312:(Dance), is the most âpropheticâ of Szymanowski's new style. âIt is perhaps in this one song that it is possible to see the bridge between Szymanowskiâs âGermanicâ mode of expression and the later, middle-period style.â Though âdance was a recurring feature of Szymanowskiâs music,â this one differs âfrom the earlier, rather heavier examples,â exhibiting âmore refined, rocking rhythmsâ found in some of his middle-period pieces, such as Metopes, op. 29, and the interludes of his Third Symphony. There is an A pedal in the left hand of the piano for much of the song, though at the beginning of the piece it is embellished by a G minor triad, and at the end by a repeated chromatic motive alternated with an octave E in the right hand, âdying away to an open fifth, leaving an abiding impression of near stasis,â thus placing little emphasis on structural tonality. The climax of this piece occurs on a G# resolving briefly to an A, suggesting a turning point in the structure of the cycle itself, as the past three songs have peaked at G, G# and A, respectively. Also, this text is the most descriptively âexoticâ in its illustration of a tribal dance in which some only wear shoes and some are naked. To Szymanowski, who was seeking freedom of expression himself, the taboo of nudity was a tangible element of those pleasures forbidden to the Europeans yet allowed to the âheathensâ of the far East.
320:(The East wind in love) is the fifth in the set, and one of the three songs Szymanowski selected from op. 24 to include in his second set of Hafiz liebeslieder, op. 26 for solo voice and orchestra. In this song as in the other two, he relies less on functional tonality as on creating a mood, in this case, of a sweeping wind that is personifying one wild and drunk with love. The accompaniment is a constant ascending and descending of arpeggios and scales, painting an impression of the wind, upon which the voice is the message that the wind bears, mostly in broad half and quarter notes traveling chromatically in half steps with the occasional leap. This synthesis of piano and voice illustrates one concept, rather than the text painting of individual words as in the first piece. In keeping with the overall shape of the set, the range of the song peaks on a G, leading into the dynamic climax on a G flat on the word âSchonheit,â or âbeauty.â The harp-like accompaniment ends on a D octave, but there is no triad and therefore no feeling of cadence.
233:, (âWishesâ) begins the cycle. The text is an epitomic example of Hafiz's sensibility. The illustrations of nature in a series of four couplets represent the narrator's longings for his lover. The piano accompaniment is chromatic, with perpetual motion meandering around the key of F# Major and a brief minor-third tonicization on Eb-Major at the climax of the piece, on the repetition of the words âUnd duâ (And you). This repetition also occurs on the highest vocal pitch of the piece, and disrupts the flow of each textual line of eleven syllables by expanding it to thirteen, further marking it as the climax of the song. Szymanowski uses text painting, a common trait of the German
257:(âThe flaming Tulipsâ) share the subject which was a common poetical theme in the Young Poland group, death: the only medicine for the yearning pain of existence. A cyclical, âtortured, and highly chromatic progressionâ opens the song, illustrating the writhing of someone who is suffering, the obfuscation of a tonal center, and the âexoticâ East Orient, through the descending semi-tones used as a symbolic tool by European composers of the time. This motivic element at once reveals the three elements Szymanowski's developing compositional style. One, it bears a striking resemblance to that of the opening of the third song from
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accompaniment illustrates the darkness and depth of the grave with low descending octaves in the left hand as the right hand exhibits a series of non-functional chords that obscure the light with chromatics filling in every crack. Then, there is specific text painting, when the melody exhibits a descending whole tone scale, depicting âfrom your depths,â then rises at âyou shall rise as Springâs most beautiful flower!â Finally, there is a cadence in D major, the key of optimism, symbolizing the emergence of Spring from Winter, or, the emergence of life from death.
220:'s Das Lied von der Erde. Hans Bethge, a German poet, scholar, and translator, was most famous for his translations of Oriental works rather than his poems. His unique but extraordinary musical versification inspired many composers such as Eisler, Krenek, Mahler, Strauss, Schoenberg, Ullmann, Webern, and Szymanowski. For Hafiz poems, Bethge did not miss the Persian impressionism in his translation. Hafiz's poetic sensibility of âPure lyric gift, refined, sensuous, and aromaticâ is regarded very alike to Szymanoski's musical sensibility.
