The Four Last Songs (German: Vier letzte Lieder) for soprano and orchestra were the final works of Richard Strauss, composed in 1948 when the composer was 84. The premiere was given in London on 22 May 1950, featuring soprano Kirsten Flagstad accompanied by the Philharmonia Orchestra, conducted by Wilhelm Furtwängler. Strauss did not live to hear it.
Strauss had recently come across the poem Im Abendrot (At Sunset) by Joseph Eichendorff, which he felt had a special meaning for him. He set its text to music in May of 1948. Strauss had also recently been given a copy of the complete poems of Hermann Hesse, and he arranged three of his works – Frühling (Spring), September, and Beim Schlafengehen (Going to Sleep) – for soprano and orchestra. (According to Arnold, a fifth song was unfinished at Strauss' death.)
There is no indication that Strauss conceived these songs as a complete set. In dictionaries published as late as 1954[1], the three Hesse songs were still listed as a group, separate from the earlier Eichendorff song setting. The overall title Four Last Songs was provided by his friend Ernst Roth, the chief editor of Boosey and Hawkes. It was Roth who categorized them as a single unit and put them into the order that most performers now follow in performance: Frühling, September, Beim Schlafengehen, Im Abendrot.[2]
The songs deal with death and were written shortly before Strauss himself died. However, instead of the typical Romantic defiance, these Four Last Songs are suffused with a sense of calm, acceptance, and completeness.
Among the sopranos who have recorded the songs are Barbara Bonney, Montserrat Caballé, Lisa della Casa, Jane Eaglen, Renée Fleming, Dame Heather Harper, Barbara Hendricks, Soile Isokoski, Gundula Janowitz, Dame Gwyneth Jones, Sena Jurinac, Dame Felicity Lott, Karita Mattila, Birgit Nilsson, Jessye Norman, Lucia Popp, Leontyne Price, Sylvia Sass, Dame Elisabeth Schwarzkopf, Elisabeth Söderström, Eleanor Steber, Nina Stemme, Cheryl Studer, Dame Kiri Te Kanawa, Anna Tomowa-Sintow, Deborah Voigt, and Waltraud Meier.
Text
(see also http://dana.ucc.nau.edu/avj2/vier_letzte_lieder.htm)
1. "Frühling"
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In dämmrigen Grüften
träumte ich lang
von deinen Bäumen und blaue Lüften,
Von deinem Duft und Vogelsang.
Nun liegst du erschlossen
In Gleiß und Zier
Von Licht übergossen
Wie ein Wunder vor mir.
Du kennest mich wieder,
du lockest mich zart,
es zittert durch all meine Glieder
deine selige Gegenwart!
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In dusky valleys
I dreamed long
of your trees and blue skies,
of your scent and birdsong.
Now you appear
in all your finery,
shining brilliantly
like a miracle before me.
You recognize me once more,
you tenderly embrace me;
all my limbs tremble at
your glorious presence!
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Composed: July 20, 1948
2. "September"
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Der Garten trauert,
kühl sinkt in die Blumen der Regen.
Der Sommer schauert
still seinem Ende entgegen.
Golden tropft Blatt um Blatt
nieder vom hohen Akazienbaum.
Sommer lächelt erstaunt und matt
In den sterbenden Gartentraum.
Lange noch bei den Rosen
bleibt er stehn, sehnt sich nach Ruh.
Langsam tut er
die müdgeword'nen Augen zu.
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The garden is in mourning;
the cool rain seeps into the flowers.
Summertime shudders,
quietly awaiting her end.
Golden leaf after leaf falls
down from the tall acacia tree.
Summer smiles, astonished and feeble,
in her dying dream of a garden.
For a while beside the roses
she remains, yearning for repose.
Slowly she closes
her ever more weary eyes.
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Composed: September 20, 1948
3. "Beim Schlafengehen"
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Nun der Tag mich müd' gemacht,
soll mein sehnliches Verlangen
freundlich die gestirnte Nacht
wie ein müdes Kind empfangen.
Hände, laßt von allem Tun,
Stirn, vergiß du alles Denken,
alle meine Sinne nun
Wollen sich in Schlummer senken.
Und die Seele unbewacht,
Will in freien Flügen schweben,
Um im Zauberkreis der Nacht
tief und tausendfach zu leben.
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Now I am wearied of the day;
all my ardent desires shall
gladly succumb to the starry night
like a sleepy child.
Hands, stop all your work;
brow, forget all your thoughts;
all my being now
yearns to sink into sleep.
And the unchained spirit
wishes to fly up freely
into night's magic sphere
to live deeply and a thousandfold.
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Composed: August 4, 1948
4. "Im Abendrot"
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Wir sind durch Not und Freude
gegangen Hand in Hand;
Vom Wandern ruhen wir
nun überm stillen Land.
Rings, sich die Täler neigen.
Es dunkelt schon die Luft,
zwei Lerchen nur noch steigen
nachträumend in den Duft.
Tritt her und laß sie schwirren,
bald ist es Schlafenszeit,
daß wir uns nicht verirren
In dieser Einsamkeit.
O weiter, stiller Friede!
So tief im Abendrot.
Wie sind wir wandermüde
Ist dies etwa der Tod?
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We have willingly and joyfully
walked hand in hand;
now let us rest from our wanderings
through the silent land.
The valleys close in on themselves;
already the sky is darker;
a solitary pair of larks still soar,
dream-rapt in the dusk.
Come close and let them fly about;
soon it will be time to sleep;
let us not lose our way
in this solitude.
O vast, tranquil peace!
so deep at sunset.
How weary we are of wandering -
Is this perhaps death?
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Composed: May 6, 1948
Notes
Towards the end of Im Abendrot, Strauss musically quotes his own tone poem Death and Transfiguration, written 60 years earlier. As in that piece, the quoted theme symbolizes the fulfillment of the soul in death.
Sources
- ^ Grove's Dictionary of Music and Musicians, 5th edition, 1954; ed. Eric Blom
- ^ *Jackson, Timothy L. Ruhe, Meine Seele! and the Letzte Orchesterlieder, Richard Strauss and his World. Princeton University Press, 1992.
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