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Fischer-Dieskau sings Schubert -- "Der Erlkönig" Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Filmed in London, May 14, 1959 link below to hear bass Alexander Kipnis sings this famous Schubert song: http://www.youtube.com/watch?v=0u__MAvYrfg He talks easily and frankly of the great musicians he has known, of Brendel and Beecham, Karajan, Kleiber and Klemperer. His own favourite singer, he says without a moment's hesitation, was "the young Hans Hotter". His best partnership was with Gerald Moore, "the perfect accompanist, with such a rhythmic character to his playing of Schubert." But his greatest influence, Fischer-Dieskau makes clear, was the conductor Wilhelm Furtwängler. "He once said to me that the most important thing for a performing artist was to build up a community of love for the music with the audience, to create one fellow feeling among so many people who have come from so many different places and feelings. I have lived with that ideal all my life as a performer." --from an interview with Martin Kettle on his 80th birthday, at Guardian Unlimited Arts. the marvelous pianist Hugh Sung posted here an interesting article on the "cheating" Gerald Moore does in playing this piece to reduce some of his suffering: http://hughsung.com/blog/index.php?itemid=771?a=b text by by Johann Wolfgang von Goethe. Wiki article on it here http://en.wikipedia.org/wiki/Erlkonig Wer reitet so spät durch Nacht und Wind? Es ist der Vater mit seinem Kind; Er hat den Knaben wohl in dem Arm, Er faßt ihn sicher, er hält ihn warm. "Mein Sohn, was birgst du so bang dein Gesicht?" "Siehst, Vater, du den Erlkönig nicht? Den Erlenkönig mit Kron und Schweif?" "Mein Sohn, es ist ein Nebelstreif." "Du liebes Kind, komm, geh mit mir! Gar schöne Spiele spiel' ich mit dir; Manch' bunte Blumen sind an dem Strand, Meine Mutter hat manch gülden Gewand." "Mein Vater, mein Vater, und hörest du nicht, Was Erlenkönig mir leise verspricht?" "Sei ruhig, bleibe ruhig, mein Kind; In dürren Blättern säuselt der Wind." "Willst, feiner Knabe, du mit mir gehn? Meine Töchter sollen dich warten schön; Meine Töchter führen den nächtlichen Reihn, Und wiegen und tanzen und singen dich ein." "Mein Vater, mein Vater, und siehst du nicht dort Erlkönigs Töchter am düstern Ort?" "Mein Sohn, mein Sohn, ich seh es genau: Es scheinen die alten Weiden so grau." "Ich liebe dich, mich reizt deine schöne Gestalt; Und bist du nicht willig, so brauch ich Gewalt." "Mein Vater, mein Vater, jetzt faßt er mich an! Erlkönig hat mir ein Leids getan!" Dem Vater grauset's, er reitet geschwind, Er hält in Armen das ächzende Kind, Erreicht den Hof mit Müh' und Not; In seinen Armen das Kind war tot. Who rides so late through night and wind? It is the father with his child. He holds the boy safe in his arm He holds him safe, he keeps him warm. "My son, why do you hide your face so fearfully?" "Father, do you not see the Elf king? The Elf king with crown and robe?" "My son, it's a wisp of fog." "You lovely child, come, go with me! Nothing but beautiful games I'll play with you; Many colourful flowers are on the shore, My mother has many golden robes." "My father, my father, can't you hear, What the Elf king quietly promises me?" "Be calm, stay calm, my child; It is the wind rustling in the dry leaves." "Do you want to come with me, fine lad? My daughters should already be waiting for you; My daughters lead the nightly folkdance And rock you and dance and sing." "My father, my father, and can't you see there, The Elf king daughters in the gloomy place?" "My son, my son, I see it well: It is the old grey willows gleaming." "I love you, your beautiful form entices me; And if you're not willing, I shall use force." "My father, my father, now he takes hold of me! The Elf king has wounded me!" It horrifies the father; he rides swiftly, Holding in his arms the moaning child. He reaches the yard with great difficulty; In his arms, the child was dead. louvepyramides provided this illuminating comment by Charles Rosen, from his "Piano Notes": "It is intersting to note that the most painful of all octave passages to execute are not to be found in Tchaikovsky or Rachmaninov or even in Listz , not even in the notorius Sixth Hungarian Rhapsody , but in the accompaniment to Schubert's Erlkonig.Those octaves obviously gave trouble even during the compser's lifetime when the piano had a much lighter action , since he wrote out a simplified version of this song - simplified for the pianist , that is . " Tags: Lieder Fischer-Dieskau Schubert baritone Erlkönig Moore Goethe lied |