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173:"). Szymanowski first encountered Hafiz's texts in a volume of his poetry at the Imperial Library in Vienna in 1911. This discovery apparently unleashed an outpouring of creativity in the composer. While setting the texts, Szymanowski wrote in a letter to friend and musicologist , "I am extremely moved by my Hafiz. Allah Himself has thrust him into my hands. I think these texts are ideal...".
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141:, Op. 24, with piano accompaniment, and Op. 26, with orchestral accompaniment. There are six songs in Op. 24, three of them orchestrated in Op. 26, and five additional songs, unique to Op. 26. They were composed in Vienna, Austria, in 1911 and 1914, respectively. The works represent a transition between the first and second periods of the composer's style.
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piano line is constantly moving, depicting a constantly burning fire, rather than establishing a linear harmonic structure. The arc of this piece seems to come out of nowhere, on a sudden leap to an A-natural, a half-step higher than the peak of the previous song, on the word âLiebesgluten,â or âglowing, fiery love.â The song does finally
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thus tonality is still important, and the song indeed ends in both voice and piano in B Major. Again, the shape of the vocal line is an arc, reaching a climax this time on G#. Three, the use of descending semi-tones to depict the exotic is a
European idiom that was used by both French composers, such as in
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O unhappy me! Who will give me news of my dearest? The east wind did indeed come and whisper a rushed message in my ear, but he whispered so confusedly and a-stutter, that I could not understand him! How well I know, how well I know, He is himself the most miserable, totally drunk and deranged by the
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Ich wolltâ, ich wĂ€râ ein morgenklarer See und du, die Sonne, die sich darin spiegelt. Ich wolltâ, ich wĂ€râ ein Quell im
Wiesengrunde und du die Blume, die sich darin anlacht. Ich wolltâ, ich wĂ€râ ein grĂŒner Dorn am Busche und du die Rose, die ihn rot umschimmert. Ich wolltâ, ich wĂ€râ ein kleines Korn
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style uses this motive to paint the âimpressionâ of a forest in wintertime, Szymanowski's use can be interpreted as much more specific, the protagonist writhing in pain. Two, while the tonal center is vague, as in that of an impressionist work, the melody is still broad, searching for the tonic, and
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I wish I were a morning-clear lake and you the sun, reflecting in it. I wish I were a spring in the meadows and you the flower, laughing at yourself in it. I wish I were a green thorn on a bush and you the rose, shimmering red around it. I wish I were a small grain of sand and you the bird, picking
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but in other countries as well, and was later translated into many
Western languages. Hafiz, who, unlike other Persian poets, embraced the humanist and tactile qualities of ecstasy on earth in relation to the ultimate pleasure when the earthly proved inadequate: death. Death as ecstasy is a vital
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combines the use of semi-tones for color, rather than to embellish a tonal center and whole-tone scales, which avoid a tonal center for their lack of leading tones, to establish the mood of the song, a slow-burning, yet passionate, perpetual fire that continues, even in death. The harmony of the
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His enthusiasm for this cycle continued through to its completion, as he is quoted in another letter to his friend Stefan Spiess stating, "I have composed a new song cycle after words by Hafiz, a wonderful poet... You cannot imagine what satisfaction this work has been giving me". The songs were
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Der FrĂŒhling ist erschienen. Hyazinten und Tulpen und
Narzissen Steigen lachend aus allen Beeten auf. Doch wo bleibst du? Die Erde hĂ€lt dich fest in ihrem Dunkel. Ich werde weinen gleich der FrĂŒhlingswolke, Vielleicht daĂ du dann doch aus deiner Tiefe Emporsteigst, als des Lenzes schönste Blume!
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Ja, ich bin krank, ich weiĂ, doch laĂt mich! Mir kann der beste nicht der Ărzte helfen. Es gibt kein mittel gegen diese Wunden, die so verheerend glĂŒhn in meiner Brust. Nur Eine kann mir helfen, jene Eine, die mir das sĂŒĂe Gift gab, dran ich kranke. DaĂ sie mich liebte! Ich ware gleich gesund.
