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                                         Rilke's timeless letters about poetry, sensitive observation, and the complicated workings of the human heart.Born in 1875, the great German lyric poet Rainer Maria Rilke published his first collection of poems in 1898 and went on to become renowned for his delicate depiction of the workings of the human heart. Drawn by some sympathetic note in his poems, young people often wrote to Rilke with their problems and hopes. From 1903 to 1908 Rilke wrote a series of remarkable responses to a young, would-be poet on poetry and on surviving as a sensitive observer in a harsh world. Those 

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Der Panther von Rainer Maria Rilke vertont.

Sprechübungen

Der Panther

This lecture discusses the 20th century poet, novelist, and philosopher, Rainer Maria Rilke's work Letters to a Young Poet, and examines in particular advocation of trusting (halten) in what is difficult, and trusting in things. The range of "things" includes those of nature, even the smallest things, but also matters like love and death

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Rainer Maria Rilke, Letters To A Young Poet - Trust In Things - Sadler's Lectures

"ICH LIEß MEINEN ENGEL LANGE NICHT LOS" (nach Rainer Maria Rilke)

Ich ließ meinen Engel lange nicht los,
und er verarmte mir in den Armen
und wurde klein, und ich wurde groß:

und auf einmal war ich das Erbarmen,
und er eine zitternde Bitte bloß.

Da hab ich ihm seine Himmel gegeben, -
und er ließ mir das Nahe, daraus er entschwand;

er lernte das Schweben, ich lernte das Leben,
und wir haben langsam einander erkannt.

Seit mich mein Engel nicht mehr bewacht,
kann er frei seine Flügel entfalten
und die Stille der Sterne durchspalten, 

denn er muss meiner einsamen Nacht
nicht mehr die ängstlichen Hände halten

seit mich mein Engel nicht mehr bewacht.
seit mich mein Engel nicht mehr bewacht.

Arrangement 2024: John Kleinjung | GEISTUNDKLANG
Credits to: Keenan Constance

"Ich ließ meinen Engel lange nicht los" (Rainer Maria Rilke)

Earth Song: Wandelt sich rasch (1998) for baritone and string quartet. A setting of I.19 from Rilke’s “Sonette an Orpheus”. (6 minutes) Publisher: BILL HOLAB MUSIC

(performed by Alexander Hurd, baritone, and members of SONYC)



Though the world keeps changing its form
as fast as a cloud, still
what is accomplished falls home
to the Primeval.

Over the change and the passing,
larger and freer,
soars your eternal song,
god with the lyre.

Never has grief been possessed,
never has love been learned,
and what removes us in death

is not revealed.
Only the song through the land
hallows and heals.


(Rainer Maria Rilke: Sonnet XIX from “The Sonnets To Orpheus”, translated by Stephen Mitchell)

Earth Song: Wandelt sich rasch (1998) for baritone and string quartet

This was inspired by a poem from R. M. Rilke, published in 'Erste Gedichte' 1. Auflage 1913, no. XX. 
I have not found the English translation (if anyone can find it, or has a link, please let me know); here below the original German version and the Italian translation, made by Vincenzo Errante in 1929.
Picture is from Sharon Sprung, 'Windowpane' (2013).
[Again, I lost the Audacity project file of this track; so the finishing work is not the best - like the music itself, anyway].

Die Fenster glühten an dem stillen Haus,
der ganze Garten war voll Rosendüften.
Hoch spannte über weißen Wolkenklüften
der Abend in den unbewegten Lüften
die Schwingen aus.

Ein Glockenton ergoß sich auf die Au ...
Lind wie ein Ruf aus himmlischen Bezirken.
Und heimlich über flüstervollen Birken
sah ich die Nacht die ersten Sterne wirken
ins blasse Blau.

----

Ardono i vetri sulla casa muta.
Tutto il giardino è un olezzar di rose
Alta distende sull’etere fermo,
tra i larghi abissi delle nubi bianche,
l’ali, la Sera.

Una squilla si versa sulle aiuole,
limpida voce di mondi celesti.
Furtiva, sulle pallide betulle
colme di sussurrii, vedo la Notte
che accende lenta nello scialbo azzurro
le prime stelle.

Stars fragments every night *

An ode to the power of  "I can", Denise Levertov's poem pays homage to a poem by Ranier M. Rilke (1875-1926); invoking the stirring imagery from Rilke's poem and further exploring and personalizing the notion of "vocation" .

Openings

A Bell Awakened

Wir sind eine Gemeinschaft von Lyrik- und Musikliebhabern, die sich der einzigartigen Kunstform der Gedichtvertonung verschrieben hat.

Unsere Leidenschaft gilt Gedichten aus allen Epochen und Stilrichtungen, von bekannten Klassikern bis hin zu verborgenen Schätzen der Lyrik. Einzige Voraussetzung: Das Gedicht muss von Menschenhand erschaffen sein – KI-generierte Texte finden bei uns keinen Platz.

So widmen wir uns mit viel Hingabe und Liebe der Aufgabe, den poetischen Gedanken durch die Kraft der Musik neues Leben einzuhauchen. Dabei sind wir uns der großen Verantwortung bewusst, die mit der Vertonung eines Gedichts einhergeht. Denn ein Gedicht besitzt bereits in seiner reinen Form eine vollendete Schönheit.