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Dietrich Fischer-Dieskau sings Kindertotenlieder Dietrich Fischer-Dieskau cantando Canciones a la muerte de los niños de Gustav Mahler, dirige Lorin Maazel Tags: Dietrich Fischer-Dieskau Kindertotenlieder Mahler Lorin Maazel |
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D. Fischer-Dieskau & J. Greindl "The Commendatore Scene" Inauguration Deustche Oper Berlin. Ferenc Fridsay conductor. 1961 Tags: Opera Mozart Don Giovanni Dietrich Fischer-Dieskau Commendator Josef Greindl |
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Fischer-Dieskau sings Gute Nacht Dietrich Fischer-Dieskau sings Gute Nacht, from Schubert's Winterreise Tags: Winterreise Fischer-Dieskau lieder |
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Dietrich Fischer-Dieskau sings Die Sterne Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978 Tags: Fischer-Dieskau vocal Lieder Schubert |
User: dorje1975 |
Dietrich Fischer-Dieskau sings Im Fruhling Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978 Tags: Fischer-Dieskau vocal Lieder Schubert |
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Fischer-Dieskau sings "Fischerweise" Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978 Tags: Fischer-Dieskau Lieder vocal |
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Dietrich Fischer-Dieskau - "Die Leiermann" - Die Winterreise Die Winterreise by Franz Schubert Dietrich Fischer-Dieskau, baritone Alfred Brendel, piano Tags: dietrich fischer dieskau alfred brendel franz schubert die winterreise lieder |
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Fischer-Dieskau sings Liebeslauschen Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978 Tags: Fischer-Dieskau vocal Lieder |
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Victoria de los Angeles Schwarzkopf FischerDieskau Farewell5 5.Duet/solos.Victoria de los Angeles with Elisabeth Schwarzkopf, at Gerald Moore's Farewell Performance, Royal Festival Hall, London. 1967. a. ROSSINI. Duetto buffo di due gatti.Vdla. E.Schwarzkopf. b.BRAHMS.Der Gang zum Liebchen.V de los Angeles. c.BRAHMS.Vergebliches Standchen.V de los Angeles. Everyone is having an enjoyable evening.ENJOY. At the end of the Farewell Concert Gerald Moore delivers an amusing speech. More music posts before the end. PHOTOGRAPH. Victoria with Yehudi Menuhin at Santander,north west Spain.Probably the musical festival. Tags: victoria de los angeles elisabeth schwarzkopf dietrich fischer-dieskau gerald moore menuhin rossini brahms |
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Dietrich Fischer-Dieskau - "Der Lindenbaum" -Die Winterreise Die Winterreise by Franz Schubert Dietrich Fischer-Dieskau, baritone Alfred Brendel, piano Tags: dietrich fischer dieskau alfred brendel franz schubert die winterreise lieder |
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Dietrich Fischer-Dieskau - "Mut!" - Die Winterreise Die Winterreise by Franz Schubert Dietrich Fischer-Dieskau, baritone Alfred Brendel, piano Tags: dietrich fischer dieskau alfred brendel franz schubert die winterreise lieder |
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Fischer-Dieskau sings Schubert -- "Im Frühling" Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Filmed in London, May 14, 1959 (they filmed four songs) "Im Frühling", D. 882 (In Spring) by Franz Schubert. A song of spring and love's memories (at a moment when sadness reappears) set to a poem by Ernst Schulze. "Im Frühling" dates from 1826. Bernard Holland writes: "Im Frühling," indeed, is Schubert's universe in a drop of water. By the second line, harmonic avenues are promised that this song's simple beginning gave no hint of. By verse 2, what advertises itself as strophic repetition has become a series of melodic alterations, each promising its own divergent path. In verse 5, plaintive major-key hopefulness turns suddenly to despairing minor. Schubert's pictures are never quite as he first describes them to us. Innocence is not so innocent; pleasure, on second glance, is dangerously close to pain. Schubert probably did not know the poems of William Blake, but the two are kindred spirits. Im Frühling Still sitz' ich