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or of
Szymanowski himself, they are indicative of this transitional piece, representing Szymanowski's progression from German romanticism to adding elements of French impressionism. There are elements of both in this song. Underlining the text âThe earth holds you fast in her darkness,â the
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poem in the 14th century. The ghazel is a typical form of
Persian lyrical poem in early middle-ages which have themes of love, wine, physical beauty, and intoxication. The most notable collection of the ghazels is called Divan-i Hafiz. This poetry is hugely influenced later poets not only in
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The Op. 24 cycle is clearly a transitional work, due to the highly
Romantic musical settings of the exotic texts of Hafiz. Yet in the first, fourth and fifth songs of the cycle, Szymanowski gives a glimpse of his new direction with the blurring of tonality reminiscent of the exotic works of
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Ich UnglĂŒckseliger! Wer gibt mir
Nachricht von meiner Liebsten? Zwar der Ostwind kam und raunte hastig Botschaft mir ins Ohr, doch raunte er so stmmelnd und verwirrt, daĂ ich ihn nicht verstand! Ich weiĂ es wohl, Er selber ist der Ărmste, ganz betrunken und geisteswirr durch meiner Liebsten
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popular in Europe during this time. The Op. 24 cycle sums up his previous works as a composer in the early
Romantic style and prepares for the next phase of his compositions, many of which were inspired by oriental and exotic colors, which established his reputation outside of Young Poland.
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Spring has appeared. Hyacinths and tulips and daffodils rise laughing from all their beds. But where are you? Where are you? The earth holds you fast in her darkness. I shall weep like the Spring's clouds, perhaps then you shall rise from your depths, as Spring's most beautiful flower!
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Yes, I am ill, I know, I know, but leave me! The very best doctor cannot help me. There is no cure for these wounds, which burn so devastatingly in my breast. Only one can help me, that one who gave me the sweet poison, on which I sicken If she only loved me! I would recover instantly.
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in Bb Major, with the voice ending on F, the fifth. So, whereas the last song's accompaniment illustrated specific images, this accompaniment paints more of an impression, representing
Szymanowski's progression from the German romantic style to the French impressionistic style.
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Today all dance, all, all dance! Divine is dance! Divine, divine is dance! Some dance in their stockings, some only in their shoes, some naked! High! High, you naked dancers, high! You beautiful and bold ones! Today all dance, all, all dance! Divine is dance! Divine is dance!
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Heute tanzt alles, alles tanzt! Göttlich ist Tanz! Göttlich ist Tanz! Manche tanzen in StrĂŒpfen, manche in Schuhen nur, manche nackt! Hoch, ihr nackten TĂ€nzerinnen, hoch! Ihr Schösten und KĂŒhnsten! Heute tanzt alles, alles tanzt! Göttlich ist Tanz! Göttlich ist Tanz!
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Some day countless red tulips, red tulips flames shall sprout from my grave. Do not be amazed at this wonder, rather, splendid one, consider, consider, the mighty glow, a glow of love devoted to you, which once burned so much in life, that in death it still glows.
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Einst aus meinem Grabe warden ungezĂ€hlte rote Tulpen, rote Tulpen Flammen sprieĂen. Staune nicht ob dieses Wunders, sondern, Herliche, bedenke, bedenke, welche ungeheure Gluten, dir geweihte Liebesgluten, in dem Lebenden einst brannten, da der Topte noch so glĂŒht.
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and placing the word âSonneâ on the top of the scale, as the sun is in the sky. The âexoticâ text is illustrated with the use of a whole-tone scale, yet the harmony and arc-like shape of the piece reflects more of an influence by the late German romantic school.
329:(Sad spring) ties together the underlying themes of the cycle: nature, yearning, love, suffering, and death. The opening is rhythmically, similar to that of the first song, and the dynamic marking is also similar: what was first
165:. However, prior to this cycle's composition Szymanowski began to stray from the Young Poland poetry and had become infatuated with the writings and ideals of the great 14th-century Persian poet
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in 1912. Szymanowski's love for the poetry of Hafiz continued to grow and in 1914, the composer scored the first, fourth and fifth songs from his Op. 24 and added five new settings creating
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Szymanowski, Karol, The Complete Songs for Voice and Piano, Piotr Beczala, Juliana Gonder, Urszula Kryger, and Iwona Sobotka (Germany: Channel Classics BOOO2QXN6U, 2004), compact disc.
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Szymanowski, Karol. The Complete Songs for Voice and Piano, Piotr Beczala, Juliana Gonder, Urszula Kryger, and Iwona Sobotka (: Channel Classics B0002QXN6U, 2004), compact disc.
