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Twelve Songs, Op 8 Other options More. Mendelssohn: On wings of song No Andres Maienlied 'Hexenlied' Die Schwalbe fliegt, der Frühling siegt.
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  • Attacking Rather than Explaining (Volume Book 2);
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It looks and sounds the epitome of beauty, but the gazelles, palm trees, roses, violets, lotus blossoms, and Indias sacred river, cobbled together in improbable conjunction, are verbal veils for poverty: the sweetheart is. Instead, they will imbibe love cheaper than wine and dream unspecified dreams together to the lilting strains of melodious verse, devised free of charge.

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One thinks of Baudelaires Linvitation au voyage Invitation to a Journey from Les fleurs du mal, its Dutch canals as unrealistic as Heines India and its luxe, calme, et volupte the twin to Heines Liebe und Ruhe. That Heine subverts conventions of all sorts is evident in the anthropomorphized violets, no longer traditional symbols of maidenly modesty but silly coquettes of the sort Heine derides elsewhere in the Buch der Lieder; the beloved may be complimented as sister to the exotic lotus, but her kin are more common. If bourgeois society, with its shallow young women and poverty-stricken poets, is an object of subterranean satire in this poem, so too is poetic language.

Ein Bild! Mein Pferd furn Bild!


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An image! My horse for an image! Because he can stitch the borrowed improbabilities together with such skill, perhaps the bourgeois beloved will not notice the touches of the surreal, or if she does, might find them a welcome escape from tea-table conventions. When Heines sarcasm is obvious, one knows to look for irony, but in poems like this, where we are beguiled by surface loveliness, one might well overlook the strangeness of it all. Did Mendelssohn not see it? Did he choose to ignore what Heine was up to in this poem? Or is recognition of the poets purposes encoded some- where in the song?

Certainly the music seems to refuse all exoticism, incon- gruity, or oddity. The intervallic leaps of a sixth, ascending to launch the first phrase, then descending in the next bar, are among the most memorable hallmarks of a memorable melody, its larger intervals interspersed with scalewise motion like graceful gar- lands hung between columns. It is characteristic of Mendelssohns strophic melodies that the singer avoids the tonic pitch in the vocal line until the end of each musical strophe, the voice hovering above rooted foundations in the piano; one notes too that this melody does not spread its wings very far.

The gentle melancholy of dominant minor harmonies in mid-strophe mm. That a slightly more intense outbreak of chromaticism but nothing radical happens in the piano. Occasionally, one can point to a text-specific detail in Auf Flugeln des Gesanges, such as the singer lingering on the verb erwarten await in mm. But Mendelssohn does nothing with leaping gazelles or flirtatious violets or pseudo-Hindu melody, and the omissions are significant.

Mendelssohn, I would speculate, recognized that the backdrop of this poem was actually a Biedermeier drawing room in which the persona sings to a middle-class German girl whom he wishes to seduce and does so with a parlor song of consummate loveliness, accompanied by a genteel young ladys harp transmogrified as a piano. In his words, Heine can hint to the cognoscenti that all is not as it seems, but Mendelssohn refuses to do so in his music. Scholars are right to point out that this composer was suspicious of the lyric persona in the songs of his day, and Auf Flugeln des Gesanges can be understood on one level as a repudiation of those Romantic lieder which bring subjectivity to sounding life.

It is an irony worthy of Heine himself that Mendelssohn has been so often castigated for his supposed failure to translate this poem adequately into music an exercise that would have horrified him when in fact, he understood it perfectly. He even joined the poet at his own game after all, each man in his own fashion points out the duplicity of words. One wonders if the composer took added delight in the fact that his song would surely be sung in German parlors for purposes similar to the personas, whether or not the listeners could grasp the deeper crises of language and identity at work beneath the polished surface of the lied.

