich tiefen Schmerz genug," but they should lead only to a mezzo forte. The touching little melody will reveal its rare charm and significance only when presented with natural simplicity and heartfelt expression.

It is best suited for a female voice. The alia breve time should not be overlooked, and two slow beats should be counted to each measure. When the mode and the inflection of the mood changes to major, four beats may be counted; and with the return to minor the two beat count should be resumed. The crescendi should be very light.

A retard may be made on the final phrase. Ah, he who loves and knows me is far away. I faint, my inmost heart is burning. Only those who have yearned can know what I suffer. It should be sung in a subdued voice, diminishing to a faint pianissimo at "Ach, der mich liebt and kennt, ist in der Weite. Then, at the a tempo, there should be agita- tion and an increase of tone at "Es schwindelt mir.

Then comes a return to the initial mood, and the last measure is sung without a retard. While the tempo is slow, the singer should guard against dragging. Know'st thou the land where-in the cit-rons grow? This song of Mignon's longing evokes the golden citron and orange-groves of Italy, where soft breezes blow beneath blue skies, and myrtle and laurel grow.

She yearns to return to them with her lover, to the radiant mansion, with its marble statues, that was her home. Does he know the mountain and the cloud-swept path leading across it? Allusion is made to the St. Gott- hardt Pass. There the mule feels his way through the fog. There the avalanche is followed by the torrent's rush. There the old serpent brood dwells in the rocky caves. She begs her father take that road with her.

The song begins in a dreamy mood, and the voice should be applied in a light and flexible manner, to register agitation and ardent longing, at "Dahin, dahin mocht ich. In the third verse, calling up the picture of gloomy mountains and the serpent-dens, the voice should change and take on a sombre color. Once more the tempo increases at " Dahin, dahin," but again all glaring contrasts should be avoided. Goethe himself, in a curious passage of his romance, has pointed out very exactly his conception of the manner in which Mignon should sing her song, in all its inflections.

May they know rest and peace: the heartbroken, who have dreamt and lost; the tempest- tossed of life; those who had no comfort on earth. To all these, and the maids who went astray and could find no- forgiveness in this life, whose days were all sadness; the prayer pleads that God vouchsave an abiding-place with Him, where their spirits may rest for ever. In a litany, i. In this song Schubert has introduced the equivalent of this congregational refrain at the end of each verse, in the line, 'Alle Seelen ruh'n in Frieden! Bearing this in mind, the singer should have no difficulty in finding the right tone-coloring.

The tempo is slow and the time should be strict. There should be no retard save in the last verse, on "Ruh'n in Frieden. This first query is answered in two verses, to the same music, which point the negative moral that what the senses have to offer cannot fill the heart. In this song rich in fervent melancholy though in the major key an even, medium tempo should be observed throughout. A slight acceleration may be made in the third verse, at "doch sie drangen aus den Engen.

Yet in seeking the right tone- color for this verse the singer should be mindful of the sequence to the evocation of sensuous pleasures, which stresses the fact that these pleasures cannot satisfy the heart. The maid sits by the wave-beaten strand and sighs out upon the night, her eyes dim with tears.

Yet let your vain tears flow, though laments will not wake the dead. For tears, the greatest solace of the heart that mourns, once love's happiness is gone, the Virgin will not deny you. Hence the singer and accompanist should differentiate the two verses by using different shades of tone-coloring. It may also prove effective to accelerate the tempo a little in the opening measure of the first verse. The sway and movement of the accompaniment in this song lends it an added charm.

Rastlose Liebe

The sea lies motionless. The sailor anxiously scans its glassy surface. There is no breath of air; dead silence reigns; the vast expanse shows not a ripple. As though in a whisper the broad vocal theme moves slowly on to pianissimo rolled chords in the accompani- ment. A low voice is best adapted for the perfection of these slow and sustained tones evoking the motionless ocean. The long, well-rounded phrases make good breath control essential. There should be no deviation from the tempo and no retard at any point.

The broken chords of the accompaniment, creating a feeling of breadth and expansion, lend fundamental color to this picture of waves becalmed. The harp- like sounds apparently issuing from the stone have been heard by travellers from Nero's time to the present day, and are variously ascribed to the expansion of the stone under the heat of the sun, and to a similar phenomenon occurring with regard to the sands surrounding the statue. To human ears my words are harmony, since even my sorrow sounds in song, and since the fire of poesy softens all harshness, they think that within blooms all they themselves are lacking — in me, toward whom Death's arms are reach- ing, deep in whose heart fell serpents burrow, feeding upon my grief!

