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Seller : plusdecd. Seller : musaut. Format : LP. Seller : classical-music-records. Price : 7. Seller : funrec. Seller : recordsale. Price : 4. Price : 8. Price : 6. 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 SecondThirdFourth and Eighth Symphonies.
However, Das Album) 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 Erdehowever, 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 Weidemannthe 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 Bernsteinthe 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 pianocelesta 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 Inthe 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 minorcontinually 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. Adornothe tenor should here create the impression of a "denatured voice in the Chinese falsetto style".
The movement begins with a three-note horn call which recurs throughout the song, most notably at the climax in which the singer describes an ape calling "into the sweet fragrance of life. Marked 'somewhat dragging and exhausted', it begins with a repetitive shuffling in the strings, followed by solo wind instruments.
The lyrics, which are based on the first part of a Tang Dynasty era poem by Qian Qi lament the dying of flowers and the passing of beauty, as well as expressing an exhausted longing for sleep. The orchestration in this movement is sparse and chamber music -like, with long and independent contrapuntal lines. The form is ternarythe third part being a greatly abbreviated revision of the first.
It is also the shortest of the six movements, and can be considered a first scherzo. The music of this movement, "Of Beauty" for alto, in G majoris mostly soft and legato, meditating on the image of some "young girls picking lotus flowers at the riverbank. There is a long orchestral postlude to the sung passage, as the most beautiful of the young maidens looks longingly after the most handsome of the young men.
The second scherzo of the work is provided by the fifth movement, LP drunken man in Spring" for tenor, in A major. Like the first, it opens with a horn theme. In this movement Mahler uses an extensive variety of key signatures, which can change as often as every few measures. The middle section features a solo violin and solo flute, which represent the bird the singer describes.
The final movement, "The Farewell" for alto, from C minor to C majoris nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking.
Mahler himself added the last lines. This final song is also notable for its text-paintingusing a mandolin to represent the singer's lute, imitating bird calls with woodwinds, and repeatedly switching between the major and minor modes to articulate sharp contrasts in the text.
The movement is divided into three major sections. In the first, the singer describes the nature around her as night falls. In the second, she is waiting for her friend to say a final farewell. A long orchestral interlude precedes the third section, which depicts the exchange between the two friends and fades off into silence. Lines 1—3, 17—19, and 26—28 are all sung to the same music, with a pedal point in the low strings and soft strokes of the tam-tam ; in the first two of these sections, a countermelody in the flute imitates the song of a bird, but the third of these sections is just the bare pedal point and tam-tam.
Ewig is repeated as the music fades into silence, the Mahler* - Das Lied Von Der Erde (La Canción De La Tierra) (Vinyl chord "printed on the atmosphere" as Benjamin Britten asserted. It is also worth noting that throughout Das Lied von der Erde there is a persistent message that "The earth will stay beautiful forever, but man cannot live for even a hundred years. The last movement is very difficult to conduct because of its cadenza -like writing for voice and solo instruments, which often flows over the barlines.
Bruno Walter related that Mahler showed him the score of this movement and asked about one passage, "Can you think of a way of conducting that?
Because I can't. American poet Ronald Johnson wrote a series of concrete poems called Songs of the Earth based on a "progression of hearings" of Mahler's work.
From Wikipedia, the free encyclopedia. Symphonic song cycle by Gustav Mahler. Ottoni : 4 corni3 trombe3 trombonituba Percussioni : timpanigrancassatamburo piattitriangolotamburellotam-tamglockenspiel Voci soliste: tenore e contralto o baritono Cordofoni: celestamandolino Archi : 2 arpeviolini I e II, viole Mahler* - Das Lied Von Der Erde (La Canción De La Tierra) (Vinyl, violoncelli e contrabbassi.
Mahler ha creato tale composizione in un suo usuale soggiorno a Dobbiacopresso la "casetta di composizione" nei prati di Carbonin Vecchia Alt Schluderbach nel luglio    con cui ha "ritrovato la strada verso se stesso". Vocal score - Canto pianoforte. Da Wikipedia, l'enciclopedia libera.
It appears that Das Lied von der Erde was the Mahler work which Herbert von Karajan conducted more ofter than any other by that composer. This was his only recording of it and it is very, very, good with fine sound from the mids and outstanding vocal soloists; highly recommended/5(19). Das Lied von der Erde is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler between and Described as a symphony when published, it comprises six songs for two singers who alternate movements. Mahler specified the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available. Mahler composed this work following . Grabación realizada en Viena el año Bruno Walte el director, que había conocido al compositor, fué el destinatario del manuscrito de la partitura de "das Lied von der Erde y estrenó algunas de sus últimas obras, contaba ya con 76 años en esta interpretación y las voces solistas, repartidas a partes iguales en "La canción de la tierra" aúnque en mayor extensión para la Reviews: Gustav Mahler (): Das Lied von der Erde (La canción de la Tierra) Sinfonía para tenor, contralto y orquesta sobre el texto de Hans Bethge La flauta china 1. Das Trinklied vom Jammer der Erde 2. Der Einsame im Herbst 3. Von der Jugend 4. Von der Schönheit 5. Der Trunkene im Frühling 6. Der Abschied. 1 CD - DDD - 63'31''. Oxford Concise Dictionary of Music, ed. de , la entrada sobre Gustav Mahler lista las obras del compositor, colocando a Das Lied von der Erde en la categoría "canción-sinfonía". Tracking the Literary Metamorphosis of Das Lied von der Erdeby Teng-Leong Chew - The Chicago Mahlerites. Das Lied von der Erde (La cançó de la Terra) és una obra a gran escala per a dos solistes vocals i orquestra escrita pel compositor austríac Gustav derbattmogegefilykornorolsoftcat.xyzinfobuït en sis moviments separats, cada un d'ells és una cançó independent. L'obra és titulada Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges "Die chinesische Flöte") (Una. The Kathleen Ferrier/Julius Patzak is by far the very best recorded performance of Das Lied von der Erde. I agree with Mahler's biographer, Henry Louis de la Grange, that only a contralto can sing Das Lied von der Erde the way it was meant to be sung. Julius Patzak also delivers a performance of the tenor part that is the best I have ever heard/5(55). La Canción de la Tierra. En Gustav Mahler (Kalisch - Viena ) recibió un regalo de su amigo Theobald Pollack: se trataba del libro "La Flauta China (Die chinesische Flöte)", una antología de antiguos poemas chinos a los que el compositor austriaco musicó en bajo el nombre de "La Canción de la Tierra (Das Lied von Erde)". La sinfonía titulada “Das Lied von der Erde” tiene sus orígenes en el verano del año , pero no fue compuesta hasta Debido a las razones expuestas no se encontraba con ánimo para la composición en sus vacaciones del año Se interesó en la lectura de un volumen de poemas chinos adaptados al alemán, Die chinesische Flöte, la flauta china. Descrizione. Composto dopo la Ottava sinfonia, Das Lied von der Erde non appartiene alla "lista ufficiale" delle sinfonie di Mahler, tuttavia viene tradizionalmente considerata una sinfonia, visto anche il sottotitolo, Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges "Die chinesische Flöte").. La composizione è suddivisa in sei movimenti.
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