Twelve Lieder, Op. 9, No. 5: In Autumn (Im Herbst)

Twelve Lieder, Op. 9, No. 5: "In Autumn" (Im Herbst) Sheet Music by Felix Mendelssohn
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The personification of the field and the vivid images in the second to fourth verse enhance its suffering from the harsh winter and convey its craving for new life. Transferred to a person, the image of the thirsting field describes someone with an essential need and desire for something after previous bad experiences. According to Morwitz , it portrays the poet himself, who hopes to gain new creative energy from his new friendship with Boehringer after the death of Maximin.

The second part of the poem conveys the field's longing in direct speech. The image changes gradually from the craving for water to the yearning for a lover. In the fifth verse, the speaker asks the other to be the much-needed rain. In the sixth verse, the images start to get mixed. The flowery showers might still refer to rain. Dies ist ein lied. Ein leichtbeschwingtes. Nur dir allein. This is a song. For you alone:.

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Of childish imagination. Of pious tears. Through morning gardens it sounds. A lightly elated one. Only for you. May it be a song. That moves. Dette er en sang. Om barnslig innbilning. Den klinger gjennom morgenhager. En lett oppstemt en. Bare til deg alene. The first Lied consists of nine verses of different length and metre. Although George did not divide the poem into stanzas, a division into four smaller units of meaning is possible. The first and the last part embrace the two rhyming couplets of the third to sixth verse. The first and eighth verse on the one hand and the second and seventh verse on the other hand end with identical rhymes that underline the connection between the first and the last part.

Both parts convey the same content: The speaker has created this little song with the sole intention to move the addressee. His sincerity is expressed through the shortness and regularity of these five verses that contain four syllables each. The middle part further elaborates on the song by telling first what it is about vv. The pious tears in the fourth verse might be a sign of strong emotion.

They seem to be slightly exaggerated in the context of this simple poem. Here, the paradox of the song describing itself and therefore not managing to do so is perhaps most apparent. According to the fifth verse, the song wafts, maybe on a warm breeze, through a garden in the morning. One can imagine that everything has just awakened and is clean from the dew.

Besides innocence and purity, the image also conveys a certain urgency. The addressee and his feelings for him or her are so important that the speaker wants to sing his song first in the morning. In the sixth verse, the song is described as gently buoyant, something which is also conveyed by the longer words of the middle section.

In addition, the shortening of the second verse of the rhyming couplet makes it appear like an echo or as if someone was humming a melody and cut off parts of it the second time.

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The poem as a whole seems to express the emotions of someone who has developed a strong affection for someone else. He does not understand what he feels or knows what the other feels, yet enjoys it and tries to share it. Im windes-weben War meine frage. Was du gegeben. Aus nasser nacht. Ein glanz entfacht —.

Nun muss ich gar. Um dein aug und haar. Alle tage. In sehnen leben. My question was.

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Only reverie. Only a smile was. What you gave. Out of wet night. A sparkle ignited —. Now May is pressing,. Now I even have to. For your eye and hair. Live longingly. I vindens veving. Bare et smil var. Det du gav. En glans tent —. Alle dager. Leve i lengsel. It consists of twelve short verses of only four or five syllables each and can be divided into three parts.

According to Morwitz , the first part vv. Enjambments connect the verses of each sentence. As stated in the first sentence vv. The speaker's words are perceived as just a fantasy as they were probably soft and hesitantly spoken and could not be heard in the wind. The vowels of the first verse are very light.

They get darker in the second verse, perhaps to show a hint of resignation or sadness at the realisation of a missed opportunity. The second sentence vv. The rhyme of the first and fifth verse could be seen as an embracing gesture that connects question and answer, speaker and addressee. The second part consists of the two central verses Reflecting on the past, he reaches a point of realisation, where the memory of what happened in the first part transforms into the image of a sudden glow that illuminates a rainy spring night.

The last part vv. While the innocent budding love of the past was fulfilment in itself, now, at a later stage, which is compared to May, love has become a never-ending longing to be close to the beloved. The eleventh verse implies that the speaker does not expect the other to return his feelings.

Possibly, he might not even see the other again. An baches ranft Ein vogel pfeift. Ein leuchten streift. Und zuckt und bleicht. Das feld ist brach,. Der baum noch grau. Blumen streut vielleicht. Der lenz uns nach. At the edge of the brook. The only early ones. The hazels bloom. A bird whistles.