an des Hügels Hang, Der Himmel ist so klar, Das Lüftchen spielt im grünen Tal. Wo ich beim ersten Frühlingsstrahl Einst, ach so glücklich war. Wo ich an ihrer Seite ging So traulich und so nah, Und tief im dunklen Felsenquell Den schönen Himmel blau und hell Und sie im Himmel sah. Sieh, wie der bunte Frühling schon Aus Knosp' und Blüte blickt! Nicht alle Blüten sind mir gleich, Am liebsten pflückt ich von dem Zweig, Von welchem sie gepflückt! Denn alles ist wie damals noch, Die Blumen, das Gefild; Die Sonne scheint nicht minder hell, Nicht minder freundlich schwimmt im Quell Das blaue Himmelsbild. Es wandeln nur sich Will und Wahn, Es wechseln Lust und Streit, Vorüber flieht der Liebe Glück, Und nur die Liebe bleibt zurück, Die Lieb und ach, das Leid. O wär ich doch ein Vöglein nur Dort an dem Wiesenhang Dann blieb ich auf den Zweigen hier, Und säng ein süßes Lied von ihr, Den ganzen Sommer lang. In Spring Quietly I sit on the hill's slope. The sky is so clear; a breeze plays in the green valley. Where I was at Spring's first sunbeam once - alas, I was so happy! When I was walking at her side, So intimate and so close, and deep in the dark rocky spring was the beautiful sky, blue and bright; and she gazing into the sky. Look how colorful Spring already looks out from bud and blossom! Not every blossom is the same for me: I like best to pick from the branch from which she picked hers! For all is as it was: the flowers, the field; the sun does not shine less brightly, nor does the spring reflect any less charmingly the blue image of the sky. The only things that change are will and delusion: Joys and quarrels alternate, the happiness of love flies past, and only the love remains - The love and, alas, the sorrow. Oh, if only I were a little bird, there, on the meadow's slope, then I would remain here on these branches, and sing a sweet song about her the whole summer long. Translation by Emily Ezust Tags: Lieder Fischer-Dieskau Schubert baritone lied Frühling |
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Dietrich Fischer-Dieskau sings Estuans Interius from Carmina Burana by Orff Tags: Dietrich Fischer Dieskau Fischer-Dieskau Carl Orff Carmina Burana Estuans Interius |
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Dietrich Fischer-Dieskau - "Gute Nacht" - Die Winterreise Die Winterreise by Franz Schubert Dietrich Fischer-Dieskau, baritone Alfred Brendel, piano Tags: dietrich fischer dieskau alfred brendel franz schubert die winterreise lieder |
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Dietrich Fischer-Dieskau sings An der Donau Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978 Tags: Fischer-Dieskau Lieder Schubert vocal |
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Dietrich Fischer-Dieskau,Gedichte von Eduard Mörike Gedichte von Eduard Mörike Nr. 1, Der Genesene an die Hoffnung. Canta Dietrich Fischer-Dieskau (Bariton) y el Gran Pianista Sviatoslav Richter. Hugo Filipp Jakob Wolf Nació en Windischgraz (actualmente Slovenj Gradec, Eslovenia) el 13 de marzo de 1860 y murió en Viena, Austria el 22 de febrero de 1903). Fue un compositor austriaco que vivió durante los años finales del siglo XIX en Viena. Un entusiasta seguidor de Richard Wagner, que se mezcló en las disputas existentes en Viena por aquel entonces entre wagnerianos y formalistas o brahmsianos. Fue una persona muy entusiasta, pero muy desequilibrada también. Hugo Wolf, que desarrolló el lied alemán hasta alturas de gran sutilidad y complejidad, realizó en sus casi 300 canciones una admirable síntesis de elementos poéticos y musicales. Algunos ven en él al gran continuador de Schubert. Hugo Wolf musicalizó poemas de: Mörike Eichendorff Goethe En torno a 1888, las tres cuartas partes de su catálogo eran de canciones (más de 200). A parte de estos tres ciclos de lieder, también compuso lieder entorno a poemas basados en textos españoles e italianos, traducidos al alemán: Spanisches Liederbuch Italienisches Liederbuch Su 'Das Verlassene Mägdlein' (La Doncella Abandonada) es una pieza muy corta, pero en ella se condensa el drama wagneriano de forma concentrada. De ritmo tróqueo, cambio de modo según el cambio anímico. Además de lieder, compone también 'Serenata Italiana' para orquesta de cámara (o cuarteto de cuerdas), un poema sinfónico 'Penthesilea', una ópera completa 'Der Corregidor' inspirada en el mismo texto de Pedro Antonio de Alarcón que Manuel de Falla utilizó para su ballet 'El Sombrero de Tres Picos'. También tiene una ópera inacabada 'Manuel Venegas', basada como la anterior en un texto de Alarcón. Tags: Dietrich Fischer-Dieskau Hugo wolf Gedichte von Eduard Mörike Sviatoslav Richter Lied Contemporary Music |
