Now we hear Mahler's heartbreaking "Kindertotenlieder"

Baritone Matthias Goerne sings "Nun will die Sonn' so hell aufgeh'n" ("Now will the sun rise just as brightly"), the opening song of Mahler's Kindertotenlieder, with Jonathan Nott conducting the Mahler Youth Orchestra, at a Proms concert in the Royal Albert Hall, Sept. 4, 2009.

Now will the sun rise just as brightly
as if no misfortune had happened in the night.
The misfortune happened to me alone;
the sun shines for everyone.

Your must not hoard the night within,
it must be absorbed into the eternal light.
A little lamp in my shelter has gone out;
hail to the joyful light of the world!

-- translation by Lucy E. Cross

by Ken

Aa promised, after focusing on the last of Mahler's Kindertotenlieder (Songs on the Death of Children), "In diesem Wetter" ("In this weather"), with its final stanza minor-to-major "switcheroo," in Friday night's preview, today we hear the whole of this haunting song cycle.

It's worth recalling that at the time Mahler undertook to set this handful of the poems written on the subject by Friedrich Rückert, his own daughters were still healthy, and Alma Mahler was more than a little upset at this challenge to fate. This was likely not ameliorated as their own tragedies struck. A case could be made that she never forgave him.

In the case of other Mahler songs we've listened as well to the original piano-accompanied settings. We're going to skip that in the case of this cycle we're going to skip that step. It would be especially hard to forego Mahler's orchestral setting, which is notably spare and chamberlike -- the chilly, melancholy opening oboe-and-horn duet sets the tone. There's a normal complement of woodwinds, but of brasses there are only horns, a pair in Nos. 1-4 and four in "In diesem Wetter," and there are only dabs of percussion. The harp is a notable presence.

Approaching Mahler's heartbreaking "Kindertotenlieder"

For the final stanza of "In diesem Wetter," the last of the Kindertotenlieder, Mahler switches from minor to major


Thomas Hampson, baritone; Vienna Philharmonic, Leonard Bernstein, cond. DG, recorded live, October 1988

In this weather, in this storm, in this bluster,
they're resting as if in their mother's house,
not frightened by any storm,
by God's hand protected,
they're resting as if in their mother's house.

by Ken

I'm trying to think -- among the infinity of loose ends and gaps we'll leave when the tent folds up -- which few among them we might still deal with. It seems rather hopeless, but it has occurred to me that for all the Mahler we've listened to (I always want to compile a master list, but it's a big job; would it be of interest to anyone?), we haven't done the song cycle Kindertotenlieder (Songs on the Death of Children).

However, we have done the final song, "In diesem Wetter" ("In this weather"), in a December 2011 post devoted to "The old minor-to-major switcheroo as practiced by Mahler, Schubert, and Donizetti" (preview and main post), in which we listened to the opening song of Schubert's great song cycle Winterreise (Winter Journey), "Gute Nacht" ("Good night"), and Nemorino's haunting aria "Una furtiva lagrima" ("A furtive tear") from Donizetti's Elixir of Love in addition to "In diesem Wetter."


TO APPROACH THE KINDERTOTENLIEDER,
WE'RE GOING BACK TO "IN DIESEM WETTER"

Sunday Classics chronicles: Remembering Eugen Jochum (4) -- Overtures Plus, part 2 (Wagner's "Lohengin" and "Parsifal")

Is there anyone who doesn't know this music?

As you probably know, the world's best-known wedding march isn't a wedding march at all. Elsa and her unknown knight were married at the end of Act II of Lohengrin. Here, at the start of Act III, they're being escorted to their bridal chamber. The 1954 Bayreuth Festival Chorus and Orchestra are conducted by our man of the hour, Eugen Jochum.

by Ken

We're forging ahead with our remembrance of that wonderful conductor Eugen Jochum (1902-1987) -- wearing his concert hat in Part 1 and Part 2 (devoted to his Haydn and Bruckner) and now his opera conductor's chapeau in Part 3 (snatches of Weber's Der Freiscütz and Beethoven's Fidelio) and today's installment -- and we still haven't gotten to his Mozart, which is where I was trying to get us. I thought maybe we'd throw in a little Boris Godunov too. But not today; we have too much to do. (And as usual it will look like we're doing more than we actually are, because the texts consume so much space relative to the amount of music they cover.)

One of the recordings I acquired recently -- one of the sources of the "archival" recordings we're featuring in these "chronicles" posts -- wasn't actually new to me. I just didn't have it on CD. It's Jochum's 1954 Bayreuth Lohengrin. (He actually made a studio recording of the opera around the same time, but it's not one of his happiest achievements. Perhaps even he, who often coaxed surprisingly successful results from dubious-looking casts, could do much with that one.)

In a late decision, we're not even going to get to our other Wagnerian destination: Jochum's extraordinarily beautiful 1971 Bayreuth Parsifal, which we sampled in the March 2010 post "Good Wagner conductors find what inside the music makes it move." I'd rather do that another time.

I'm calling these posts "Overtures Plus" because we're hearing a number of overtures and preludes that -- like the two we heard Friday night -- are also familiar as concert pieces. And I thought we'd start by hearing the Lohengrin Act I and Act III Preludes performed as concert pieces. While I actually do have Jochum studio versions, they're mono, so I thought we'd bring in some ringers.

We already heard this performance of the exhilarating Act III Prelude -- in the "Good Wagner conductors post.

WAGNER: Lohengrin:
Prelude to Act III

Philharmonia Orchestra, Otto Klemperer, cond. EMI, recorded February-March 1960

That's quite a "wow" piece, but if we go back to the start of the opera, to "the Prelude to Lohengrin, we encounter something even more astonishing, not least for those ethereally shimmering strings. (This is a performance we haven't heard before, from the remarkably beautiful series of Wagner orchestral LPs Sir Adrian Boult recorded in the early '70s. We already heard the Siegfried Idyll from this series in a March 2011 post on the piece.)