In cool meadow. A glow brushes. Warms us gently. And flickers and fades. The field is fallow,. The tree still grey. Spring strews perhaps. Flowers after us. Ved bekkens bredd. De eneste tidlige,. Haslene blomstrer. En fugl plystrer. Et lys streifer. Varmer oss mildt. Og flakker og blekner. Blomster etter oss. Like the previous poem, the third Lied from Der siebente Ring expresses the emotions of a person symbolically through a spring landscape.

However, as Morwitz argues, the described scene hints at an earlier time than May, which was mentioned in the second Lied. Morwitz infers that George deliberately avoided a chronological order of the poems. The third Lied consists of twelve mostly iambic verses. With few exceptions, each of them contains four syllables.

The poem describes nature at the very beginning of spring. It is so early that only hazels bloom next to a brook vv. According to Gomringer , the word indicates a ragged bank that is situated on the opposite side of the flat inner bank of a bending stream. The contrasting elements of the changing landscape are also conveyed through the vowel colours. The fourth and fifth verse address another sense.

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A bird can be heard in a cool meadow. Although this pleasant image is another sign of the approaching spring, it also illustrates that winter has not quite ended yet, as the bird only whistles but does not sing. Morwitz suggests it belongs to the family Charadriidae. It is noteworthy that only one bird is mentioned. As Gomringer points out, up to the fifth verse, eye, ear and skin perception have mostly registered sensations that suggest early days, loneliness and coldness.

This changes in the next sentence vv. Unlike the previous Lieder, this one seems to depict a relationship that, albeit being in its very early stages, might turn out not be one-sided. However, the gleam of the light does not last. The description of nature continues with harsh, negative images in the two following verses. The field is fallow and the tree leafless. The field is fallow, but that might also mean it will soon be ready for new seeds.

The falling gesture, which continues into the last verse as a result of the enjambment, mirrors the image of strewing flowers. This balance is mirrored in the symmetry of the poem. The metre is stable apart from the beginning v. The rhymes, on the other hand, intertwine without any symmetry, and yet they are completely balanced as six rhyming pairs are spread over twelve verses.

They have just felt a little gleam of light, perhaps an idea of affection, but are unsure if anything will bloom out of it. Im morgen-taun Trittst du hervor. Den kirschenflor. Mit mir zu schaun,. Duft einzuziehn. Des rasenbeetes. Fern fliegt der staub. Durch die natur. Noch nichts gediehn. Von frucht und laub —. In the morning dew. You step forth. To watch the cherry bloom. With me,. To draw in the scent. Of the grass bed. The dust flies afar. Throughout nature. Nothing yet thriving. Of fruit and foliage —.

All around just blossom. From the south it blows. I morgenduggen. Trer du fram. Med meg,. Fra gressbedet. Gjennom naturen. Rundt omkring bare blomster. The fourth Lied from Der siebente Ring describes a later time in spring than the two previous poems. Two lovers enjoy the cherry blossom and the smell of the grass together while the longed-for summer is still far away.

The twelve verses of the poem are written in iambic dimeter. The feminine endings of the sixth and twelfth verse divide the poem into two halves of equal length and metre. The rhyme scheme, on the other hand, indicates a division into three parts, as one quatrain of enclosed rhyme is followed by two quatrains with garbled rhymes. Both ways of dividing the poem formally are consistent with its content. The first six verses describe how the other person comes to watch and enjoy the cherry blossom together with the speaker while the second half elaborates on the state of nature at that moment.

However, a division into three parts is possible as well. The first quatrain introduces the situation. In the early morning, the other steps towards the speaker to look at the cherry blossom with him. The other steps forth as if he or she was hidden or standing somewhere behind the speaker. Now, the beloved actively seeks out a place next to the speaker. Since all verses end with stressed syllables the iambic flow throughout the quatrain is never disrupted. It conveys the harmonic mood that characterises the relationship. The fifth and sixth verse, which continue the first sentence of the poem, address another sense by adding the smell of grass.

Whereas the cherry tree symbolises love, eroticism and fertility, the meaning of the grass bed is less obvious. The seventh verse describes how dust or pollen flies everywhere. Although the eighth verse could continue the previous sentence, grammatically it belongs to the last part of the poem, which emphasises how far away summer is.

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Apart from the cherry flowers, nothing has grown yet. Neither fruits nor leaves have fully developed. However, there is hope as a warm wind blows from the south v. Though George avoided a chronological order of the Lieder, this poem seems to be a continuation of the third Lied. The relationship between the speaker and his beloved, which is again represented by seasons and nature, has grown. Although there are no fruits on the trees yet, spring has finally come, and the two people appear closer together than before.

