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Cronnan (1815) D282


Ich sitz’ bei der moosigten Quelle; am Gipfel 
des stürmischen Hügels. Über mir braust
ein Baum. Dunkle Wellen rollen über die Heide. 
Die See ist stürmisch darunter.
Die Hirsche steigen vom Hügel herab.
Kein Jäger wird in der Ferne geseh’n.
Es ist Mittag, aber Alles ist still.
Traurig sind meine einsamen Gedanken. 
Erschienst du aber, o meine Geliebte,
wie ein Wand’rer auf der Heide,
dein Haar fliegend im Winde,
dein Busen hoch aufwallend,
deine Augen voll Tränen, für deine Freunde,
die der Nebel des Hügels verbarg: dich wollt’ 
ich trösten, o meine Geliebte, dich wollt’
ich führen zum Hause meines Vaters!
Aber ist sie es, die dort wie ein Strahl des Lichts 
auf der Heide erscheint? Kommst du, o Mädchen, 
über Felsen, über Berge zu mir, schimmernd, 
wie im Herbste der Mond, wie die Sonn’ in der 
Glut des Sommers? Sie spricht; aber wie schwach 
ist ihre Stimme! Wie das Lüftchen
im Schilfe der See.
Kehrst du vom Kriege schadlos zurück? 
Wo sind deine Freunde, mein Geliebter? 
Ich vernahm deinen Tod auf dem Hügel; 
ich vernahm ihn und beweinte dich!
Ja, meine Schönste, ich kehre zurück,
aber allein von meinem Geschlecht.
Jene sollst du nicht mehr erblicken,
ich hab’ ihre Gräber auf der Fläche errichtet. 
Aber warum bist du am Hügel der Wüste? 
Warum allein auf der Heide?
O Shilrik, ich bin allein, allein in der 
Winterbehausung. Ich starb vor Schmerz
wegen dir. Shilrik, ich lieg’ erblasst in dem Grab.
Sie gleitet, sie durchsegelt die Luft wie Nebel 
vorm Wind. Und willst du nicht bleiben? 
bleib’ und schau’ meine Tränen! zierlich 
erscheinst du, im Leben warst du schön. 
Ich will sitzen bei der moosigten Quelle,
am Gipfel des stürmischen Hügels.
Wenn Alles im Mittag herum schweigt,
dann sprich mit mir, o Vinvela!
komm auf dem leichtbeflügelten Hauche! 
auf dem Lüftchen der Einöde komm!
lass mich, wenn du vorbeigehst,
deine Stimme vernehmen,
wenn Alles im Mittag herum schweigt!


I sit by the mossy fountain on the top of the hill 
of the winds. One tree is rustling above me. 
Dark waves roll over the heath.
The lake is troubled below.
The deer descend from the hill. 
No hunter at a distance is seen. 
It is mid-day, but all is silent. 
Sad are my thoughts alone.
Didst thou but appear, O my love, 
a wanderer on the heath,
thy hair floating on the wind before thee, 
thy bosom heaving on the height,
thine eyes full of tears for thy friends 
whom the mist of the hill had concealed. 
Thee I would comfort my love,
and bring thee to thy father’s house!
But is it she that there appears, like a beam of light 
on the heath? Bright as the moon in autumn,
as the sun in a summer storm, comest thou,
O maid, over rocks, over mountains to me?
She speaks: but how weak her voice!
Like the breeze in the
reeds of the lake.
Returnest thou safe from the war? 
Where are thy friends, my love?
I heard of thy death on the hill.
I heard and mourned thee, Shilric.
Yes, my fair, I return,
but I alone of my race.
Thou shalt see them no more. 
Their graves I raised on the plain. 
But why art thou on the desert hill? 
Why on the heath alone?
Alone I am, O Shilric; alone in the winter house. 
With grief for thee I fell.
Shilric; I am pale in the tomb.
She flees, she sails away as mist before the wind! 
And wilt thou not stay, Vinvela?
Stay and behold my tears!
Fair thou appearest, Vinvela!
Fair thou wast, when alive!
By the mossy fountain I will sit,
on the top of the hill of winds.
When mid-day is silent around,
O talk with me, Vinvela!
Come on the light-winged gale!
On the breeze of the desert, come!
Let me hear thy voice, as thou passest, 
when mid-day is silent around!

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Franz Peter Schubert was an late Classical and early Romantic composer. He produced a vast oeuvre during his short life, composing more the 600 vocal works (largely Lieder), and well as several symphonies, operas, and a large body of piano music. He was uncommonly gifted from a young age, but appreciation of his music was limited during his lifetime. His work became more popular in the decades after his death, and was praised by 19th century composers, including Mendelssohn, Schumann, Brahms, and Liszt.

Information from Wikipedia. Read more here.

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James Macpherson was a Scottish writer, poet, literary collector and politician, known as the "translator" of the Ossian cycle of poems. He was the first Scottish poet to gain an international reputation.
Macpherson was born at Ruthven in the parish of Kingussie in Badenoch, Inverness-shire. In the 1752-3 session, he was sent to King's College, Aberdeen, moving two years later to Marischal College (the two institutions later became the University of Aberdeen); it is also believed that he attended classes at the University of Edinburgh as a divinity student in 1755–6. During his years as a student, he ostensibly wrote over 4,000 lines of verse, some of which was later published, notably The Highlander (1758), a six-canto epic poem, which he attempted to suppress sometime after its publication.

Taken from Wikipedia. To view the full article, please click here.

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Edmund von Harold, born in Limerick, was an officer in the service of the Elector Palatine.

He is know particularly for his involvement with the Ossian cycle of epic poems by Scottish poet, James Macpherson, who claimed to have collected word-of-mouth material in Gaelic from ancient sources and that the work was his translation of that material.

In 1775 Harold produced his own translation of James Macpherson's Ossian into Germany prose, but incorporated some of his own 'discoveries'. In 1787 he published an independent volume of Ossianic poetry, simultaneously in both English and German, making capital of his 'insider's' knowledge of the Bard.

Schubert's settings of the songs are based on the 1775 translation, and include Cronnan (D282), Das Mädchen von Inistore (D281), Der Tod Oscars (D375), Die Nacht (D534), Lodas Gespenst (D150), Lorma (D327 and D376), Ossians Lied nach dem Fallen Nathos (D278) and Shilrik und Vinvelva (D293).

 (Taken from Howard Gaskill, The Reception of Ossian in Europe, Bloomsbury, and from Wikipedia.)

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