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Songs

Die Bergstimme Op. 11 no.1

Die Bergstimme

Ein Reiter durch das Bergtal zieht,
Im traurig stillen Trab:
„Ach! zieh ich jetzt wohl in Liebchens Arm,
Oder zieh ich ins dunkle Grab?“
Die Bergstimm Antwort gab:
„Ins dunkle Grab!“
Und weiter reitet der Reitersmann,
Und seufzet schwer dazu:
„So zieh ich denn hin ins Grab so früh –
Wohlan, im Grab ist Ruh!“
Die Stimme sprach dazu:
„Im Grab ist Ruh!“
Dem Reitersmann eine Träne rollt
Von der Wange kummervoll:
„Und ist nur im Grab die Ruhe für mich –
So ist mir im Grabe wohl.“
Die Stimme erwidert hohl:
„Im Grabe wohl!“

The voice of the mountains

A horseman rides through the mountain valley
At a sad, silent trot:
Ah! do I ride into my beloved’s arms,
Or into the dark grave?
The mountain’s voice replied:
Into the dark grave!
And onwards still the horseman rides,
Panting all the while:
If I go to the grave so soon –
So be it, in the grave is peace!
To which the voice replied:
In the grave is peace!
A tear rolls down the horseman’s cheek,
Pale and woebegone:
If peace can be found but in the grave –
I shall be happy in the grave.
With a hollow sound the voice replied:
Happy in the grave!
Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005)

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Composer

Johan Andreas Hallén was a Swedish Romantic composer, conductor and music teacher, primarily known for his operas. Although born in Sweden, he was largely educated in Germany, and his operas were heavily influenced by Wagner's music dramas.

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Poet

Heine was born of Jewish parents. Much of his early life was influenced by the financial power of his uncle Salomon Heine, a millionaire Hamburg banker, with whom he remained on an awkward footing for many years. After he had been educated in the Düsseldorf Lyceum, an unsuccessful attempt was undertaken to make a businessman of him, first in banking, then in retailing. Eventually, his uncle was prevailed upon to finance a university education, and Heine attended the universities of Bonn, Göttingen, Berlin, and Göttingen again, where he finally took a degree in law with absolutely minimal achievement in 1825. In that same year, in order to open up the possibility of a civil service career, closed to Jews at that time, he converted to Protestantism with little enthusiasm and some resentment. He never practised law, however, nor held a position in government service; and his student years had been primarily devoted not to the studies for which his uncle had been paying but to poetry, literature, and history. 

When the July Revolution of 1830 occurred in France, Heine did not, like many of his liberal and radical contemporaries, race to Paris at once but continued his more or less serious efforts to find some sort of paying position in Germany. In the spring of 1831 he finally went to Paris, where he was to live for the rest of his life. 

Heine’s early years in Paris were his happiest. From an outcast in the society of his own rich uncle, he was transformed into a leading literary personality, and he became acquainted with many of the prominent people of his time.  However his critical and satirical writings brought him into grave difficulties with the German censorship, and, at the end of 1835, the Federal German Diet tried to enforce a nationwide ban on all his works. He was surrounded by police spies, and his voluntary exile became an imposed one. In 1840 Heine wrote a witty but ill-advised book on the late Ludwig Börne (1786–1837), the leader of the German radicals in Paris, in which Heine attempted to defend his own more subtle stand against what he thought of as the shallowness of political activism; but the arrogance and ruthlessness of the book alienated all camps.

Though never destitute, Heine was always out of money; and when his uncle died in 1844, all but disinheriting him, he began, under the eyes of all Europe, a violent struggle for the inheritance, which was settled with the grant of a right of censorship over his writings to his uncle’s family; in this way, apparently, the bulk of Heine’s memoirs was lost to posterity

The worst of his sufferings, however, were caused by his deteriorating health. An apparently venereal disease began to attack one part of his nervous system after another, and from the spring of 1848 he was confined to his “mattress-grave”. His third volume of poems, Romanzero (1851), is full of heartrending laments and bleak glosses on the human condition; many of these poems are now regarded as among his finest. A final collection, Gedichte 1853 und 1854 (Poems 1853 and 1854), is of the same order. After nearly eight years of torment, Heine died and was buried in the Montmartre Cemetery.

Heine's international literary reputation was established with the publication of Buch der Lieder in 1827, a collection of already published poems, several of which were set as Lieder by Schubert, Schumann, Mendelssohn and others.

Schwanengesang (Swan song), D 957, is the title of a collection of songs written by Franz Schubert at the end of his life in 1828 and published iin 1829, just a few months after his death. The collection was named by its first publisher Tobias Haslinger, presumably wishing to present it as Schubert's final musical testament to the world. Unlike the earlier Die schöne Müllerin and Winterreise, it contains settings of three poets, Ludwig Rellstab (1799–1860), Heinrich Heine(1797–1856) and Johann Gabriel Seidl (1804–1875). 

In the original manuscript in Schubert's hand, the first 13 songs were copied in a single sitting, on consecutive manuscript pages, and in the standard performance order. All the song titles are by Schubert, as the poet did not give names to the poems. The six poems by Heine, set as part of D 957, are Der Atlas , Ihr Bild, Das Fishermädchen, Die Stadt. Am Meer  and Der Doppelganger.

Taken from Encyclopedia Britannica (to view the full article, click here), and Wikipedia (to view the full article, click here.)

To read some of his poetry, click here
 


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