This was not the only occasion on which Heine brought out the best in Mendelssohn. Part of this poets enterprise was to make myth modern, to bring the old gods of antiquity and the fantastic creatures of folklore into the present. For a composer who loved to trip the light fantastic, who mined musical gold from Shakespeares mixture of supernatural and human worlds in A Midsummer Nights Dream, the text of Neue Liebe New Love was an irresistible magnet.

The poem appears both in Heines Neue Gedichte New Poems of and his treatise on Elementargeister Elemental Spirits , in which Heine asks whether it is true that a mortal who sees an elfin queen. He then recites this poem as if such an experience had happened to him, not in the distant past but a short time ago. In dem Mondenschein im Walde Lately in the forest, by moonlight, Sah ich jungst die Elfen reiten [reuten]; I saw the elves ride by; Ihre Horner hort ich klingen, I heard their horns resounding, Ihre Glockchen hort ich lauten; I heard their bells ringing. Ihre weien Rolein trugen On their little white horses were Goldnes Hirschgeweih und flogen antlers of gold, and they flew Rasch dahin, wie wilde Schwane swiftly through the air, Kam es durch die Luft gezogen.

Lachelnd nickte mir die Konigin, Smiling, the queen nodded to me Lachelnd, im Voruberreiten in passing. Galt das meiner neuen Liebe, Does this signify my new love Oder soll es Tod bedeuten? Dance, Heine continues, is characteristic of spirits of the air, and Mendelssohn sets Heines poem as a specimen of his scherzo style also famil- iar from the Rondo capriccioso for piano, the third movement of the op. This song poses more difficulties for the performers than Auf Flugeln des Gesanges, whose suitability for amateurs is part of the point: the presto accompaniment is demanding, and the broken-chordal contours of the singers line are difficult to keep in tune.

What makes the piano part more of a challenge than most of his songs is the ringing of elfin chimes in the guise of measured trill figures, appearing first in mm. The fantastic-musical worlds in Mendelssohn are charged with an animistic vitality that conveys a sense of the superhuman, even perhaps particularly when the sounds are soft. The introduction alone is enough to tell us that the elves music is located in the piano, its simulacrum of fairy horns, horses hooves, and bells devoid of words.

The Other which can deal out death does not traffic in the ratioci- nation of mortal speech. Consequently, the personas vocal line is harnessed, helplessly, to the other-worldly music throughout the song; he can only sing to the elfin companys strains and in their rhythms. It is the verb lauten to ring, to resound in mm. In Mendelssohns imagination, the persona realizes at this very instant that the sounds he hears are deathly and leaps up an octave in alarm. The realization transforms the vocal line into something extraor- dinary.

Every downbeat is accented in a fashion counter to correct prosody; this is the collision of the supernatural with the mortal, and coercion is implicit in the singers inability to make the speech accents accurate as mor- tals measure such matters Example Here, Mendelssohn emphasizes the poets trochees by prolonging the initial accented syllable of each foot in order to underscore the words which tell of sound and hearing Horner, hort, klingen, Glocklein, hort, lauten ; Heine repeats words to incanta- tory effect, and the composer repeats them even more often.

The high A in. Mendelssohn was fond of the varied strophic format in which literal repetition of musical strophes is followed by a final varied strophe, and the third and last stanza of Heines poem is given special treatment in accord with that particular formal design.

12 Lieder Op.8 : VIII Andres Maienlied

The composers imagination was clearly piqued by the painterly image of the elfin procession riding by, for which he conceived the felicitous juxtaposition of the fairy horses hoofbeats in the piano part with the words im Voruberreiten set as half-notes in the vocal line, one per measure until the final two syllables, prolonged even more. When he ponders what the vision might mean, whether Eros or Death Galt das meiner neuen Liebe? The entire song is brilliantly conceived.

Although the horn-call motifs and hoofbeat figures seem to contradict Mendelssohns stated disdain for pictorialism, the composer might well have noted and approved the personas inability to define what the apparition means, or in musical terms, what the sounds in the piano signify. Music and the super- natural lie beyond the scope of mere language, even of Heines witchery with words.

