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Weiterlesen Richard Zoozmann. Weiterlesen Theodor Storm. Gedichte zum Stichwort Meer. Ich suche Sternengefunkel. All mein Karbunkel Brennt Sonne dunkel. Sonne drohet mit Stich. Abschied der Seeleute. Wann sieht ein Walfisch wohl je Ein Reh? An Land. Wir sind betrunken wie die Wellen Im Stillen Ozean.
Das hat uns armen Gesellen Der Whisky angetan. The sun departs behind the mountains. In all the valleys the evening descends with its shadow, full cooling. O look! Like a silver boat sails the moon in the watery blue heaven. I sense the fine breeze stirring behind the dark pines.
The brook sings out clear through the darkness. The flowers pale in the twilight. The earth breathes, in full rest and sleep. All longing now becomes a dream. Weary men traipse homeward to sleep; forgotten happiness and youth to rediscover.
The birds roost silent in their branches. The world falls asleep. It blows coolly in the shadows of my pines. I stand here and wait for my friend; I wait to bid him a last farewell.
I yearn, my friend, at your side to enjoy the beauty of this evening. Where are you? You leave me long alone! I walk up and down with my lute on paths swelling with soft grass. O beauty! O eternal loving-and-life-bedrunken world! He dismounted and handed him the drink of farewell. He asked him where he would go and why must it be.
He spoke, his voice was quiet. Ah my friend, Fortune was not kind to me in this world! Where do I go? I go, I wander in the mountains. I seek peace for my lonely heart. I wander homeward, to my abode! I'll never wander far. Still is my heart, awaiting its hour. The dear earth everywhere blossoms in spring and grows green anew! Everywhere and forever blue is the horizon! Mahler had already included movements for voice and orchestra in his Second , Third , Fourth and Eighth Symphonies.
However, Das Lied von der Erde is the first complete integration of song cycle form with that of the symphony. The form was afterwards imitated by other composers, notably by Shostakovich and Zemlinsky. This new form has been termed a "song-symphony",  a hybrid of the two forms that had occupied most of Mahler's creative life.
Only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth. In many places the texture resembles chamber music, with only a few instruments being used at one time.
Mahler's habit was to subject the orchestration of every new orchestral work to detailed revision over several years. Though the musical material itself was hardly ever changed, the complex instrumental 'clothing' would be altered and refined in the light of experience gained in performance.
In the case of Das Lied von der Erde , however, this process could not occur as the work's publication and first performance occurred posthumously. The score calls for tenor and alto soloists. For the first few decades after the work's premiere, this option was little used. On one occasion Bruno Walter tried it out, and engaged Friedrich Weidemann , the baritone who had premiered Kindertotenlieder under Mahler's own baton in However, Walter felt that tenor and baritone did not work as well as tenor and alto, and he never repeated the experiment.
Following the pioneering recordings of the work by baritone Dietrich Fischer-Dieskau under conductors Paul Kletzki and Leonard Bernstein , the use of baritones in this work has increased. Arnold Schoenberg began to arrange Das Lied von der Erde for chamber orchestra, reducing the orchestral forces to string and wind quintets, and calling for piano , celesta and harmonium to supplement the harmonic texture.
Three percussionists are also employed. Schoenberg never finished this project, but the arrangement was completed by Rainer Riehn in In , the Octavian Society commissioned Glen Cortese to create two reductions of the work, one for a chamber ensemble of twenty instruments and one for a small orchestra with woodwinds and brass in pairs. Both these reductions are published in critical editions by Universal in Vienna.
Mahler also arranged the work for piano accompaniment, and this has been recorded by Cyprien Katsaris with Thomas Moser and Brigitte Fassbaender.
Katsaris has also performed this version in concert. The first movement, "The Drinking Song of Earth's Misery" in A minor , continually returns to the refrain, Dunkel ist das Leben, ist der Tod literally, "Dark is life, is death" , which is pitched a semitone higher on each successive appearance. The singer's part is notoriously demanding, since the tenor has to struggle at the top of his range against the power of the full orchestra.
This gives the voice its shrill, piercing quality, and is consistent with Mahler's practice of pushing instruments, including vocal cords, to their limits. According to musicologist Theodor W.Gedichte von Christian Morgenstern, Theodor Storm, Adele Schopenhauer, Ernst von Wildenbruch, Joseph von Eichendorff, Joachim Ringelnatz, Kurt Tucholsky, Gustav Falke, Richard Zoozmann, Khalil Gibran zum Thema Meer.