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Although the texts are in German, this is a paraphrased version of Hafiz's Persian poems by Hans Bethge. Hafiz of Shiraz, the original poet, was a supreme master of Persian
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The six songs contained in Szymanowski's Op. 24, composed in 1911, represent the transition from the composer's early, 'Germanicâ late-romantic style reminiscent of
267:, âLe Tombeau des NaĂŻades,â or, 'the grave of the water-nymphs', symbolizing the end of Bilitisâ erotic journey through love. However, whereas Debussy, in true
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Chylinska, Teresa; Helman, Zofia; Wightman, Alistair, eds. The Songs of Karol Szymanowski and His Contemporaries. Los Angeles: Polish Music Center at USC, 2002.
288:. Since Szymanowski would not travel to the East until 1914, these secondary influences were what he channeled to express his fascination with the exotic.
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into his pre-modern middle period marked by a fascination with oriental themes. In his previous collections of songs, the composer set poetry from the
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Golaachowski, Stanislaw, Szymanowski. Translated by Henryk P. Anders and Christ Ahrens. Neptune City, NJ: Paganiniana Publications, Inc. 1986.
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Vauchez, AndrĂ©, ed. Encyclopedia of Middle Ages. New York: Oxford University Press, 2005. âPoetry: Islamic Poetry,â by Ali S Asani.
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Golachowski, Stanislaw, Szymanowski, trans. by Christa Ahrens (Neptune City, NJ: Paganiniana Publications, Inc., 1996) 27.
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Downes, Stephen C. Szymanowski as Post-Wagnerian, The Love Songs of Hafiz, Op. 24. New York: Garland Publishing, 1994.
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theme throughout the texts, paraphrased by Hans Bethge, who also provided the translation for
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Wightman, Alistair, Karol Szymanowski: His Life and Work (Aldershot: Ashgate, 1999), 101â02.
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Alistair Wightman, Karol Szymanowski, His Life and Work (Aldershot: Ashgate, 1999), 126.
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Wightman, Alistair. "Karol Szymanowski, His Life and Work". Aldershot: Ashgate, 1999.
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premiered by Szymanowski's sister, soprano Stanislawa Szymanowska and pianist
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Szymanowski as Post-Wagnerian, The Love Songs of Hafiz, Op. 24
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im Sande und du der Vogel, der es schnell, schnell auf pickt!
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The Songs of Karol Szymanowski and His Contemporaries
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427:beauty of my dearest.
417:Der verliebte Ostwind
385:Die brennenden Tulpen
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248:Die einzige Arzenei
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376:The only medicine
331:andante dolcissimo
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218:Gustav Mahler
214:
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195:Maurice Ravel
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33:
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26:
22:
19:
976:
968:
940:Stabat Mater
932:
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846:
811:
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795:
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665:Downes, 227.
661:
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159:Young Poland
148:
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24:
18:
863:Concertante
593:Szymanowski
440:Sad spring
420:Schönheit.
279:Shéhérazade
135:song cycles
1009:Categories
813:King Roger
510:References
461:Performer
458:Recording
145:Background
32:Song cycle
339:publisher
127:(German:
98:Performed
67:poems by
996:Category
845:(1914) (
824:Symphony
805:Harnasie
353:WĂŒnsche
83:Composed
75:Language
978:Masques
970:MĂ©topes
886:Chamber
682:Sources
360:Wishes
333:is now
300:cadence
259:Debussy
230:WĂŒnsche
113:Scoring
103: (
88: (
965:(1911)
948:(1933)
942:(1925)
936:(1911)
917:(1927)
911:(1917)
905:(1915)
897:(1915)
878:(1933)
872:(1916)
855:(1932)
839:(1909)
833:(1906)
816:(1926)
808:(1923)
800:(1922)
797:Hagith
464:Label
408:Dance
285:Salome
213:Persia
208:ghazel
202:Poetry
78:German
956:Piano
925:Vocal
902:Myths
503:2005
483:2004
467:Year
401:Tanz
274:Ravel
224:Songs
171:Hafez
69:Hafez
494:and
309:Tanz
235:Lied
193:and
153:and
105:1912
101:1912
90:1911
86:1911
64:Text
55:Opus
276:âs
261:âs
137:by
34:by
1011::
640:^
591:,
534:^
59:24
849:)
765:e
758:t
751:v
107:)
92:)
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