Aufnahme 2019 Show Ich weiß nicht, was soll es bedeuten, Die Luft ist kühl und es dunkelt, Die schönste Jungfrau sitzet Sie kämmt es mit goldenem Kamme Den Schiffer im kleinen Schiffe Ich glaube, die Wellen verschlingen Ich weiß nicht was soll es bedeuten, Die Luft ist kühl und es dunkelt, Die schönste Jungfrau sitzet Sie kämmt es mit goldenem Kamme Den Schiffer im kleinen Schiffe Ich glaube, die Wellen verschlingen Désolé pour les non-germanophones, mais la musique est vraiment plus belle en allemand. Voici toutefois une version française. SongsLorelei (1843)
LoreleiIch weiß nicht, was soll es bedeuten, Daß ich so traurig bin; Ein Märchen aus alten Zeiten, Das kommt mir nicht aus dem Sinn. Die Luft ist kühl und es dunkelt, Und ruhig fließt der Rhein; Der Gipfel des Berges funkelt Im Abendsonnenschein. Die schönste Jungfrau sitzet Dort oben wunderbar, Ihr goldnes Geschmeide blitzet, Sie kämmt ihr goldenes Haar. Sie kämmt es mit goldenem Kamme Und singt ein Lied dabei, Das hat eine wundersame, Gewalt’ge Melodei. Den Schiffer im kleinen Schiffe Ergreift es mit wildem Weh; Er schaut nicht die Felsenriffe, Er schaut nur hinauf in die Höh’. Ich glaube, die Wellen verschlingen Am Ende Schiffer und Kahn; Und das hat mit ihrem Singen Die Lorelei getan. LoreleyEnglish Translation © Richard Stokes I do not know what it means That I should feel so sad; There is a tale from olden times I cannot get out of my mind. The air is cool, and twilight falls, And the Rhine flows quietly by; The summit of the mountains glitters In the evening sun. The fairest maiden is sitting In wondrous beauty up there, Her golden jewels are sparkling, She combs her golden hair. She combs it with a golden comb And sings a song the while; It has an awe-inspiring, Powerful melody. It seizes the boatman in his skiff With wildly aching pain; He does not see the rocky reefs, He only looks up to the heights. I think at last the waves swallow The boatman and his boat; And that, with her singing, The Loreley has done. Translations by Richard Stokes, author of The Book of Lieder (Faber, 2005) If you would like to use our texts and translations, please click here for more information. ComposerClara Schumann (1819-96) née Wieck is one of the most significant women in musical history. Apart from being a tremendously successful pianist and pedagogue, she wrote numerous songs alongside other works in various genres. She also transformed the reputation of her initially unsuccessful husband Robert Schumann through her determined championing. As a girl, Clara Wieck was taught by her father Friedrich. Her mother Mariane Tromlitz was a professional-standard pianist. The marriage collapsed when Clara was a child, and only as an adult could she re-establish a relationship with her mother. Friedrich Wieck gave his daughter an exceptional musical education, including taking her to every important concert, opera, and drama in her native Leipzig, and training her in the complex business arrangements of a musical career. She gave her first performance at the Gewandhaus when she was nine years old. Clara Schumann typically incorporated her own compositions into her concerts throughout the 1830s. In the use of bold harmonies, adventurous modulations, and rhythmic freedom, her compositions share qualities with her contemporaries from the new Romantic school such as Robert Schumann, Felix and Fanny Mendelssohn, and Frederic Chopin. Her relationship with Robert Schumann signalled a turning point. After strong opposition from her father, they married in 1840 and embarked on a period of musical and literary study which transformed her style. However, she struggled with the pressure to be a perfect housewife and mother. During sixteen years of marriage, she bore eight children while also being pressed into Robert’s service, preparing keyboard arrangements of orchestral works, playing for rehearsals and much else. After Robert’s death in 1856, she threw herself back into her performing career for several reasons: firstly, her own playing was largely stifled during her marriage; secondly, she could reliably generate much-needed income; and finally, she could most effectively establish her husband’s legacy. She eventually settled in Frankfurt. Clara Schumann gave three songs (‘Am Strande’, ‘Volkslied’, and ‘Ich stand in dunkeln Träumen’) to her husband on their first Christmas together. These were followed by four songs, three of which were incorporated in a joint collection (published as Robert Schumann’s op.37 and her op.12) and several independent opuses. Although not numerous, her Lieder are expressive and powerful contributions to the genre, ranging from lyric to dramatic in style. Her accompaniment textures are varied and can be virtuosic, such as in ‘Walzer’ and the magnificent ‘Loreley’. Her melodies often display great elegance alongside an innate understanding of the voice. Formally, she was innovative, experimenting with phrase lengths and layers of texture. Her ‘Geheimes Flüstern’ from op.23 is one of the finest 19th-century Lieder ever composed. Clara Schumann’s taste in song poetry heavily overlapped with that of her husband and many other contemporaries. For instance, her favoured song poets, Heinrich Heine, Emanuel Geibel, and Friedrich Rückert, were all important contemporaries whose verses were frequently set. Perhaps more than any other woman composer, Clara Schumann is established in the song repertoire. A complete edition of her songs appeared in 1990 and there are numerous recordings. © Natasha Loges, 2022 See Full Entry PoetHeine was born of Jewish