An unstilled longing drives me well- nigh frantic —I long for union with you, goddess of the morning. Then, far from this vain world, from realms of purest freedom I might shine down, a silent, pallid star. The voice-part is a tonal monologue presenting difficulties of interpretation that can be mastered only by the mature artist.

The tempo is very slow, but it is well to count two beats to the measure. The dreamy, ecstatic yet very sombre mood prevails throughout, and the song, of course, is one meant to be sung by a male voice. It tells how night's darkness is still blessed with the sweet lunar reflection of the golden sunbeams, and points out that the quiet, meditative happiness of old age, too, is a reflection of youth's hour of gold.

Since the melodic construction of the song is simple, it offers no great difficulty. The frequent change of mode in question and answer the former in minor, the latter in major should be the singer's guide to interpre- tation and tonal coloring. But though the voice should change its color in accordance with these requirements, the tempo must remain even, with a two-beat count to the measure. The first blossoms greet his song in spring; in winter he still sings spring's dream.

And when the valley's crystal ice-gardens cease flowering, the towering heights afford him fresh delight. The dances under the village lindens move to his melody, which has driven him from home to wander afar. Yet in the end the minstrel asks the gracious Muses when he will once more be allowed to rest on their breast. This gay, lively song should move at a quick, yet not too rapid a pace, in a mood of light, carefree good- humor. The tone-color of the voice changes with the change of key, and resumes the original mood with 'the return to the original key, at "Sie griissen meine Lieder.

And men hear them gladly and cry, when day awakes, "Return, sweet night, O cherished dreams, return! Never has the web of happy dreams been woven with a thread more delicate, and with more vapory lightness than by Schubert's hand in this song. In this connection it might be noted that the progression at "mit Lust, rufen, wenn der Tag erwacht, kehr wieder, holde Nacht! The sixteenth-notes of the accompaniment should be played evenly and slowly, in a restful, soothing manner, without either retard or acceleration.

The voice should soar above the background of the accompaniment in soft but rich tones, with calm and serenity. Death has stooped to him. With a precedent instrumental introduction which seems to express the misty vagueness of night, the voice- part opens in a broad recitative, which should be sung slowly, but in precise rhythm and with careful declama- tion.

The fermata on the pause after the word "ge- dampft," should be strictly observed. The groups of sixteenth-notes which follow in the accompaniment must be played very legato, and arpeggiando, and not too slowly. The truly Schubertian melody which stands out against this background is serene, yet filled with quiet yearning. The color of the voice changes at, "Die griinen Baume rauschen dann," and while descriptively fuller, must be sung in a subdued piano diminishing to a faint pianissimo in the last phrase. He cries: "I think of you when the sungold is reflected by the sea; when the moonlight quivers in the spring.

I see you when the dust rises on distant roads; at midnight when the wanderer trembles on the narrow path. I hear you when the tide rises with sullen murmur; often I seek the quiet grove to listen when all is still. I am with you, be you never so far, you are near me! The sun sinks, the stars come out. O, were you here!

Its graceful melodic lines call for a fine legato style in vocal projection, and a rich, well-modulated and even voice. Its deep fervency of expression should be increased in intensity in the last verse. The opening measure of each verse should be sung with enthusiasm, and a slight retard should be made on the last measure. Though metrically the original English words do not fit the music, they perfectly convey its mood and spirit; The heath this night must be my bed, The bracken curtain for my head, My lullaby the wander's tread. For, far from love and thee, Mary. To-morrow eve, more stilly laid, My couch may be my bloody plaid, My vesper song, thy wail, sweet maid'.

It will not waken me, Mary! I may not, dare not, fancy now The grief that clouds thy lovely brow, I dare not think upon thy vow, And all it promised me, Mary. No fond regret must Norman know; When bursts Clan-Alpine on the foe, His heart must be like bended bow, His foot like arrow free, Mary. And if return'd from conquerd foes, How blithely will the evening close, How sweet the linnet sing repose, To my young bride and me, Mary!

The spirit of the music is buoyant, manly, martial. The precise, energetic rhythm must be observed through- out, though a retard may be made on the last few mea- sures of every verse. When the mode changes to major at "Doch kehr' ich siegreich wieder," a new vocal tone- color — joyous, hopeful and confident — should be intro- duced.