Kahl reckt der baum. Im winterdunst. Sein frierend leben, Lass deinen traum. Auf stiller reise. Vor ihm sich heben! Er dehnt die arme —. Bedenk ihn oft. Mit dieser gunst Dass er im harme. Dass er im eise. Baldly the tree raises. In the winter mist. Its freezing life,. Let your dream. On silent journey. Rise in front of it! It stretches its arms —. Bestow on it often. This favour. So that in its grief. So that in the ice. It still hopes for spring! Treet strekker bart. I vinterdisen. Sitt frysende liv,. Reise seg foran det! Vis det ofte. Denne gunsten. Slik at det i sorgen. Slik at det i isen.

The fifth Lied from Der siebente Ring is set in winter. Like the previous poem, it consists of twelve verses in iambic dimeter. It describes a tree that raises its leafless branches and waits for spring. It can be divided into four parts of equal length. The winter mist takes away all light and warmth and causes it to feel cold. As both tercets have a similar rhyme scheme and metre, they obviously belong together and even seem to be connected as cause and effect.

The second half of the poem begins with another description of the tree, which rephrases the first verse in a way that attributes further human characteristics to it. This description is followed by the appeal to bestow the previously mentioned favour often on the tree. The dash at the end of the seventh verse seems to indicate another relationship of cause and effect. Despite grieving and being covered in ice, the tree should be supported in its hope for spring.

Both the tenth and eleventh verse convey the speaker's urgency again as they accumulate negative aspects of the tree's current situation that are further emphasised by the parallelism of the clauses, before resolving into the final verse. Like the other Lieder that describe different kinds of relationships between two people through images of nature and seasons, also this poem can be understood symbolically. In contrast to the previous poems, here, the speaker does not seem to be a part of the landscape he describes.

Despite addressing someone else, he never alludes to himself. For this reason, the tree becomes the protagonist of the poem. It might stand for a lonely and bitter person, perhaps someone with a recent unsuccessful relationship, who needs the support of another person to break the ice and overcome the bitterness.

The upward movements throughout the poem convey a longing for companionship and better times. Welt der gestalten lang lebewohl! Mitten beginnt beim marmornen male. Langsame quelle blumige spiele,. Korn um korn auf silberne schale. Ahnendes schweigen bannt die hier wohnen. Traumfittich rausche! Traumharfe kling! World of forms, farewell for a long time! Open up, forest full of snow-white trunks! Only up in the blue the crests bear. Foliage and fruits: gold carnelian. In the middle at the marble mark.

A slow spring starts its flowery play,. It trickles gently from the hollow as if. Grain upon grain fell on a silver bowl. Shivery coolness closes a ring,. Twilight of the morning clouds in the crowns,. Foreboding silence transfixes those who dwell here. Dream wing rustle! Dream harp sound! Skikkelsers verden lenge farvel! I midten ved merket av marmor begynner. En treg kilde blomstrende spill,. Renner sakte fra hvelvingen som om. Morgenens demring svever i kronene,. Anende taushet trollbinder de som bor her. The poem consists of twelve verses in three stanzas with enclosed rhymes.

Addressing various senses, the three stanzas describe different features of a rich and vivid landscape. The regular change of dactylic and trochaic metre gives the poem an incantatory tone. It starts with a farewell to an old world which the speaker leaves to enter the new world of dreams. The phrase could also refer to a world of poetic characters that might stand for a form of poetry which is just about artificial outer appearances.

In the second verse, the speaker addresses the forest in front of him and asks it to open for him, conveying the impression that he has the knowledge or power to shape the landscape according to his will. The image of the white tree trunks conveys two different aspects of the scene. On the other hand, the white trunks suggest a forest of birch trees, which symbolise life, spring or new beginnings. The two following verses enlarge upon the trees, which appear very impressive as they rise high into the air, where their crowns, stylised into comb shapes, carry leaves and fruits.

The fruits and leaves are compared to carnelian, a red or red-brownish, iron-rich mineral that is used to make gemstones. The image of the forest is very colourful as the scene includes white trunks, a blue sky and red-brown leaves and fruits that suggest the new world is not a world of spring but autumn.

