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as little cupids aim their arrows at lovers. e opening strains return, but
instead of spring’s inviting welcome, the text now warns the listener that
spring won’t last forever.
(Torquato Tasso, translated by William Hawley)
Io son la Primavera,
Che lieta, o vaghe donne, a voi ritorno
Col mio bel manto adorno
Per vestir le campagne d’erbe e ori
E svegliarvi nel cor novelli a mori.
A me Ze ro spira,
A me ride la terra, e’l ciel sereno;
Volan di seno in seno
Gli Amoretti vezzosi a mille.
Chi armato di stral, chi di faville.
E voi ancor gioite,
Godete al mio venir tra rise e canti;
Amate i vostri amanti
Or che’l bel viso amato april v’in ora;
Primavera per voi non torna ognora.
I am Spring
who gladly, lovely women, returns to you
with my beautiful, embellished mantle
to dress the countryside in greenery and
owers
and to arouse in your hearts new loves.
For me Zephyr sighs,
for me the earth laughs, as do the serene
heavens;
from breast to breast y
the charming Amoretti by the thousands
armed with arrows and with torches.
And you, again delighted,
take pleasures in my coming amidst
laughing and song;
love your lovers
now, while April adorns lovely faces with
owers;
Spring for you will not return forever.
RICHARD STRAUSS (1864–1949)
Drei Männerchöre
,
Richard Strauss is best remembered
today as the composer of strikingly
original orchestral tone poems and
operas that continued and extend-
ed the groundbreaking changes to
harmonic language and musical
structure made by Richard Wag-
ner. Strauss also wrote little-known
works for the male singing-societies
of Germany, including these
Drei
Männerchöre
, composed for the Co-
logne Männergesangverein in
.
ough written a er the height
of his prowess as an operatic and
symphonic composer, these pieces
exemplify Strauss’s masterful command of his musical language and his
great sensitivity in setting the poetry of the great German Romantic poet
Friedrich Rückert ( – ).
Von den Türen
(
At the Gates
) is a metaphorical journey through the life
of one man, from his early struggle for wealth and love to his nal resting
place.
Traumlicht
(
Dreamlight
) paints an almost impressionistic vision of
light and dreams, while
Fröhlich im Maien
(
Joyous in May
) is a strophic
romp, treating the listener to a number of unexpected harmonic detours
and calling on everyone to “dance, joyous in May.”
Von den Türen
Ich habe geklop an des Reichtums Haus;
man reicht mir ‘nen Pfennig zum Fenster
heraus.
Ich habe geklop an der Liebe Tür;
da standen schon fünfzehn andre dafür.
Ich klop e leis’ an der Ehre Schloß;
hier tut man nur auf dem Ritter zu Roß.
Ich habe gesucht der Arbeit Dach;
da hört’ ich drinnen nur Weh und Ach!
I knocked at the house of Wealth;
they handed me a penny through the
window.
I knocked at Love’s door;
een others were already standing there.
I knocked so ly at the castle of Honor;
here they only open for the knight on
horseback.
I sought Labor’s oor;
inside there I heard only “woe” and “alas!”
Ich suchte das Haus der Zufriedenheit;
es kannt’ es niemand weit und breit.
Nun weiß ich noch ein Häuslein still,
wo ich zuletzt anklopfen will.
Zwar wohnt darin schon mancher Gast,
doch ist für Viele im Grab noch Rast.
I sought the house of Contentment;
far and wide, no one knew of it.
Now I know of another quiet, little house,
where I want to knock at last.
True, some guests already dwelt there,
but for the Many, there is still rest in the
grave.
Traumlicht
Ein Licht im Traum hat mich besucht,
es nahte kaum und nahm die Flucht.
Der Blick ist tief hier eingesenkt,
den, als ich schlief, du mir geschenkt.
Hell dämmert mild am Tage wach,
O Nachtgebild’, dein Glanz mir nach.
Komm o , o Stern, in meiner Ruh’!
Dir schließ’ ich gern die Augen zu.
Hell dämmert mild ein Licht im Traum
am Tage mir nach.
Komm o , o Stern, in meiner Ruh’!
Dir schließ’ ich gern die Augen zu.
A light visited me in my dream,
it barely came near before taking ight.
e image is here deeply embedded,
that which you sent me as I slept.
Even in my waking hours, your luster
shines brightly upon me, O nocturnal image.
Come o en, O star, during my rest!
For you, I gladly close my eyes.
I o en see the bright light of my dream
during the day.
Come o en, O star, during my rest!
For you, I gladly close my eyes.
Fröhlich im Maien
Blühende Frauen,
lasset euch schauen
fröhlich im Tanze
unter dem Kranze!
Tanzet zu zweien
unter Schalmeien,
tanzet am Reihen
fröhlich im Maien!
Prüfende Kenner,
kommet, ihr Männer,
sehet die klaren
Bilder sich paaren.
Tanzen zu zweien…
Freut euch, ihr Alten,
junger Gestalten!
Wie ihr gesprungen,
springen die Jungen.
Tanzen zu zweien…
Junge und schöne
Töchter und Söhne,
Enkel nicht minder
reizend als Kinder.
Tanzen zu zweien…
Junges Gelichter,
ihr seid nicht Richter;
Jünglinge, wählet,
eh’ es euch fehlet!
Tanzet zu zweien…
(Tra la la…)
Blossoming young women,
let yourselves be seen
dancing joyously
under the wreath!
Dance in pairs
to the sound of shawms
[wind instruments]
,
dance in rows,
joyous in May!
e demanding connoisseurs!
Come, you men,
see the bright
gures couple o .
Dance in pairs…
Rejoice, you elders,
in the youthful gures!
As you once did leap,
so now the young ones leap.
Dance in pairs…
Young and beautiful
daughters and sons,
and grandchildren no less
charming than children.
Dance in pairs…
Young rascals,
you are not judges;
Young men, choose
before you miss out!
Dance in pairs…
(Tra la la…)
Richard Strauss
RAVINIA MAGAZINE | JULY 30 – AUGUST 5, 2018
104