Unser Ziel ist es, den Geist des Gedichts durch die Musik zu unterstreichen, ohne dabei seine Essenz zu verwässern. Die Komposition soll das Gedicht wie ein maßgeschneiderter Anzug umhüllen und seine einzigartige Atmosphäre kongenial widerspiegeln.

Wir glauben fest daran, dass Musik Menschen den Zugang zur Lyrik öffnen kann, die sonst vielleicht keinen emotionalen Bezug zu Gedichten finden. Mit unseren Vertonungen möchten wir diese Brücke bauen und unsere Zuhörer auf eine Entdeckungsreise durch die Welt der Poesie entführen.

Ob uns dies immer perfekt gelingt, liegt selbstverständlich im Ohr des Einzelnen. Wir freuen uns über Feedback und schätzen jeden Austausch.

LASST UNS GEMEINSAM KREATIV SEIN:

Bist du MusikerIn, SängerIn, LyrikerIn  oder AutorIn und möchtest mit uns zusammenarbeiten? Dann meldet euch gerne bei uns! Wir sind offen für neue Ideen und freuen uns auf inspirierende Kooperationen.

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With a catalog of over 100 choral works in print publication, Joan Szymko’s music is regularly performed across North America and abroad including performances at national and international choral festivals and competitions. Utilizing a familiar musical vocabulary, Szymko composes works that are nonetheless fresh and engaging.  
Szymko’s years of experience as a professional choral director animate her choral compositions; her embodied approach to singing and rhythm, dedication to storytelling and an insistence on quality texts  are all reflected in her diverse, distinctive choral compositions.

In recent years Paul Brantley’s compositions have been performed or commissioned by The Knights (at Tanglewood, BRIC, Dumbarton Oaks and Naumburg Concerts), Minneapolis Guitar Quartet, Horszowski Trio, Flux Quartet, New Esterházy Quartet, Memphis Symphony Orchestra, U.C. Berkeley Chamber Chorus (on tour), Monadnock Music Festival, Bridgehampton Chamber Music Festival, St. Bartholomew's Summer Festival of Sacred Music, The Young People’s Chorus of NYC, Philharmonic Orchestra of the Americas (NYC’s Town Hall), Left Bank Ensemble (Kennedy Center), Ethel (Kimmel Center), Excelsior Trombone Ensemble (NPR’s Performance Today), The Goliard Ensemble on tour, The Manhattan School of Music Symphony, Belladonna (Schubert Club, St. Paul, MN), L’Opera du Village (Pourrieres, France), SONYC (the Kitchen), and as featured composer on these various series: Bargemusic, Ecstatic Music (Merkin Hall), The Harry Jacobs Chamber Music Society, HVG, North River, MOSA and Concerts in the Heights. 

His cello concertino, The Royal Revolver, was premiered in December 2017 by cellist Eric Jacobsen (The Knights, Silk Road Project) and members of The University of Michigan Symphony conducted by Kenneth Kiesler. The Washington Heights Chamber Orchestra will give 25th anniversary performances of On the Pulse of Morning this May, with Abigail Fischer, soprano, Spring 2021. It was recently announced that Brantley is one of three winners of the Aliénor Composition Competition sponsored by the Historical Keyboard Association of North America to compose a new full-length piece for solo harpsichord. Boyd Meets Girl recently gave the premiere of Filles de l’Elysee which will featured on their forthcoming CD.

Paul is a six-time MacDowell Colony Fellow who has also received fellowships from Banff Centre and Anderson Center. Brantley has been composer-in-residence for Monadnock Music Festival, Gabriel Fauré Conservatoire (Angoulême, France), Goliard Ensemble, Yara Arts Group, The Seal Bay Festival, Children’s Choral Celebration, Sewanee Music Festival, Washington and Lee University, and the Sophia Institute at Union Theological Seminary in NYC. He has given composition seminars at Yale School of Music, Hunter College (Anthropology Dept.), and The University of Michigan School of Music.

Multifaceted musician, Brantley has performed or recorded as solo cellist with Trey Anastasio (Phish), Cantata Profana, CITH, Cassatt Quartet, Jeff Coffin Mutet, Béla Fleck and the Flecktones, Dave Gregory (XTC), Heartbeat Opera, Jimmy Page and Robert Plant, Lenny White, and SONYC. Brantley has arranged and conducted for David Binney, Ethel, Todd Rundgren, and Christian Scott.

Paul studied at Manhattan School of Music (B.M), Curtis Institute (diploma), Eastman School of Music (M.M.) as well as Fontainebleau, Tanglewood, and The Yellow Barn where he was later artist faculty. His principal teachers include Samuel Adler, Leonard Bernstein, Eugene Eicher, Alan Harris, David Loeb, Ned Rorem, and David Wells.

He co-founded the Seal Bay Festival of American Music and was artist faculty at Yellow Barn Music Festival for many years. In addition to positions at Syracuse University and Washington and Lee University, Brantley was a Manhattan School of Music faculty member from 2000 to 2014.

Paul Brantley currently resides in New York City where he free-lances as a composer, cellist, and conductor. His music is published by Bill Holab Music and Oxford University Press. He has recorded solo cello for Sony/Columbia, Rounder, Warner Bros., Polydor, Compass, and others.

Here I found a real widespread community of great musicians and a lot of good music to listen to.
I am an elderly university professor of history who enjoys playing and composing: unpretentious, just for fun. As a consequence, all my recordings are handcrafted and largely imperfect.
Thank you in any case for stopping here to listen to something; in the description area you can find often explanatory notes or lyrics translations.

New tracks tagged #RILKE