Monday, February 18, 2019

My Bromance



Hello All,

  Last week I asked you to indulge me and sent you two longish videos with not a great deal of German but hopefully you found them worth it. This week’s videos are an indulgence of a different type. If last week I sent you what I consider to be the best piece of music ever written (to the extent that there is such a thing) this week I’m sending you videos of who I consider to be the greatest singer on record (again, this is a silly thing to think but there it is). Fritz Wunderlich was born in 1930 in Kusel, Germany in the southwest corner of the country and died 5 days after I was born in 1966. His death was caused by a drunken fall down some stairs at a friend’s hunting lodge while on vacation. Remember, don’t drink and stair!

Fortunately for us, Wunderlich left an extremely large discography for a man who died at 36 years old and recorded almost entirely in German no matter what the repertoire. The first video is a live performance with piano of “Dies Bildnis” from Mozart’s “The Magic Flute.” We’re concerned here with diction but do pay attention as the man gives a masterclass in ease of technique in this video. The second video contains 4 songs by Schubert. All I’m asking is for you to listen to the first two, Heidenröslein and Die Forelle; two songs which are such standard rep. you should learn them if you don’t know them already.  And the final video is of a Mexican song called “Granada” by Agustin Lara. Oddly, this song has been famous for a long time and basically holds the same place in the rep. as any Neapolitan song ever written. Here of course Wunderlich sings in German which is odd but odder still is how he somehow keeps the language romantic so that you barely notice that it’s not Spanish or Italian. And enjoy the final high C which is just ridonculous!

This is a man who really caresses the German sounds but uses a legato line in a way that makes the language beautiful. What do you hear?

R

As always, texts, score links and translations follow the video links

Dies Bildnis video

Score

Schubert Songs video

Score of Heidenröslein
Score of Die Forelle

Granada
https://www.youtube.com/watch?v=PLxe14bA8og



Dies Bildnis ist bezaubernd schön
Wie noch kein Auge je geseh'n!
Ich fühl' es, wie dies Götterbild
Mein Herz mit neuer Regung füllt.
Dies' etwas kann ich zwar nicht nennen,
Doch fühl' ichs hier wie Feuer brennen.
Soll die Empfindung Liebe sein?
Ja, ja, die Liebe ist's allein.
O, wenn ich sie nur finden könnte!
O, wenn sie doch schon vor mir stände!
Ich würde, würde, warm und rein,
Was würde ich? Ich würde sie voll Entzücken
An diesen heissen Busen drücken
Und ewig wäre sie dann mein.

This image is enchantingly lovely,
Like no eye has ever beheld!
I feel it as this divine picture,
Fills my heart with new emotion.
I cannot name my feeling,
Though I feel it burn like fire within me,
Could this feeling be love?
Yes! Yes! It is love alone!
Oh, if only I could find her,
If only she were standing before me,
I would, I would, with warmth and honor ...
What would I do? Full of rapture,
I would fold her in this glowing bosom,
And then she would be mine forever!

German

Sah ein Knab' ein Röslein stehn,
Röslein auf der Heiden,
War so jung und morgenschön,
Lief er schnell, es nah zu sehn,
Sah's mit vielen Freuden.
Röslein, Röslein, Röslein rot,
Röslein auf der Heiden.

Knabe sprach: Ich breche dich,
Röslein auf der Heiden!
Röslein sprach: Ich steche dich,
Daß du ewig denkst an mich,
Und ich will's nicht leiden.
Röslein, Röslein, Röslein rot,
Röslein auf der Heiden.

Und der wilde Knabe brach
's Röslein auf der Heiden;
Röslein wehrte sich und stach,
Half ihm doch kein Weh und Ach,
Mußt es eben leiden.
Röslein, Röslein, Röslein rot,
Röslein auf der Heiden.

Die Forelle
In einem Bächlein helle,
Da schoß in froher Eil
Die [launige]1 Forelle
Vorüber wie ein Pfeil.
Ich stand an dem Gestade
Und sah in süßer Ruh
Des muntern [Fisches]2 Bade
Im klaren Bächlein zu.

Ein Fischer mit der Rute
Wohl an dem Ufer stand,
Und sah's mit kaltem Blute,
Wie sich das Fischlein wand.
So lang dem Wasser Helle,
So dacht ich, nicht gebricht,
So fängt er die Forelle
Mit seiner Angel nicht.

Doch [plötzlich]3 ward dem Diebe
Die Zeit zu lang. Er macht
Das Bächlein tückisch trübe,
Und eh ich es gedacht,
So zuckte seine Rute,
Das Fischlein zappelt dran,
[Und ich mit regem Blute
Sah die Betrogene an.]4


A brooklet soft and gentle --
rushing on with glee --
A trout like arrow darting -
so playfully and free -
And standing by the brook-side
I gazed in pure delight.
At happy fishlet playing
In lucid brooklet bright.

