english | nederlands

RC 95 Liebesklage (“Ist alles stumm und leer”)

text source

Bettina von Arnim, Die Günderode. Erster Theil (Leipzig: Grünberg 1840), 348-349

first performance

1912-02-12 00:00:00.0 Amsterdam, Concertgebouw / Recitall Hall

dedicatees

recordings

  • Anniversary Edition 5 Et'cetera KTC 1435 CD5

publications

  • Complete Songs for Solo Voice and Piano Vol. 3 Donemus / Alphons Diepenbrock Fonds 29789269
  • Diepenbrock Album B/M Vol. II
  • Liebesklage (“Ist alles stumm und leer”) Alsbach & Co, G. (Amsterdam) 24045339

  • Liebesklage (“Ist alles stumm und leer”)
  • Günderrode, Karoline von
  • mezzo soprano and piano
  • 1908-12-10 00:00:00.0
  • duration 4:05

At a recital in the Amsterdam Concertgebouw on 12 February 1912 the Hungarian alto/mezzo-soprano Ilona Durigo sang three songs by Diepenbrock: besides Clair de lune (Moonlight, RC 43) and Mandoline (Mandolin, RC 99), she premiered his Ist alles stumm und leer (Is Everything Silent and Empty) which he later entitled Liebesklage (Love’s Lament). Diepenbrock most likely dedicated the song he had written in December 1908 to her at the end of October 1910, when he was awed by her talents during the preparations for and performances of his Hymne an die Nacht “Muss immer der Morgen wiederkommen” (Hymn to the Night “Must the Morning Always Return”, RC 50). In a letter to Balthazar Verhagen, Diepenbrock called Durigo an almost godly singer, endowed with a diversity of gifts of intelligence and voice. (BD VI:161) A year later, in October 1911, at the premiere of the symphonic song Die Nacht (The Night, RC 106) Durigo proved to be an ideal interpreter of his work. …more >

Liebesklage (incipit)


At a recital in the Amsterdam Concertgebouw on 12 February 1912 the Hungarian alto/mezzo-soprano Ilona Durigo sang three songs by Diepenbrock: besides Clair de lune (Moonlight, RC 43) and Mandoline (Mandolin, RC 99), she premiered his Ist alles stumm und leer (Is Everything Silent and Empty) which he later entitled Liebesklage (Love’s Lament). Diepenbrock most likely dedicated the song he had written in December 1908 to her at the end of October 1910, when he was awed by her talents during the preparations for and performances of his Hymne an die Nacht “Muss immer der Morgen wiederkommen” (Hymn to the Night “Must the Morning Always Return”, RC 50). In a letter to Balthazar Verhagen, Diepenbrock called Durigo an almost godly singer, endowed with a diversity of gifts of intelligence and voice. (BD VI:161) A year later, in October 1911, at the premiere of the symphonic song Die Nacht (The Night, RC 106) Durigo proved to be an ideal interpreter of his work.

The untitled poem is attributed to Karoline von Günderrode (1780-1806), who died at an early age1. Like Kann ich im Busen heisse Wünsche tragen (Can I Carry Hot Desires in My Heart, RC 55) on another text by this Romantic poet, which Diepenbrock set to music in 1902, the poem describes the despair over lost love. In a letter of July 1910 Diepenbrock calls his composition l’art pour l’art, that is to say:

not stemming directly from daily life, but made for exterior reasons, although it is also full of sounds that reflect deep sorrow. It is awfully melancholic when sung properly. (BD VI:339).

We may add to this characterisation by the composer that the dynamics, which are limited to p and pp, contribute to the static and introverted character of the overall strophic song.

At first Durigo was going to combine the two above-mentioned French songs with Puisque l’aube grandit (Since Dawn Awoke, RC 97) at the concerts of February 1912 (the programme was repeated in Rotterdam, Utrecht and again in Amsterdam). However, at her suggestion it was replaced by the “schön-trauriges” (beautiful and sad) Ist alles stumm und leer. (BD VII:311) Diepenbrock’s songs were combined with arias by Handel and songs by Richard Strauss. After the second performance in Amsterdam A. de Wal expressed his admiration for the Günderrode setting in particular in the newspaper Het Vaderland:

Diepenbrock has conveyed the mood of this meaningful poem in the piano and in the voice that independently flourishes over it in a highly Mahlerian manner. I should hear music such as this, in which one immediately feels the detached, strongly inward living nature of the poet-composer, his expert hand in the declamation and technique, again before I can make many assertions about it. More assertions than that this song has made a huge impression on me. (BD VII:586)

The term ‘Mahlerian’ may be questioned, but the other comments of the critic still apply.

Diepenbrock chose the title Liebesklage in 1917 when preparing the printed edition that was to be published by G. Alsbach & Co in 1918, because he concluded that the first line of the verse is too long and meaningless as a title. (BD IX:261)

Désirée Staverman & Ton Braas

1 According to the critical Günderrode edition, the authenticity of this poem is doubtful; see: Walther Morgenthaler (ed.), Karoline von Günderrode. Sämtliche Werke und ausgewählte Studien. Historisch-Kritische Ausgabe Vol. 3 (Frankfurt/M.: Stroemfeld/Roter Stern 1991), 281.

 



Liebesklage

Ist alles stumm und leer,
Nichts macht mir Freude mehr;
Düfte, sie düften nicht,
Lüfte, sie lüften nicht,
Mein Herz so schwer!