parents. Much of his early life was influenced by the financial power of his uncle Salomon Heine, a millionaire Hamburg banker, with whom he remained on an awkward footing for many years. After he had been educated in the Düsseldorf Lyceum, an unsuccessful attempt was undertaken to make a businessman of him, first in banking, then in retailing. Eventually, his uncle was prevailed upon to finance a university education, and Heine attended the universities of Bonn, Göttingen, Berlin, and Göttingen again, where he finally took a degree in law with absolutely minimal achievement in 1825. In that same year, in order to open up the possibility of a civil service career, closed to Jews at that time, he converted to Protestantism with little enthusiasm and some resentment. He never practised law, however, nor held a position in government service; and his student years had been primarily devoted not to the studies for which his uncle had been paying but to poetry, literature, and history. When the July Revolution of 1830 occurred in France, Heine did not, like many of his liberal and radical contemporaries, race to Paris at once but continued his more or less serious efforts to find some sort of paying position in Germany. In the spring of 1831 he finally went to Paris, where he was to live for the rest of his life. Heine’s early years in Paris were his happiest. From an outcast in the society of his own rich uncle, he was transformed into a leading literary personality, and he became acquainted with many of the prominent people of his time. However his critical and satirical writings brought him into grave difficulties with the German censorship, and, at the end of 1835, the Federal German Diet tried to enforce a nationwide ban on all his works. He was surrounded by police spies, and his voluntary exile became an imposed one. In 1840 Heine wrote a witty but ill-advised book on the late Ludwig Börne (1786–1837), the leader of the German radicals in Paris, in which Heine attempted to defend his own more subtle stand against what he thought of as the shallowness of political activism; but the arrogance and ruthlessness of the book alienated all camps. Though never destitute, Heine was always out of money; and when his uncle died in 1844, all but disinheriting him, he began, under the eyes of all Europe, a violent struggle for the inheritance, which was settled with the grant of a right of censorship over his writings to his uncle’s family; in this way, apparently, the bulk of Heine’s memoirs was lost to posterity The worst of his sufferings, however, were caused by his deteriorating health. An apparently venereal disease began to attack one part of his nervous system after another, and from the spring of 1848 he was confined to his “mattress-grave”. His third volume of poems, Romanzero (1851), is full of heartrending laments and bleak glosses on the human condition; many of these poems are now regarded as among his finest. A final collection, Gedichte 1853 und 1854 (Poems 1853 and 1854), is of the same order. After nearly eight years of torment, Heine died and was buried in the Montmartre Cemetery. Heine's international literary reputation was established with the publication of Buch der Lieder in 1827, a collection of already published poems, several of which were set as Lieder by Schubert, Schumann, Mendelssohn and others. Schwanengesang (Swan song), D 957, is the title of a collection of songs written by Franz Schubert at the end of his life in 1828 and published iin 1829, just a few months after his death. The collection was named by its first publisher Tobias Haslinger, presumably wishing to present it as Schubert's final musical testament to the world. Unlike the earlier Die schöne Müllerin and Winterreise, it contains settings of three poets, Ludwig Rellstab (1799–1860), Heinrich Heine(1797–1856) and Johann Gabriel Seidl (1804–1875). In the original manuscript in Schubert's hand, the first 13 songs were copied in a single sitting, on consecutive manuscript pages, and in the standard performance order. All the song titles are by Schubert, as the poet did not give names to the poems. The six poems by Heine, set as part of D 957, are Der Atlas , Ihr Bild, Das Fishermädchen, Die Stadt. Am Meer and Der Doppelganger. Taken from Encyclopedia Britannica (to view the full article, click here), and Wikipedia (to view the full article, click here.) To read some of his poetry, click here. See Full Entry Sorry, no further description available. Mailing ListWas beginnt mit ich weiß nicht was soll es bedeuten?Daß ich so traurig bin; Ein Mährchen aus alten Zeiten, Das kommt mir nicht aus dem Sinn. Im Abendsonnenschein.
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Ich weiß nicht, was soll es bedeuten.. Wie heißt das Lied von der Loreley?Die Lore-Ley bzw. Lied von der Loreley ist ein Gedicht von Heinrich Heine aus dem Jahre 1824, das die von Clemens Brentano erfundene Kunstsage Loreley zum Thema hat. Verbreitung fand es vor allem als Lied mit der von Friedrich Silcher 1837 komponierten Melodie, das als Ausdruck der Rheinromantik gilt.
Wie heißt das Gedicht Ich weiß nicht was soll es bedeuten dass ich so traurig bin?Heinrich Heine schuf das Gedicht 1824. Es ging in die Literaturgeschichte ein. Behandelt wird ein zentrales Motiv der Romantik: Das Vanitas-Motiv.
Was hat die Loreley gesungen?Ihr Name war Loreley. Sie hatte schönes blondes Haar, das sie kämmte, und sie hat sehr schön gesungen. Das war so wunderbar, daß alle Schiffer auf dem Rhein immer nur ihr zuhörten.
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