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Dietrich Fischer-Dieskau sings Di Provenza From La Traviata, by Verdi Tags: Dietrich Fischer Dieskau Fischer-Dieskau Giusseppe Verdi La Traviata Opera Di Provenza |
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Dietrich Fischer-Dieskau - "Einsamkeit" - Die Winterreise Die Winterreise by Franz Schubert Dietrich Fischer-Dieskau, baritone Alfred Brendel, piano Tags: dietrich fischer dieskau alfred brendel franz schubert die winterreise lieder |
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Fischer-Dieskau sings Schubert -- "An die Musik" Schubert's famous ode to the wonders of music, on a poem by Franz von Schober. This lied, D. 547 (Op. 88, No. 4), dates from 1817. Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Filmed in London, May 14, 1959 (they filmed four songs) Von Schober, while a law student in 1816, heard a few of Schubert's songs and found out he was still barely surviving the drudgery of school and looking for work. Von Schober proposed to install him in his own household, so Schubert could concentrate on just composing. Schubert agreed to this after his father's consent was given. An die Musik Du holde Kunst, in wieviel grauen Stunden, Wo mich des Lebens wilder Kreis umstrickt, Hast du mein Herz zu warmer Lieb entzunden, Hast mich in eine beßre Welt entrückt! Oft hat ein Seufzer, deiner Harf' entflossen, Ein süßer, heiliger Akkord von dir Den Himmel beßrer Zeiten mir erschlossen, Du holde Kunst, ich danke dir dafür! To the Art of Music Oh hallowed Art, how often, when depression and life's wild circle had ensnared my space, have you aroused my heart to love's compassion, have you removed me to a better place! How often has the sigh your harp created, a sacred chord of your enchanted mood, to heaven's better times my soul elated: Oh hallowed Art, to you my gratitude! Translation by Walter A. Aue, who notes: The German word "hold", as in "Du holde Kunst", is virtually untranslatable. Musically speaking, it has too many overtones. Two translations I know of - i.e. that I tracked down after I had done my own - use "gracious" and "sacred". Good choices, particularly the former. One could use these, or use "lovely", "gentle", "propitious", "charming" - and then some. My use of "hallowed" is as incomplete and as unsure as any of these. But one thing is sure: None of these adjectives describe "highbrow" music as it is written today. In fact, one would have to press antonyms into service for that. Is there any more solace to be found in the music of today? Should Ortega y Gasset have been right with his claim, in the first half of the 20th century, that music - or, as he wrote, art - had died? If so, will there again be an anthropomorphic resurrection, or is it really all over? Incidentally, Franz (Adolf Friedrich) von Schober was a Swede - well, a Swede born of an Austrian mother (at Torup Castle near Malmö), anyway. Tags: baritone Fischer-Dieskau Lied Lieder Moore Schubert Schober |
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Fischer-Dieskau sings "Auf der Bruck" Lieder by Franz Schubert Dietrich Fischer-Dieskau (bariton) and Sviatoslav Richter (piano) 1978 Tags: Fischer-Dieskau Lieder vocal |
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Dietrich Fischer-Dieskau sings Fin ch'han dal vino Watcha think? Tags: Dietrich Fischer-Dieskau Fin ch'han dal vino Wolfgang Amedius Mozart Don Giovanni champagne aria opera |
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Fischer-Dieskau sings Schubert -- "der Lindenbaum" Dietrich Fischer-Dieskau, baritone Gerald Moore, piano Filmed in London, May 14, 1959 "I am hard to please," Fischer-Dieskau admits. He thinks "much is being lost about the good ways of making music", and regrets the decline of "true legato singing" - a charge that critics occasionally made against his own performances. "When you have something to say in music the phrases must be clear - the beginning, the climax, and the ending." --from an interview with Martin Kettle on his 80th birthday, at Guardian Unlimited Arts Der Lindenbaum (The Linden Tree) from the