Ist alles öd und hin,
Bange mein Herz und Sinn,
Wollte, nicht weiß ich was,
Jagt mich ohn' Unterlaß
Wüßt ich wohin?

Ein Bild von Meisterhand
Hat mir den Sinn gebannt.
Seit ich das Holde sah,
Ist's fern und ewig nah
Mir anverwandt.

Ein Klang im Herzen ruht,
Der noch erfüllt den Mut
Wie Flötenhauch ein Wort,
Tönet noch leise fort,
Stillt Thränenflut.

Frühlinges Blumen treu
Kommen zurück auf's Neu;
Nicht so der Liebe Glück!
Ach, es kommt nicht zurück,
Schön, doch nicht treu.

Kann Lieb' so unlieb sein,
Von mir so fern was mein?
Kann Lust so schmerzlich sein,
Untreu so herzlich sein?
O Wonn', o Pein!

Phönix der Lieblichkeit,
Dich trägt dein Fittig weit
Hin zu der Sonne Strahl.
Ach was ist dir zumal
Mein einsam Leid?
 

 
 

 


  • B-8(3) Liebesklage (“Ist alles stumm und leer”)

    • 1
    • 2
    • 3
    • 4
    • 5
    • 6
    • 7
    • 8
    • 9
    • 10
    • 11
    • 12

    B-8(3) dated on the title page 1908

    • 1908-01-01 00:00:00.0 – 1908-12-31 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: 12
  • A-85(1) Liebesklage (“Ist alles stumm und leer”)

    semi-autograph A-85(1)

    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-18(3) Liebesklage (“Ist alles stumm und leer”)

    copy B-18(3)

    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-18(4) Liebesklage (“Ist alles stumm und leer”)

    semi-autograph B-18(4) dated on the first page 1908; served as Druckvorlage

    • 1908-01-01 00:00:00.0 – 1908-12-31 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-4(1) Liebesklage (“Ist alles stumm und leer”)

    B-4(1) with dedication on the title page Componirt für Frau Ilona Durigo

    • dedication: Componirt für Frau Ilona Durigo
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • B-7(3) Liebesklage (“Ist alles stumm und leer”)

    semi-autograph B-7(3) with dedication on the title page Ilona Durigo gewidmet

    • dedication: Ilona Durigo gewidmet
    • location: Diepenbrock Archief Laren
    • pages: unknown
  • C-9 Liebesklage (“Ist alles stumm und leer”)

    sketches C-9 dated on the first page 10 Dec 1908

    • 1908-12-10 00:00:00.0
    • location: Diepenbrock Archief Laren
    • pages: unknown

  • click to enlarge

    Anniversary Edition 5

    cd Et'cetera KTC 1435 CD5
    Alexander, Roberta ♦ Jansen, Rudolf ♦ Nes, Jard van ♦ Holl, Robert ♦ Prégardien, Christoph ♦ Pfeiler, Christa ♦ Doeselaar, Leo van ♦ McFadden, Claron ♦ Kuyken, David

    Tracks: 1 = RC 3; 2 = RC 6; 3 = RC 11; 4 = RC 12; 5 = RC 16; 6 = RC 20; 7 = RC 25; 8 = RC 42; 9 = RC 55; 10 = RC 121; 11 = RC 90; 12 = RC 95; 13 = RC 91

  • Complete Songs for Solo Voice and Piano Vol. 3

    1995 Donemus / Alphons Diepenbrock Fonds Staverman, Désirée
  • Diepenbrock Album B/M Vol. II

    1955 Reeser, Eduard
  • Liebesklage (“Ist alles stumm und leer”)

    1918 Alsbach & Co, G. (Amsterdam)

12 feb 1912: Eerste uitvoering van Liebesklage door Ilona Durigo en Evert Cornelis in de Kleine Zaal van het Concertgebouw te Amsterdam. Verder worden gezongen Clair de lune en Mandoline en liederen van Händel en Strauss. Aan dit concert werkt ook de violist Joszka Szigeti mee in werken van Tartini, Bach, Schubert-Wilhelmy en Wieniawsky. Diepenbrocks liederen van zijn aan het slot van het programma geplaatst.

De prachtig-donkere kleur der stem konden we al bij den aanvang in de droefheidsaria Ah mio cor van Händel genieten, maar het genot steeg bij de zangen van Richard Strauss en de Diepenbrock-liederen: van laatstgenoemden toondichter, behalve het reeds bekende en ook uitgegeven Clair de Lune, twee nieuwe (naar ik meen): “Ist alles stumm und leer” (Günderode) en Mandoline (Verlaine), elk in zijn eigen karakter producten van een zeer fijnen geest, na eenmaal aanhooren moeilijk overeenkomstig hun waarde te omschrijven. Günderode's klacht reeds om het eenzaam leed, dat “Wonne und Pein” tevens is, vraagt herlezing eer men tot de juiste waardeering der zeer zuiver in rhythme en toonval gedeclameerde muziek met haar subtiele, niet eenvoudige, verrassende modulaties komen kan. Het gedichtje van Verlaine sprak meer onmiddellijk overtuigend van Diepenbrock's kunst: meesterstukje van muzikale teekening.

Algemeen Handelsblad (S.Z. [= W.N.F. Sibmacher Zijnen]), 13 februari 1912
 

pdf All reviews for RC 95 Liebesklage (“Ist alles stumm und leer”)