Lieder eines fahrenden Gesellen

The Songs of a Wayfarer are Gustav Mahler first song cycle, which he composed 1884-1885, first with piano accompaniment. Only later (about 1893-1896 ), he orchestrated the songs. The first performance under Mahler's line was in Berlin on March 16, 1896 with the Berlin Philharmonic Orchestra and the baritone Anton Sistermans as soloists.

  • 5.1 " When my darling has her wedding "

Formation

The song cycle was 1883-85, when Gustav Mahler in Kassel choirmaster and conductor was and the soprano Johanna Richter met. Mahler fell passionately in love with the young singer, as Johanna but his love is not returned, the failed relationship.

From this situation Mahler created in the period from 1884 to 1885, the Songs of a Wayfarer, where he set four poems he had written for the beloved. Part of the text to the first song When my darling has her wedding but can be found in the collection Des Knaben Wunderhorn.

Orchestra

Piccolo, 2 flutes, 2 oboes, 2 clarinets in B, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion ( bass drum, cymbals, triangle, glockenspiel, tam-tam ), Harp, Strings, Voice: baritone.

Structure and keys

The cycle consists of four songs:

  • When my darling has her wedding
  • Went today ' tomorrow 's field
  • I have a red-hot knife
  • The two blue eyes of my sweetheart

These are modally interpreted as follows:

  • When my darling has her wedding begins in D minor and ends in G minor.
  • Went today ' tomorrow we will start over 's field in D major, leading to H - major to F-sharp major.
  • I have a red-hot knife via D minor chromatically ascending by it minor.
  • The two blue eyes of my darling is to start in E minor and turns in the second part to F major, but ends in F minor.

Interpretations and relationship to other works

The songs portray the thoughts of a fellow who also tried in the time of his wanderings to process an unhappy love affair. The subject of the song cycle has so far similarities with Franz Schubert cycles The Beautiful Miller and Winterreise, which are intended by the composer.

The song cycle is closely substantive connection to the little developed later Symphony No. 1 Mahler: the main theme of the 1st movement (bars 62 to 71 in the cellos ) is identical with the subject of the song Ching -day ' tomorrow 's field ( clock 2-9 the singing voice ), and the trio of the third movement is borrowed from the two blue eyes of the " Lindenbaum " passage ( verse 3 ).

World dualism

According to the musicologist Peter lapel Mahler shows in his songs two different worlds, namely the real world and a dream world. The real world is Gustav Mahler is as sorrowful reality in which he brings his mental anguish expressed. This can be seen very clearly in the third song of the cycle. As guarantee counterpoint to this, is a dream world that uses Gustav Mahler as a musical space for the imaginary fulfillment of his cravings. The dream world can be seen in the second and fourth song. However, Peter Revers described the dream world as emotional impasse, since Gustav Mahler could not be happy with it.

Mahler sounds

According to the musicologist Hubert Wißkirchen Gustav Mahler shows in his songs, three different sound types, namely:

  • Civilization sounds such as drums, Marschpunktierungen and minor keys; The civilization lute Mahler show real world and express his sorrow.
  • Natural sounds such as natural sound imitations, natural tones and major keys; With the natural sounds Gustav Mahler emphasizes the aesthetics of his dream world and thereby builds a locus amoenus on.
  • Art sounds like chromaticism, dissonance and major-minor change; This Gustav Mahler describes his feelings. Often the art sounds are also used to move from one to the other world.

The four songs

" When my darling has her wedding "

The first song is in accordance with the Scheme A - A created ' a strongly contrasting in all aspects A and B part - B. How often based in Mahler's songs of musical contrast between A and B on the juxtaposition of suffering and sorrow in the face of their own real being and the dreamed more fulfilled existence.

The initial vocal melody of the A section in 2/4-cycle is by the further course frequently recurring exchange motif ( a - g - f - g - a) - marked in eighths and the upward jump Quart (d a ). Harmonious outweigh unalterierte minor chords of function theory associated key. Irriterend or ironic allusion in reference to the named in the text wedding acts under the prevailing minor and the worn and unrhythmical designed string sound a repeatedly incident briefly in thirds primarily carried by the woodwinds, in sixteenths alternately but pre- rendered together with the vocal line major motif ( bars 1-4, 8-13, 17-21, etc.). Relevant and clearly noticeable is the change between two- (4/ 8 or 2 /4) and calculating them in three parts (3/ 8 or 6 /8) meter. This change occurs even in the instrumental introduction (bars 1-4 ) and in the further course of the play repeatedly (eg in stroke 39 and 44) and also in the last seven bars. This change can be construed to just own pain resulting after Peter lapels as opposed the marriage due to the happiness of the beloved.

The long history of the A section is by diatonic descents (cycle 14 to 28 ) and now now transposed down several times changing the subject ( bar 26 to 33) coined. From " I walk in my closet " ( measure 22 ) and no later than " wines, wine ' " (measure 30) are obtained with a more altered harmonies and chromaticism associations with Richard Wagner's work.

The B section (bars 44-56 ) in 6/8-measure stands out from the A- part with an alternately primarily held in quarters and eighths in almost major constituent only on Sekundschritten melody from. Fast runs the strings in a high position, sixteenth objections of oboes and clarinets at that, and the first violin trill support the carefree nature of a few bars.

The part A ' (cycle 57 to the end ) brings the familiar motifs of A in a condensed, reprise -like form.

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