Muurschildering in Dun Huang uit de Tang dynasty period van de
Rudolf Schock sings
FÜNF CHINESE ICAL Gesang
Music: Hans Ebert
Text: Hans Bethge
Hans Ebert (1889-1952)
About the composer Hans Ebert in 2010 is hardly to find information. He is mentioned only in a remarkably long line of composers, in the first half of the 20th century German text adaptations of ancient Chinese poems to music have put. Photos of Ebert missing.
H
ans Bethge (1876-1946) The poet and writer Hans Bethge to escape oblivion, have shown that in literary circles artistry was quite controversial and probably still is, Bethge's located in the Far East poems are adaptations of existing translations from Chinese. Bethge did not speak Chinese and play - in the eyes of literary criticism - with good weather "used poetry" (Adorno). Positive reactions from renowned writers like Rainer Maria Rilke, Stefan Zweig and Hermann Hesse could change nothing. I suspect that there is a nice comparison to the equally controversial Karl May (1842-1912), creator of Old Shatterhand, Winnetou, and Kara Ben Nemsi, whose novels mainly travel in North America and the Middle East playback.
Remarkably, however, that the lyricist Hans Bethge MUSICAL world widely admired and praised for the sensitivity of his "Herta types" of (among others) Chinese poetry. They proved an inspiration for all sorts of compositions of large and small (er) composers: Gustav Mahler s "Lied von der Erde" , largely Bethge's text follows, it is the most impressive. But Richard Strauss, Arnold Schoenberg, Gottfried von Einem, Ernst Krenek and Anton Webern took advantage of Bethge's poems and operetta composer Franz Lehár put out Bethge's poetry collection for his "Land of Smiles" the poem "Birnbaumblüten ' in the intimate Von Apfelblüten einen Kranz" .
E
and 2300 years old Chinese poetry The Chinese verses that Hans Bethge worked, date from the period of the Tang Dynasty which almost continually lasted from 618 to 907 BC and is seen as a highlight in the Chinese culture. During this dynasty experienced the arts flourished, and one of its legendary representatives was the poet Li Bai (also Li-Po or Li-Tai-Po called - see drawing ), who lived from 701-762 BC. This Li Bai wrote many poems with poetry a number of contemporaries were in the hands of Hans Bethge. This began an extensive "re-translation", which he was largely very successful with the information it collects Chinese poetry in its cycle "Those machines symbolic Flotte ', in 1920, supplemented by other poetry,
again came under the title 'Pfirsichblüten aus China (Peach Blossoms from China). For the Dutch readers, it is interesting to note that the Dutch writer Jacob January Slauerhoff (1898-1936) dealing with East Asian poetry occupied. Rudolf Schock sings Hans Ebert
In 2005, the Swiss label Relief due Schock's 90th birthday one - both in form, content and sound quality - superb double CD will appear, which in the past three years I have often referred. Relief, that the cassette entitled 'Rudolf Schock, Germany's great lyric tenor (Relief CR 3001) resists, leads the listener through Schock's very wide operatic repertoire (period 1946-1953) and adds: fragments Handel's "Messiah" , Bruckner's 'Grosse Messe' and 'Fünf Gesänge Chinesische Tunisian' of Ebert / Bethge . The publication in 2005 had eight never released recordings, including those of Chinese songs.
(Note: The Chinese songs are now also at a Gala cassette (Kammersänger Rudolf Schock "GL 100672) from 2009. But there are among many other classic songs (Schubert , Schumann, etc.), the sound quality far behind that of the original Electrola / EMI recording).
Would there above my text 'Rudolf Schock sings Hans Bethge' have been, I absolutely told countless times that Schock's Lehár Von Apfelblüten einen Kranz " sang, which on record and / or CD alone five shots there. And then of course I had to point out that Rudolf Schock and alt Margarete Klose under conductor Hans Schmidt-Isserstedt Mahler's "Lied von der Erde ' sung (Hamburg, 1948). But I'm simply out of "prima la musica" Hans Ebert and the composer of the music of the "Five Chinese Songs' .
The 'Fünf Gesänge Chinesische Tunisian' boldly summarized :
Song 1 ("Im Garten Frühlings ...'), that musical (pleasant) under the influence of Richard Strauss state, the soul sings happy man (Li Bai - see diagram) in the spring garden, making him a poet has created. When the flowers in the garden are long gone, they are still in the soul of the poet continue to flourish ...
Song 2 ('Sieben Grey Traben ...') short sketches with keywords in an emphatic accents of Chinese style music seven horses trotting around an inn (?), In which seven writing, old men and a " dirty old woman" are (It's so, so please forgive me
- kdl). Fortunately - for it is spring again and the wine tastes good - there are also seven young girls and "that go inside ... go inside ..." Song 3 ('Einst aus meinem Grabe ...'): day will come out of my grave countless red tulips grow and prosper. That is because I have a blazing love for her feel. It blazes a big fire in me. So it must be so - though it is a miracle - that if I am dead, just as (red) glow (love end), and during my life ...
Song 4 ("Die jungen Leute lieben ...'): The youth holds as much as the gardens of colorful clothing in the spring, located in beautiful colors wrap. But woe to the person - even though he is still so young - who wanders through foreign countries: he wears a black mourning dress ...
Song 5 ("That Pfirsichblüten flattern ...''): move the peach blossoms in the spring air, trees are reflected in the brook, the scent of plum trees reach me, but he finds a Dead tired man: the verses slowly flowing from my lips. I long for the sweet night to me - asleep in her loving arms - to forget all my misery ...
The recordings were
May 1951, one year for Hans Ebert's death, the Berlin RIAS (Rundfunk im Sektor Americanization chen) made. Rudolf Schock is on the piano by Herbert Heinemann , in the fifties such as a concert pianist was. There are his recordings with the orchestra and Harry Hermann Nordwestdeutsche Philharmonic under Wilhelm Schuchter the Rhapsody in Blue (Gershwin) and the Warsaw Concerto (Addinsell). There is also about Herbert Heinemann hard to find.
The 35-year-old Rudolf Schock in 1951 at his vocal peak: Schock's singing is very melodious and smooth and he literally carries the songs with heart and soul. The sound engineers Relief have managed it - my understanding - rather poor sound image of the old radio recordings as to restore that beauty and naturalness of Schock's voice full justice to. Krijn de Blank, October 14, 2010
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