A fisherman with rod stood
watching from nearby
He followed fishlet's movements
With cold and scheming eye.
"So long stays clear that brooklet"
I thought, with comfort sure
"He cannot trap my fishlet --
Or catch it with his lure."

But soon with crude impatience --
He broke the calm -
He stirred and muddied all that water --
And just as I had feared --
He tugged upon his rod --
And dangled my fishlet on his hook.
Oh, how my heart was burning
Betrayed were fish and brook!

Granada
Kennt ihr Granada bei Nacht?
Es locken die Schönen mit zärtlichen Tönen -- Granada.
Verliebte sie harren beim Klang der Gitarren -- Granada.
Auch mir lacht die Eine beim spanischen Weine in lauschiger Nacht.
Ich halte sie selig umfangen und sie kennt mein heißes Verlangen das Brennen erwacht.
Es grüßen von Ferne die silberne Sterne - Granada.
Nun dämmert es wieder berauscht sind die Lieder - Granada.
Es schimmern im hellblauen Morgen herüber die Berge der Sierra Nevada.
Wenn über Granada der Tag erwacht und golden die Sonne lacht in strahlender Pracht.
Granada, Märchen aus uralter Zeit,
Deine Schönheit lockt wie vor vielen hundert Jahren noch heut.
Dieses Lied will ich für dich heut singen.
Dieses Lied soll dir zum Ruhm erklingen.
Kennt ihr Granada bei Nacht?
Es grüßen ...
Kennt ihr Granada bei Nacht?

Do you know Granada by night?
Its beauties entice with sounds tender and nice -- Granada.
Guitars are beguiling, all lovers are smiling -- Granada.
I too found delight, so merry the night, with her Spanish wine.
Embracing with bliss her fiery kiss kindles this longing in me.
Each silvery star greets you from afar -- Granada.
Through the night there is singing, more wine they are bringing -- Granada.
Now shimmers the dawning, bright blue in the morning on hill-sides of Sierra Nevada.
Then over Granada the new day and sun pour gold down in bright streaming splendour.

Granada, you age-old fairy tale.
Your beauty, yet now, entices just how you have done so for hundreds of years.
This song will I sing for you today,
This song will sound forth your fame.
Do you know Granada by night?
English

Passing lad a rose blossom spied,
Blossom on the heath growing,
'Twas so fair and of youthful pride,
Raced he fast to be near its side,
Saw it with joy o'erflowing.
Blossom, blossom, blossom red,
Blossom on the heath growing.

Said the lad: I shall pick thee,
Blossom on the heath growing!
Blossom spoke: Then I'll prick thee,
That thou shalt ever think of me,
And I'll not be allowing.
Blossom, blossom, blossom red,
Blossom on the heath growing.

And the lusty lad did pick
The blossom on the heath growing;
Blossom, in defense, did prick,
'Twas, alas, but a harmless nick,
Had to be allowing.
Blossom, blossom, blossom red,
Blossom on the heath growing.

Monday, February 11, 2019

You Can Never Have Enough



Hello All,

If you’ll indulge me this week I would like to kill two birds with one stone by being a bit self-indulgent and sharing with you two videos of what I consider to be one of the two greatest pieces of music ever written while also giving you some more German to consider. The self-indulgence comes in because the piece contains about 40 seconds of German wrapped in a 7 minute aria. However, I think this can be a “change your life” piece of music. It’s the first aria from Bach’s solo bass cantata BWV #82 Ich habe genug. Chances are, no matter what your faith or lack thereof, you either have or will feel like what this piece expresses. That is the genius of Bach and why he is so important. Do yourself a favor and find a still moment (or 15 minutes worth of still moments) and listen to these two videos. As a side note, in recent years, it has become fashionable for all voice parts to perform and record this piece so it’s rep. potential for everyone.

The first singer on the docket is Dietrich Fischer-Dieskau. Fischer-Dieskau was born in 1925 in Berlin and died just a few years ago. It’s fair to say that he was the most famous and prolific Lieder singer of all time. You could say he is to German Lieder what Ella Fitzgerald was to the American songbook. He was also possibly the most famous Bach bass of his time and also a fine opera singer.

Second is our old friend little Thomas Quasthoff.  Let me know what you notice about their German (differences and/or similarities) but I want you to pay particular attention to how both of these singers make what most people consider to be a rough language, into an extraordinarily elegant legato sound world. Every language can be like this but it takes work and concentration. Technique can make beautifully sung language and beautifully sung language – that is to say, pure vowels and “sung” consonants – can make good technique. They’re not mutually exclusive. Singing is communication - words are communication - therefore diction - therefore 12:00 M, W in 306 Standard – therefore youtube videos.

Dietrich Fischer Dieskau


Thomas Quasthoff


Score:


1. Arie B
Ich habe genug,
Ich habe den Heiland, das Hoffen der Frommen,
Auf meine begierigen Arme genommen;
Ich habe genug!
Ich hab ihn erblickt,
Mein Glaube hat Jesum ans Herze gedrückt;
Nun wünsch ich, noch heute mit Freuden
Von hinnen zu scheiden.