In the accompaniment, the constantly repeated dotted notes should be played in a crisp, precise manner. The song is essentially a man's song. It is a. The original tempo as indicated is "ruhig" quietly , but it should not be sung too slowly. The tempo must be flowing and the singer should guard against weak senti- mentality. A strong spirit of faith and hope pervades the song. A slight retard in the last three measures of each verse will prove effective; the accompaniment must be played in a smooth, legato style, as though on the organ, and the horn motives should stand out precisely and crisply, even in pianissimo passages.

The song is w r ell adapted for singing in English.


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I am a pil-grim, o'er. Be kind in your giving. An open sympathetic glance, a warm grip of the hand will refresh and free my poor heart from oppression. But expect no gift in return. I'll only strew blue flowers o'er your threshold, and sing and play you a zither song, that may seem to you of trifling value. Yet it means much to me, for all you cannot understand the bliss of renunciation. Your life is rich in plenty, the linked days increase your store of song. But as I wander I lose, one after another, the threads of joy's web.

So I can live only by gifts, from moment to moment. Give them without reproaches, to please yourselves and make me happy. An even flow of movement, without retards or accelerandi, will aid in establishing the picture of the restlessly roaming pilgrim. It carries him from his childhood home over hill and dale to the trackless immensity of the ocean — still no nearer his goal than when he set forth. For the quest of happiness leads but to the recognition of the fact that the golden "yonder" ever eludes the "here" where the pilgrim may be. The vocal development of the stately four-measure theme progressing in modulation to a fortissimo climax at the end of the twelfth line of the text, illustrates the difficulties besetting the pilgrim's road.

The song should be sung in narrative style, evenly and fluently. The passage "Denn mich trieb ein machtig Hoffen" should be projected with enthusiasm; while the somewhat sub- dued and even style should be resumed at "Abend ward's und wurde Morgen. The song is best suited for a medium voice. But you must spare my plot of ground, my hut you have not built, my hearth, whose glow you begrudge me. I know of naught more pitiful beneath the sun than ye gods.

Your majesty feeds scantily on the odor of burnt offerings and the breath of prayer, and ye would starve were not children and beggars hopeful fools. Who rescued me from death, from slavery? Did you not do it all, my own devoted heart? Did you not thank with misplaced gratitude, the sleeper in the sky?

Have you soothed the anguish of the heavily laden? I — honor you? Where- fore? Have you stilled the weeping of the terrified? Has not Time's mighty hand, has not Fate eternal welded me into a man, your master and my own? Its mood throughout is one of independence, courage and manly self-reliance. The opening vocal phrases, in recitative style, express sneer- ing contempt for the gods, and the fermata after the word "Gotter" should be well observed.

The tempo slows down a little at "Ihr nahrt kummerlich. The final phrases should be sung with power and resonance, in sonorous tones, counting two beats to the measure, without any retard. Ambitious singers of the gentler sex should remember that Prometheus was a gentleman. He would rather struggle with grief than endure joy.

The inclination of one heart for another, alas, engenders pain. Yet how escape it? Withdraw to the wildwood? It would be in vain. Love is life's crown, its abiding, restless delight. Arpeggio sixteenths and marked staccati in the bass herald the spirit of restlessness in a six-measure prelude. At the question "Wie, soil ich flieh'n? This fine song should be sung with dash and abandon, as a fervid, enthusiastic evocation of the power of love.

The tempo is fast, without retards. A delicate, tender quality of tone is called for at the phrase "Alle das Neigen von Herzen zu Herzen," but the rapid tempo must be retained. The accompaniment should be played legatissimo. Dear heart, it is so sweet, when true lips meet! What profit me May's flower-crowns? You were my beam of spring!

Light of my night, O smile at me once more the while I die! Originally for voice and orchestra, this tragic song of love should be sung plastically, in a subdued tone in keeping with its dreamy mood, and not too slowly. The song is best suited for a male voice. The Crusader's Return High deeds achieved of knightly fame From Palestine the champion came; The cross upon his shoulders borne Battle and blast had dimm'd and torn. Each dint upon his battered shield Was token of a foughten field; And thus, beneath his lady's bower He sung, as fell the twilight hour: Joy to the fair!

Unnoted shall she not remain Where meet the bright and noble train ; Minstrel shall sing, and herald tell — 'Mark yonder maid of beauty well, Tis she for whose bright eyes was won The listed field of Ascalon. See'st thou her locks, whose sunny glow Half shows, half shades, her neck of snow? Twines not of them one golden thread, But for its sake a Paynim bled.

