BRAHMS IMMER LEISER WIRD MEIN SCHLUMMER PDF

Yosida Gustav Walter voice ; Brahms piano. Two years later, Brahms offered a group of songs for lower voice to his msin Simrockto be his Op. Special Offers On Offer 6. Songs and Sonatas for Viola and Piano. Della Casa seems to be most deeply moved by them, Lieder ; Songs ; For voice, piano ; For voices with keyboard ; Scores featuring the voice ; Scores featuring the piano ; German language ; For mixed chorus, piano arr ; For chorus with keyboard ; Scores featuring mixed chorus ; For male chorus, piano arr ; Scores featuring male chorus ; For female chorus, piano arr ; Scores featuring female chorus ; For cello, piano arr ; Scores featuring the cello ; For 2 players ; For violin, piano arr ; Scores featuring the violin.

Author:Nasho Tushicage
Country:Bangladesh
Language:English (Spanish)
Genre:Spiritual
Published (Last):12 June 2006
Pages:302
PDF File Size:16.97 Mb
ePub File Size:16.75 Mb
ISBN:395-7-53048-713-4
Downloads:47940
Price:Free* [*Free Regsitration Required]
Uploader:Ditaur



Di seguito, la traduzione italiana. Spesso mi sembra in sogno di sentire Te che fuori dalla porta mi stai chiamando. Nessuno veglia e viene ad aprire, Io mi sveglio e amaramente piango. Prima che spirino le brezze di Maggio, prima che nel bosco torni a cantare il tordo: se vuoi vedermi ancora una volta, allora affrettati, e da me ritorna!

Composed in , Immer leiser wird mein Schlummer is the second of the Songs 5 , Op. Indeed, Brahms uses syncopations in this setting precisely in order to obscure and disorientate. At the end of the song, syncopations combine with a dramatically rising line to stage a desperate plea — a form of longing that seeks to escape from futility only to fall backwards back again.

Longing for Brahms looks back as much as forward. The melancholic aspect of his personality is beautifully illustrated in a letter sent to his friend, Vincenz Lachner.

Melancholy as depression, as a pessimistic and deep-seated feeling of inadequacy and failure, is a negative condition and experience of the nineteenth century. In between, lines 4 — 5 indicate that death is imminent; indeed, that it will precede vernal awakenings. Brahms sets the poem in a modified strophic form. Both strophes divide into three parts: a tonally closed section in C minor, setting lines 1— 3 of each stanza; a modulation to the relative major, setting lines 4 — 5; and a tonally unstable section, setting lines 6 — 7.

The chromatic shifts seem to perform the malleability and unreality of the dream state. At the same time, crochet syncopations in the piano create a metric haze. Syncopations emerge in the right hand from the last quaver of bar 14, and they continue through to bar They ride over the semibreve pulse that is, the bar-line pulse directly, with no events falling on the downbeat of bar There is a partial metric re-orientation as singer and piano left hand articulate the downbeats of bars 16 and Even here, however, the bass note is relatively weak, being the unstable fifth of each harmony; likewise, the rising arpeggios end with chordal fifths on the last quaver of bars 16 and The syncopations continue, with the primary metre articulated only at the downbeats of bars 18 and In this way, the syncopations help stage a hazy dream state.

They emerge not with the first mentionof the beloved in lines 4 — 5, but with a longing that is already inflected by impossibility.

The tonal re-orientation, in other words, coincides with a return to bleak reality. Similarly, the syncopations continue in bars 20 — 22, but now supported by more consistent articulations of the primary bar line and minim pulses.

In sum, waves of anticipatory dreaming give way to the recoil of bitter awakening in the first strophe. Brahms renders Sehnsucht with deep pessimism; he expresses it against a backdrop of overriding futility. The latter part of strophe 2 bars 41— 53 recalls the waves of metric suspense and release in the first strophe. Syncopations sound by themselves in the right hand in bars 42, 44 and 46 once again riding over the bar lines , and the bass returns to ground the metre in bars 43, 45 and With each successive wave of metric suspense and release, piano and singer climb to new registral heights, and new levels of intensity.

Following the climax of bar 47, the song undergoes a gradual descent and a loss of life energy. Hence the protagonist performs her second gesture of longing with a rise, a burst of energy, and an appeal to transcendence, after which she fades away into herself. She emerges from and returns to this awareness as she gives voice to her final plea. Veniamo adesso agli ascolti scelti per il confronto. Si trtta di una registrazione effettuata a New York il 14 febbraio , con il pianista Arthur Bergh.

Come sempre, Kipnis si dimostra liederista di classe somma. Il legato di altissima scuola, la sapienza nel graduare le dinamiche e il tono ispirato e commosso del fraseggio fanno di questa versione un assoluto modello di riferimento. Magnificamente sostenuta dal pianismo aristicratico di Bruno Walter, la Ferrier trova accenti ispirati e dolenti nel fraseggio, con una splendida efficacia espressiva e un tono interpretativo di grande raffinatezza. Si tratta di Ingeborg Danz , cantante originaria di Witten nella Ruhr che ha raggiunto una notevole reputazione internazionale come interprete del repertorio sacro e che anche come liederista ha raccolto notevoli successi.

In questa registrazione il mezzosoprano del Nordrhein-Westfalen si dimostra interprete accurata e scrupolosa, con un bel controllo tecnico della voce e un legato impeccabile.

Una liederista che sicuramente non sfigura di fronte ai mostri sacri delle versioni precedenti. Chiudiamo qui anche questa puntata della rassegna. Buon ascolto.

BERKELEY SONATINA GUITAR PDF

Brahms, Johannes

.

TEORIA SOCIOLOGICA CONTEMPORANEA PDF

Interpretare il Lied – “Immer leiser wird mein Schlummer” op. 105 N° 2 di Johannes Brahms

.

INCOME TAX READY RECKONER 2013-14 PDF

Immer leiser wird mein Schlummer (Johannes Brahms)

.

BRAIN TEASERS BY RAVI NARULA PDF

Immer leiser wird mein Schlummer (Il mio sonno diviene sempre più leggero), op. 105 n. 2

.

Related Articles