If Neue Liebe is a glittering specimen of scherzo-esque virtuosity, it is not as brilliant as Andres Maienlied op. The young composer was clearly fond both of Johann Heinrich Vosss original poetry and Vosss popular edition of Ludwig Holtys poetry, the latter being Mendelssohns source for the text of Andres Maienlied the. Voss took considerable liberties with Holtys verse: the entire fifth stanza, in which the demonic is made comic A fiery dragon flies around the roof and brings us butter and eggs; the neighbors see the sparks flying and cross themselves by the fire.

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Given the association between virtu- osity and diabolism a la Paganini, one wonders whether Mendelssohn wrote this song as a humorous send-up of the phenomenon. Cliches of musical horror are put to gleeful use for example, the conven- tion of ascending chromaticism that is bone-chilling, awe-inspiring, in the Schiller-Schubert song Gruppe aus dem Tartarus Group from Hades is mock-horrific in Andres Maienlied Example Lightning-bolt arpeg- gios shooting upwards and then back down in a flash, tremolos, drum- roll patterns, menacing unisono figures, grace-noted low bass scalar figures leading to an accented pitch, octave leaps to high pitches for the singer Did I leave anything out?

That he could indeed be pictorial in song is evident; that he does so here as a special event, with humor aforethought, is also evident. I have already asserted that there is more variety in this composers song oeuvre than some have admitted, and the point can be demonstrated from within this same opus. The fourth of the twelve songs in op. Each of the first five stanzas, with its catalogue of floral beauties doomed to extinction, culminates in the warning, Hute dich, schons Blumelein! Hute dich!

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Beware, lovely little flower! The dread denouement has not yet happened to us, and we steer clear of Deaths tonic pitch, at least with the singers own breath. The piano goes on to predict the future and it is not far off. With the final stanza of the poem comes willed, defiant metamorphosis of dread into joy Come here, Death, I do not fear you. I shall be in the heavenly garden we all await.

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Rejoice, beautiful little flower, rejoice! In his imagining, music gives the sounding lie to the assertion made in words, telling us that the fear of death is not so easily overcome Example Immediately after the Erntelied in op. This in turn is followed by a Fruhlingslied Spring Song in Swabian dialect on a poem by the beautiful, talented Friederike Robert a friend of Mendelssohn and Heine , its vivacity complete with trilled birdsong in the piano. Variety indeed, and yet the opus clearly has an overall design, with spring songs at the beginning and end enclosing a religious core.

Mendelssohn mostly shunned song cycles of the Schubertian or Schu- mannian kind, except in part-songs, such as the op. Heines three linked poems entitled Tragodie Tragedy ; one scholar has also proposed what he calls a shadow cycle an original cyclic design which does not subsequently appear in publication in the first three songs of op.

For example, the op. However, the six male choruses of op.

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We will take leave of Mendelssohns solo songs with a brief consid- eration of a prophetic late song, one which anticipates music composed half-a-century after his death. Mendelssohn is so often characterized as a conservative composer that it is useful to be reminded of his originality, his capacity on occasion to see into the future. Perhaps because he spent much of his life in the gray climate of northern Germany, Mendelssohn was particularly attracted to spring songs and composed numerous specimens of the genre to texts by poets medieval Ulrich von Lichtenstein, Jacob von der Warte and modern.

Most of them are joyous celebrations of springs arrival; one thinks of the exultant, fanfare-like strains of the Fruhlingslied op. But on 7 October , only a few weeks before his death, Mendelssohn created a spring song in another vein: the Altdeutsches Fruhlingslied Old German Spring Song , published posthumously as op. Its text is a heavily rewritten segment from the Trutz-Nachtigall of Friedrich Spee , a Jesuit mystical poet famous in his own day for his opposition to the burning of witches.

In its original form, the poem is entitled Anders Liebgesang der gespons j e s v. Zum Anfang der Sommerzeit and tells in twelve ten-line stanzas of mys- tic marriage with Christ as the only source of healing for a wounded spirit.