Inured to Syria's glowing breath, I feel the north breeze chill as death ; Let grateful love quell maiden shame, And grant him bliss who brings thee fame. A different color of voice, and manly, sonor- ous tones must mark the change of key to B major, when Richard the Lion-Heart cries "Heil der Schonen!

Since the singer impersonates a character whose masculinity is more than usually emphatic, the male voice is mandatory in singing the song. She never felt them and dreamt on. I gazed at her and — I felt, though I knew it not — that with my glance my life became the pendant of her own. Yet wordlessly I whispered to her, stirring the roses; and she awoke from slumber. She gazed at me; her life suspended in that look from mine, and all about us was Elysium. To secure the necessary fluent rhythm it is essential that two beats be counted to the measure.

The song is best suited for a tenor voice. After greeting the courtly assembly, he sings and plays and the monarch offers him a chain of gold. But give me a drink of your best wine in a flagon of purest gold! A narrative song in the style of a ballad in which recitative and graceful melodic sections alternate. A dis- tinction in tonal color should be made whenever the king or the minstrel speaks, and again when only the scene is described. These descriptive parts are usually in recitative. One should be careful not to take the last part, "Er setzt ihn an," in alia breve time, too slowly.

A slight retard should be made on the last two measures. Then, following his flock with his dog, he has descended, scarce knowing how, to find himself in meadows whose flowers he breaks, unknowing to whom to give them. He endures the tempest which arises beneath a tree. Copyright infringement is a criminal offense under international law. To reprint and distribute this author's work for concert programs, CD booklets, etc.

Please provide the translator's name when contacting us. Go to the text. We can't wait for you to see what we're building! Your ongoing donations are essential for The LiederNet Archive to continue in its mission of providing this unique resource to the world, so if you didn't get a chance to contribute during the overhaul drive, your help in any amount is still valuable. Hainauer [ sung text not yet checked against a primary source ] by Conradin Kreutzer - , "Rastlose Liebe", published ? Krupka , "Rastlose Liebe", op. Kahnt [ sung text not yet checked against a primary source ] by Karl Gottfried Wilhelm Taubert - , "Rastlose Liebe", op.

Last modified: Line count: 20 Word count: 66 Gentle Reminder This website began in as a personal project, and I have been working on it full-time without a salary since The LiederNet Archive. Last modified: Line count: 20 Word count: 66 Gentle Reminder. The Linden Tree has One morning he said to Spaun: "Come to Scho- long been a favorite in circles where its more ber's to-day, I '11 sing you a cycle of weird songs. I am anxious to know what you will say. They have affected me more deeply than any of my other Spring Dreams—Fruhlingstraum.

A winter songs.

Zelter: Rastlose Liebe

His friends were dum- ness, anticipation and longing, are mingled with founded by the gloomy mood of these songs, and Schubert's incomparable art. It is interesting to Schober remarked that he liked only one of them note that whereas in M tiller's cycle this poem — The Linden Tree. Schubert replied: " I like comes near the end number twenty-one , Schu- these songs better than any of the others, and you bert, with keener psychologic insight, makes it an will come to like them too.

The Post—Die Post. With number thirteen, The opinion of these songs current in the high- the Winter Journey songs become more and more est musical circles is well summed up by Heu- gloomy. This all times, beside the Book of Job and many pas- song is in major and rather animated in tempo; sages in Ecclesiastes, the Winter Journey of the yet, as Sir George Grove has remarked, " Even thirty-year-old Schubert must be placed as equal in the extraordinary and picturesque energy of in grandeur.

Good Night— Gute Nacht. Among the twenty- The Gray Head—Der greise Kopf. The Raven—Die Krahe. In this gruesome The Mock Suns—Die Nebensonnen. Another poem the young man fancies that a raven has fol- doleful song in a major key! Schubert in every lowed him from the town in the expectation of bar. What the three suns are is not clear from dining on his body.

For days it has hovered over the poem. Max Miiller wrote to Friedlander re- him — "faithful to the grave. As these two suns shine no more, he wants In the Village—Im Dorfe. Barked at by the the third, the real sun of life, to go down too. The enjoying in their dreams the things they have disconsolate climax of the Winter Journey is not. The hurdy-gurdy is an instrument played with a crank, but otherwise entirely unlike a hand- The Stormy Morning—Der sturmische Mor- organ, though played inthestreets.