The second stanza depicts the play of water in a marble fountain. In the eighth verse, the otherwise regular rhythm is interrupted by a sudden trochaic beginning that illustrates the new image of the verse, which compares the water of the spring to grains falling one by one on a silver bowl. It is easy to associate this description with the idea of an hourglass that shows the slow trickle of time. Throughout the second stanza, different materials with different textures are mentioned: cold marble, slowly flowing water and single grains in a metal bowl.

The third stanza further describes yet another aspect of the scene. It is early in the morning. The mood of the last stanza is magical and dreamlike and seems a little darker than previously. Those who live in the forest are spellbound v. There is no sound, just a foreboding silence, which makes it possible to hear the dream wing and the dream harp the speaker asks to sound at the end. His requests connect the last verse with the beginning of the poem and illustrate again that the landscape is shaped according to his wishes.

Mein heilig streben ist mich traurig machen. Damit ich wahrer deine trauer teile. Nie wird ein warmer anruf mich empfangen,. Muss ich erkennen mit ergebnem bangen. Das herbe schicksal winterlichen fundes. Faithfulness still compels me to watch over you. And the loveliness of your sufferance to linger,. My sacred quest is to sadden myself. So that I more truly share your grief.

Never will a warm call welcome me,. Until the late hours of our union. I have to recognize with devoted trepidation. The bitter fate of wintry discovery. Slik at jeg sannere deler din sorg. Den bitre skjebnen til vinterlig funn. Since he allowed the other to get closer to him, he feels obliged to remain faithful to her even though he realises that their relationship affects him negatively.

He hesitates to part with her, because he admires the beauty and greatness of her suffering. Although he addresses her directly, the poem appears to be contemplation and not an attempt at dialogue. Morwitz argues that the poet accounts for his behaviour to himself, possibly in his room in Bingen. He even wants to make her grief his to truly share it and by doing so surmount their differences and be closer to her.

In the first stanza, he only speaks in mono- and disyllabic words that convey the deep sorrow he feels. The second stanza describes the future as he perceives it. However, he realises he will never get a warm reception from her and has to accept the bitter fate of what he found in winter v. The image of the last verse creates a strong contrast to the warm call the speaker hopes for at the beginning of the stanza.

Ja heil und dank dir die den segen brachte! Mit der erwartung deiner — Teure — sachte. Du kamest und wir halten uns umschlungen,. Und ganz als glichest du der Einen Fernen. Dich loben auf den sonnen-wanderungen Hail and thanks to you who brought the blessing! You gently lulled the ever-loud throb. With the anticipation of you — dear one —. During these radiance-filled dying weeks. You came and we hold each other embraced,. I will learn gentle words for you.

And just as if you resembled the One Faraway. Praise you on the sun journeys. Du dysset den vedvarende sterke bankingen. Du kom og vi holder hverandre omfavnet,. Like the poem Webern set as Op. The enclosed rhyme in the second stanza is the only formal difference. In the first stanza, the speaker addresses and praises another person. At first glance, this strong heartbeat seems to convey his anxiousness about the oncoming winter or his longing for the addressee. He might be afraid of being lonely, but the anticipation of her arrival dampens his fear. Now, it would suffice him, if another woman, who had previously shyly asked to be his companion, was once again drawn to him by the intensity of his longing.

While he only felt a fleeting affection for her previously, he would now gladly accept her as his companion. Despite being divided only by a comma, the fifth and the three last verses form separate sentences that structure the second stanza similarly to the first. The use of past, present and future tense in quick succession is noteworthy. The other came, they are embracing each other, and the speaker will learn soft words and praise the other. Three Choral Settings from Alice in Wonderland: 1.

The Lobster Quadrille; 2. Lullaby of the Duchess; 3. This Is My Letter to the World; 2. The Farthest Thunder; 3. With a Flower; 4. Transplanted; 5. If You Were Coming in the Fall; 7. Bring Me the Sunset; 8. Farewell; 9. Better than Music , Michael Conley b. Cello Suite No. William M. Schoenfeld Schaffe in mir, Gott, ein rein Herz, Op. Moses Hogan Alleluia Eric Whitacre b. Printing texts or translations without the name of the author or translator is also illegal. For more information , contact us at the following address: Please read the instructions below the translations before writing!

In your e-mail, always include the names of the translators if you wish to reprint something. Ach, wie schnell die Tage fliehen, Wo die Sehnsucht neu erwacht! Submitted by Emily Ezust [ Administrator ] Authorship by Karl Klingemann - [ author's text not yet checked against a primary source ].