song cycle Winterreise (Winter Journey) by Franz Schubert, on poems by Wilhelm Müller. The cycle was written in 1827. Der Lindenbaum Am Brunnen vor dem Tore Da steht ein Lindenbaum; Ich träumt' in seinem Schatten So manchen süßen Traum. Ich schnitt in seine Rinde So manches liebe Wort; Es zog in Freud' und Leide Zu ihm mich immer fort. Ich mußt' auch heute wandern Vorbei in tiefer Nacht, Da hab' ich noch im Dunkeln Die Augen zugemacht. Und seine Zweige rauschten, Als riefen sie mir zu: Komm her zu mir, Geselle, Hier find'st du deine Ruh' ! Die kalten Winde bliesen Mir grad' ins Angesicht; Der Hut flog mir vom Kopfe, Ich wendete mich nicht. Nun bin ich manche Stunde Entfernt von jenem Ort, Und immer hör' ich's rauschen: Du fändest Ruhe dort ! The Linden Tree At wellside, past the ramparts, there stands a linden tree. When sleeping in its shadow; sweet dreams it sent to me. And in its bark I chiseled my messages of love: My pleasures and my sorrows were welcomed from above. Today I had to pass it, well in the depth of night - and still, in all the darkness, my eyes closed to its sight. Its branches bent and rustled, like calling out to me: Come here, come here, companion, your haven I shall be! The icy winds were blowing, straight in my face they ground. The hat tore off my forehead. I did not turn around. Away I walked for hours whence stands the linden tree, and still I hear it whisp'ring: You'd find your peace with me! translated by Walter A. Aue, who writes: The Linden Tree, with Franz Schubert's melody from Die Winterreise (Winter Journey), is one of the few examples where a great classical composer - two other ones that come to mind are Mozart and Brahms - wrote a song that, perhaps in slightly simplified form, becomes a folk song (Volkslied). There is no greater honor in the German tradition. Tags: baritone Fischer-Dieskau Lied Lieder Lindenbaum Moore Schubert Winterreise |
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Brahms - O Tod, wie bitter bist Du? Fischer-Dieskau by Johannes Brahms (1833-1897) , from "Vier ernste Gesänge" (Four serious songs),op. 121 no. 3 O Tod, wie bitter bist du? published 1896 'See what violent words these are: 'for that which befalls man, befalls beasts,' and then in the fourth song, 'though I give my body to be burned'!" This was Johannes Brahms' comment, on the occasion of his first performance of his "Four Serious Songs" ("Vier Ernsten Gesänge") (Op. 121), for his Rhineland friends, at the Hager Hof estate in Bad Honnuf, in May 1896, as quoted by Gustav Ophüls in his Memories of Johannes Brahms. It was Pentacost, only a few days after the death of Clara Schumann, who had died on the twentieth of May. "... It was more an intensified recitation of Biblical text in tones, which he gave us in his hoarse voice; and what we heard was entirely different than an art song. Since then, no singer, not even Meschaert himself, has been able to awaken the same mighty impression in me, which the improvised rendition of these songs by their creator made on me at that time. It was actually no different than if the prophet himself had spoken to us." Ophüls mentioned Brahms' shaking while performing the third song: "The third song, 'O death, how bitter thou art,' plainly gripped him so strongly during its delivery, that during the quiet close, 'O death, acceptable is thy sentence,' great tears rolled down his cheeks, and he virtually breathed these last words of the text, with a voice nearly choked with tears. I shall just never forget the moving impression of this song." The "Four Serious Songs" were the last songs composed by Brahms, when he was 63 years old. He died less than a year later, on April 3, 1897. This song-cycle for bass voice and piano, which uses texts from the Old Testament, and the famous words of St. Paul to the Corinthians, has the character of a musical last will and testament by Brahms: "Though I speak with the tongues of men and of angels and have not charity [love, agape], I am become as a sounding brass and a tinkling cymbal," culminating in the exclamation, "But now abide faith, hope, and charity, these three, but the greatest of these is charity," (Opus 122, his very last compositions, are eleven organ chorale preludes, which Brahms completed in 1896.) Visit below link for the rest of this article as an introduction to Brahms' "Vier ernste Gesänge". http://www.schillerinstitute.org/fid_02-06/032_brahms.html