It isastringed gen. Blustering rhythms introduce a song in which instrument, and two of its strings yield an un- the unhappy youth fancies that the gray sky and changing drone-bass of two tones a fifth apart. In nineteen rapid the notes A E in the original key incessantly bars Schubert has here portrayed a miniature throughout the sixty-one bars of the song, pro- storm as perfed in its way as the introduction to ducing an ineffably melancholy and realistic effedt, Wagner's Valkyr.

The Guide-Post—, Der Wegweiser. Sadder and melody. Though the music is thus simply a mir- sadder become the poems, more woe-begone the ror of the text, one cannot help reading into it music. The Guide-Post shows us the sign-post a bit of autobiography—for did not Schubert, which points to the "undiscovered country from also, sing on incessantly; and did not his tray, whose bourn no traveller returns.

Lachner saw him selling some the unchanging G of the melody during the six of these Winter Journey songs to a publisher for bars in which the lover's eyes stare fixedly at the twenty cents apiece. Here is musical realism in the high- est sense of the word. The Inn—Das Wirlhshaus. This "tavern" while he was in bed with typhoid fever. In the is a graveyard which seems to invite the weary time betweenthe writingand the printingof these wanderer; but every room is taken, and there is no Lieder he wrote thirteen more detached songs, rest for him. Here again Schubert has written in a beside the fourteen which form the Swan-Song major key a song more pathetic than other com- cycle and which were published as his last gifts posers have written in minor keys.

The title was of course given by the The lover shakes off the publisher, but it appears that Schubert had in- snow, and tries to sing merrily to keep up his tended these fourteen songs, with more to come, courage. There is no connection be- a climax as can be found in vocal music. T h e tween these compositions, or between the poems, most delightful of interludes is the eight bars fol- which are by three writers,—Rellstab, Heine lowing the words "bleibet mein Schmerz.

A sharp original key in the sixth of these bars is one of those strokes of genius which make the Springtide Longings—Fruhlingssehnsucht. In study of the Schubert songs a source of ever-in- Rellstab seleded some of his lyrics, copied creasing delight. Only in the white heat of gen- them on separate sheets of paper, and gave them ius could that A sharp have been written. After Beethoven's death they came into the hands of his friend Atlas—Der Atlas.

T h e greatest calamity that Schindler. In his house Schubert came across ever befell the musical world was the early death them, and two days later he brought back three of Schubert. Ever to be regretted, too, is the fad of them, including My Abode, set to immortal that Heine's Book of Songs did not appear till music. Four more were composed subsequently. Heine remains T h e third of them is Springtide Longings, one of to-day the favorite poet of the great composers; the most vivacious of Schubert's songs.

Serenade — Standchen. Of all the Schubert six Heine songs set to music by Schubert, five songs this one is the most easily comprehensi- clamor for a place among his best fifty songs. They are the last of his Lieder, except the last T h e publishers were always begging him to write of all,—Seidl's The Fishermaiden; and they are easier piano parts, and here he seems to have com- as different from one another as Shakespeare's plied with their request.

My Abode—Aufenthalt. This is one of the nies and Wagner's operas. T h e first of them em- cpmpositions which made Rubinstein exclaim bodies the gloomy, tragic, heaving agony of Atlas, rapturously: "Once more, and a thousand times bearing on his shoulders the sorrows of a world. There is in it as superb an energy Her Portrait—Ihr Bild.

H o w utterly differ- as in The Erlking. T h e pedants by whom Schu- ent from the gloom of Atlas is the tender pathos bert was surrounded Lachner in particular used of the youth who, in Her Portrait, gazes at his to annoy him with the charge that he knew no beloved's pidure as in a dream, and cannot be- counterpoint; and he had adually made up his lieve that he has lost her.

This is surely one of mind, shortly before his death, to take lessons of the ten best of Schubert's songs. But if counterpoint is the art of making every voice or part in a composition melodious, The Town—Die Stadt.

Restless love

In The Town the poet where is there a better specimen of it than My fancies himself being rowed away in a boat, and Abode, with its glorious melodious bass, and me- the rays of the setting sun give him a final glimpse lody in every note of the harmony? Schubert's of the city where his beloved dwells. In this song, genius taught him more about counterpoint, so as Mr. Of other re- of the waters at eventide are pidured with graphic markable things, note the high G in the origi- power by a constantly recurring broken chord. By the Sea—Am Meer. T h e greatest of all at the house where his beloved used to dwell.

In songs of the sea. They speak of the hands in agony; and the moonlight shows him sea at nightfall, and yet how simple the main ac- that this other man is his own self—his phantom companiment! How simple the structure of the double. Schubert's music, bar by bar, would fit song itself!

Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe) scored for Voice/Piano

The mu- My Phantom Double—Der Doppelgdnger. Just sic enters into the minutest details of the scene, not only verse by verse, but word by word; so as Wagner created not only one epoch, but two that we have here an anticipation not only of epochs in the history of the opera, so Schubert Schumann but even of Liszt.

In declamation, in created an epoch in the history of the Lied with. It is the his Margaret at the Spinning Wheel and The Erl- most thrilling, the most dramatic of all lyrics; kingy and another one with My Phantom Double, and in penning it Schubert helped to originate the last but one of his songs. Heine's poem brings the music of the future.

Dover Publications

Translated by A. Reclam Edition. Paris, Paine, editor. Century Magazine, July, Grove's Dictionary of Music and Musicians, Vol. Ill, pp. See, especially, pp. Ill, p. The most complete are those of Breitkopf and H2rtel and of Peters. Has life some primal undiscovered chord Strung to the tenser moods of hope, and rounded In that diviner sphere where Love is Lord? And kiss him a - gam,. S ous wrong! Lit-tie wild rose, wild rose red, satis mit vie - len Freu - den.

Said the boy "I'll Ros. Ros - lein, Ros - lein, Ros - lein roth, Ros - lein auf der Hei - den. Lit-tie wild rose, wild rose red, mussV es e -ben lei - den. Hei - den. Kro - - ne cies Le - - bens. Oh, birgst du so bang detn Ge - sicht? My son, 'tis but a u. My Wind. I 3 cross wm the fields with foot - m fall 2. Im wan - deist jetzt wohl still und ist es, denV ich nur an 3. When 1 vi - sioned face be hold.

The las, I do but dream! Du sich dirk nicht ein mal? Mir nicht, one mxr - scheKn. In Wo hist duy wo hist du, mein ge - lieh - tes Land? TO Geschzyind know. Das Land, das Land so hoff-nungs-griin. Spra - che spricht, o Land, wo bist du? Ye racht sich auf Er - den. A-ban- s -don him. Can it sat - - is - fy the hea heart? When the ten 2. End - less long - ing, weep ing, mourn. Nicht mit sii - - ssen Was ser.

Schooss, je - ser heiV- - gem Schooss. Jfljfljfl f? I am still young, A der Kno - chen-mann! Ich noch Jung. Kindheav'n, hear my cry, when to Magd - lein si - tzet an U - - fers Grun, es bricht sich die Wei - le mit wei - ter giebt sie dem Wun - sche nichts mehr. And 3. Es rin - net derThrd nen ver - geb li-cher Lauf,. There shall I rest a short still mo-ment, Un - til shall dawn the per-fect day,- Then Dort ruK ich ei - ne klei - ne Stil - le, dann off-net sich der frischeBlick; ich J3. L7 L7. On - ly wait, on - ly wait, e r e long thou too shalt schwei-gen im Wal - de.

A - bendroth rund um den Kahn. J FI 1I T cresc. Its spell of pool and ran - schen so frisch und wun - der - hell. Oh, Sira - sse? Thou holdst me with thy plash - ing as hin? Plash on, pret - ty friend, plash un - ten ih - ren Reih'n. Cjip- iJ3j? I wei! I de-sire r t o know. For I am not a gard'ner, The stars are far a - bove; O ich er-fiihr1 so gem. I Bach- - lein meiner Lie - be, wie hist du heuf so stumm! I'll Bach - - lein mei - ner Lie - be, was bist du wun-der- lich!

Bachlein, liebt sie mich? I'd 2. The morn - ing breeze my love. With - in mine eyes I deem my love doth speak, And 5. Thine - er. Good morn 2. Gu - ten Mor gen, scho - ne Mill - le - tin I wo steckst du gleich das P mich nur von fer - ne steHn, nach dei nem lie - ben 2. N S T h e n Pfe for ev - er eau -teons gold - en h e a d ap - pear, A bright star of the stb'rt dich denn mein Blick so sehr?

Ihr schlum - mer - trunk'- nen Au - ge - lein, ihr than - be - fr 6- fen 4. The hunt ea - ger-ly fol low And 3. In Griin mill ich mich klei den, in 2. Will su - chen ei - nen Gy - Schatz hat's Ja - gen so gem.

Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love  (Rastlose Liebe) Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)
Six Lieder, op. 33, no. 6: Restless Love (Rastlose Liebe)

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