I have enough,

I have taken the Savior, the hope of the righteous,
into my eager arms;
I have enough!
I have beheld Him,
my faith has pressed Jesus to my heart;
now I wish, even today with joy
to depart from here.

Monday, February 4, 2019

Brahms and the 3 Ladies



Hello All,

If you've bought the diction book I recommended by David Adams, it’s a good idea to read the chapters in the book as outlined in the syllabus which correspond to what we’re working on. David is overly thorough about things which are sure to be both elucidating and utterly confusing. When I was living with my friend Brad he was rehearsing with his pianist for a recital out west and so there were 3 German diction teachers under one roof and I can tell you that there wasn't a consensus among the three of us and the 4 diction books I have as references so that’s exciting. (Such is the excitement that is my life.) As I tell my diction classes, diction rules are made after the language is established so though there are rules, they don’t fit all occasions. Remember, all languages evolve both in vocabulary and pronunciation. This is where the Youtube videos and listening come in. The idea is to know what the choices are and why you’re making them and, to some extent, to be able to defend them. You’ll find that the diction that you’ve heard from Olaf Bär will be complete anathema to the diction you’ll hear from the older singers like Fischer Dieskau and Elizabeth Schwartzkopf. In fact, I hope you’ve noticed that the [x] sound that Bär uses is different than the [x] sound that Quasthoff uses. But everyone is right. They’re not thinking a vowel is open or closed, they are just pronouncing their language. Consider the English word neither. "You say [niðɘr] and I say [naIðɘr]" and we’re both right. It would be lovely to live in a world of absolute absolutes but the poetry is in the variables and again, that’s where the listening comes in.

With that in mind, I’m sending you three videos of three women singing Brahms’s Vergebliches Ständchen (the title is harder to say than any of the words of the song!) The first is Christa Ludwig. Born in Berlin in 1928, she didn’t retire all that long ago and did several years of a final recital tour. It got to be a bit of a joke. I turned pages for her in a recital 1991 at Tanglewood and I remember it being one of the most astonishing recitals I’ve ever heard. Unlike what you’re about to hear, she very much just delivered the songs with very little theatricality and it worked a treat. She also said one of my favorite things. When asked what she was looking forward to most in retirement, she answered – “I’m looking forward to being able to enjoy a good head cold.”

Next is Elizabeth Schwarzkopf. Born in 1915 in Prussia which is now Poland, Schwarzkopf was sort of the female Dietrich Fischer Dieskau. She sang everything and was a famous Lieder singer. I never got to meet her or hear her live, mostly because she had been a member of the Nazi party and so she wasn’t welcome here really. She was known later in her life as an extraordinarily tough master class teacher and not a very good one. Still, it was a unique voice and she was a mesmerizing performer who, as a younger woman, was extremely glamorous.

Lastly is Anneliese Rothenberger. Other than the fact that she was born in Mannheim in Southwest Germany in 1926 I don’t know anything about her. But I think her German is just different enough from the other two to be interesting. Notice particularly her [u] vowels and vowel lengths.

Pay particular attention to the vowels in this song and let me know your thoughts. The text and translation follow the links. As a side note, you should know the name Gerald Moore who is the pianist in the Ludwig and Schwarzkopf videos. It’s fair to say that he single handedly invented the job "singer accompanist."

R

Christa Ludwig
http://www.youtube.com/watch?v=MsIHSmpTFQg&feature=related


Elizabeth Schwarzkopf
https://www.youtube.com/watch?v=T2tcCxw8Kpw




Anneliese Rothenberger
https://www.youtube.com/watch?v=OAuSB-EqJaI






Vergebliches Ständchen Score


Vergebliches Ständchen
Language: German

Er:
Guten Abend, mein Schatz,
guten Abend, mein Kind!
Ich komm' aus Lieb' zu dir,
Ach, mach' mir auf die Tür,
mach' mir auf die Tür!

Sie:
Meine Tür ist verschlossen,
Ich laß dich nicht ein;
Mutter, die rät' mir klug,
Wär'st du herein mit Fug,
Wär's mit mir vorbei!

Er:
So kalt ist die Nacht,
so eisig der Wind,
Daß mir das Herz erfriert,
Mein' Lieb' erlöschen wird;
Öffne mir, mein Kind!

Sie:
Löschet dein' Lieb';
lass' sie löschen nur!
Löschet sie immerzu,
Geh' heim zu Bett, zur Ruh'!
Gute Nacht, mein Knab'!


Futile Serenade
Language: English

He:
Good evening, my treasure,
good evening, sweet girl!
I come from love of you,
Ah, open the door,
open the door for me!

She:
My door is locked,
and I won't let you in:
My mother has advised me well!
If you came in,
It would all be over for me!

He:
The night is so cold,
and the wind so icy
that my heart will freeze,
and my love will be extinguished!
Open for me, sweet girl!

She:
If your love starts dying,
then let it be extinguished!
If it keeps dying,
go home to bed, and rest!
Good night, my boy!