Original text: O Tod, wie bitter bist du, Wenn an dich gedenket ein Mensch, Der gute Tage und genug hat Und ohne Sorge lebet; Und dem es wohl geht in allen Dingen Und noch wohl essen mag! O Tod, wie bitter bist du. O Tod, wie wohl tust du dem Dürftigen, Der da schwach und alt ist, Der in allen Sorgen steckt, Und nichts Bessers zu hoffen, Noch zu erwarten hat! O Tod, wie wohl tust du! English Translation: O death, how bitter is the remembrance of thee to a man that is at peace in his possessions, unto the man that hath nothing to distract him, and hath prosperity in all things, and that still hath strength to receive meat! O death, how biter is the remembrance of thee. O death, how aceptable is thy sentence unto a man that is needy and that faileth in strength, that is in extreme old age, and is distracted in all things, and that looks for no better lot, nor waiteth on better days! O death, how acceptable is thy sentence. Tags: Johannes Brahms Vier ernste gesange o tod wie bitter bist du Dietrich Fischer Dieskau Lied |
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Fischer-Dieskau Sings Mahler "Ging heut Morgen übers Feld" from "Lieder eines fahrenden Gesellen" Dietrich Fischer-Dieskau, baritone NHK Symphony, Paul Kletzki, conductor Filmed at Salle Pleyel, Paris, 24 October 1960 Fischer-Dieskau has always had an encyclopaedic knowledge of other singers. "It is remarkable when people say how different I am from earlier singers," he says, "because I overlapped with singers like Heinrich Schlusnus and Erna Berger and I was not conscious of being different in approach. On the contrary, I tried to be like them, to be as perfect as I thought they were." --from an interview with Martin Kettle on his 80th birthday, at Guardian Unlimited Arts Folks have told me that they have taken down DFD clips in the past, and this one may be removed as well. If you want to have it available to you always , save it to your computer via Video Downloader: http://javimoya.com/blog/youtube_en.php Dietrich Fischer-Dieskau sings Mahler Lieder eines fahrenden Gesellen, song 2 of the cycle, "Ging heut Morgen übers Feld" ("I Went This Morning over the Field") Wiki reports: The second movement, "Ging heut Morgen übers Feld" ("I Went This Morning over the Field"), is the happiest movement of the work. Indeed, it is a song of joy and wonder at the beauty of nature in simple actions like birdsong and dew on the grass. "Is it not a lovely world?" is a refrain. However, the Wayfarer is reminded at the end that despite this beauty, his happiness will not blossom anymore now that his love is gone. This movement is orchestrated delicately, making use of high strings and flutes, as well as a fair amount of triangle. The melody of this movement, as well as much of the orchestration, is developed into the 'A' theme of the first movement of the First Symphony. Ging heut morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust'ge Fink: "Ei du! Gelt? Guten Morgen! Ei gelt? Du! Wird's nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!" Auch die Glockenblum' am Feld Had mir lustig, guter Ding', Mit den Glöckchen, klinge, kling, Ihren Morgengruß geschellt: "Wird's nicht eine schöne Welt? Kling, kling! Schönes Ding! Wie mir doch die Welt gefällt! Heia!" Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Schonnenschein! Blum' und Vogel, groß und Klein! "Guten Tag, ist's nicht eine schöne Welt? Ei du, gelt? Schöne Welt!" Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein', Mir nimmer blühen kann! I walked across the fields this morning; dew still hung on every blade of grass. The merry finch spoke to me: "Hey! Isn't it? Good morning! Isn't it? You! Isn't it becoming a fine world? Chirp! Chirp! Fair and sharp! How the world delights me!" Also, the bluebells in the field merrily with good spirits tolled out to me with bells(ding, ding) their morning greeting: "Isn't it becoming a fine world? Ding, ding! Fair thing! How the world delights me!" And then, in the sunshine, the world suddenly began to glitter; everything gained sound and color in the sunshine! Flower and bird, great and small! "Good day, Is it not a fine world? Hey, isn't it? A fair world?" Now will my happiness also begin? No, no - the happiness I mean can never bloom! Tags: baritone fischer-dieskau Kletzki Lied Lieder Mahler nhk |
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