in short - New York Philharmonic

Six Songs on Texts from Des Knaben Wunderhorn
(The Boy’s Magic Horn)
Gustav Mahler
C
lemens Brentano and Achim von Arnim
met in 1801 as students at the University
of Göttingen, and the following June they took
a boat trip together down the Rhine. It was just
the sort of adventure to fuel the Romantic inclinations of this pair. The literary world was
swept up just then in such Romantic fascinations as folk legend, nostalgic longing for the
Middle Ages, and the awe and mysteries of the
natural world. In 1805 Brentano and von Arnim
added to the Romantic bookshelf with a volume of their own, the first of an eventual three
installments titled Des Knaben Wunderhorn
(The Boy’s Magic Horn).
It pretended to be a collection of authentic
folk poems reaching deep into the German
past. In fact, it was anything but authentic; the
compilers were very free with their texts,
adding and subtracting at will, and even contributing some entirely original items. It’s a
wonder they managed to complete their assemblage at all: Brentano reputedly obsessed
over making sure everything sounded appropriately antique, while von Arnim strove to
make the poems seem modern and “literary.”
They bravely dedicated their book to the literary eminence Johann Wolfgang von Goethe,
who was enchanted, and wrote:
By rights, this little book would find a place
in every house where bright and vital people
make their home — by the window, under
the looking glass, or wherever else song- and
cook-books lie about, there to be opened in
every kind of good or ill mood, since you are
bound to find something sympathetic or
stimulating even if it means having to turn a
few pages. Best of all, this volume might lie
on the piano of the amateur or master of musical composition so that these songs might
come into their own by being matched to familiar and traditional melodies, that they
IN SHORT
Born: July 7, 1860, in Kalischt (Kaliště), Bohemia
Died: May 18, 1911, in Vienna, Austria
Works composed and premiered: “Revelge”
composed in July 1899; “Trost im Unglück”
from February–April 1892; “Der Schildwache
Nachtlied,” January–February 1892; “Lied des
Verfolgten im Turm” in July 1898; “Des Antonius
von Padua Fischpredigt” in July and August
1893; “Der Tamboursg’sell” in August 1901.
“Revelge” and “Der Tamboursg’sell” premiered
on January 25, 1905, at Vienna’s Kleiner Musikvereinssaal, with the composer conducting, and
with Fritz Schrödter and Friedrich Weidemann as
soloists; “Trost im Unglück,” on October 27, 1893,
at the Hamburg Konzerthaus, with Mahler conducting the Julius Laubesche Kapelle, baritone
Paul Bulss, soloist; “Der Schildwache Nachtlied,”
on December 12, 1892, in Berlin, with Raphael
Maszkowski conducting the Berlin Philharmonic
Orchestra, and mezzo-soprano Amalie Joachim,
soloist; “Lied des verfolgten im Turm” and “Des
Antonius von Padua Fischpredigt,” on January 29,
1905, in Vienna, with Mahler conducting the
Court Opera Orchestra, and baritone Anton
Moser, soloist
New York Philharmonic premiere: selections from Des Knaben Wunderhorn, November
20, 1910, with the composer conducting, and
soprano Alma Gluck as soloist
Most recent New York Philharmonic
performance: selections from Des Knaben
Wunderhorn, December 7, 2010, Colin Davis,
conductor, with Dorothea Röschmann, soprano,
and Ian Bostridge, tenor, as soloists
Estimated duration: ca. 25 minutes
MAY 2016 | 33
might have appropriate tunes fitted to them,
or that, God willing, they will inspire new
and significant melodies.
All three of these musical eventualities befell
the poems in Des Knaben Wunderhorn, but most
interesting for posterity were the “new and significant melodies” they inspired. A Who’s Who
of German song composers turned out settings in
the ensuing century, including Johann Friedrich
Reichart, Carl Friedrich Zelter, Robert Franz, Felix
Mendelssohn, Robert Schumann, Johannes
Brahms (whose famous “Lullaby” took its opening stanza from this collection), Richard Strauss,
Arnold Schoenberg, and — most remarkably of
all — Gustav Mahler. Mahler incorporated texts
from the collection into movements of his Second, Third, and Fourth Symphonies, and he also
composed independent song settings from Des
Knaben Wunderhorn, some with piano accompaniments, some with chamber orchestra. In addition, he prepared piano versions of his orchestral
From the Digital Archives: Des Knaben Wunderhorn at
the Philharmonic
According to the Brooklyn Daily Eagle, Gustav Mahler was the “expert at the weaving loom” on November 20,
1910, the night of the U.S. Premiere of “Rhinelegendchen” (“Little Rhine Legend”), from Des Knaben Wunderhorn, at the Brooklyn Academy of Music, with 27-year-old soprano Alma Gluck. It was the Philharmonic’s first
performance of a song from the cycle and the smitten critic pulled out all the stops:
Humanity, its hopes and fears, joys and sorrows, struggles and triumphs, was the blood-red thread that ran
through the warp of the musical texture… [Alma Gluck] sang roguishly and archly.
The soprano was called back to the stage five times and Musical Courier mentioned how she graciously
offered her hand to Mahler, who was “visibly affected by the reception of his songs.”
If Des Knaben Wunderhorn sparked such a reaction
in 1910, it was natural that Leonard Bernstein would
be drawn to its vivacious character. He programmed
eight of the 12 songs at the Philharmonic with the operatic couple Christa Ludwig and Walter Berry in 1967.
This collaboration yielded the first Des Knaben Wunderhorn cycle in the Philharmonic’s performance history, a televised Young People’s Concert, and a
complete recording of the cycle.
As Bernstein explained on the Young People’s program “A Toast to Vienna in ¾ Time,” the occasion was
not a coincidence; the telecast was a 125th birthday
present for the Vienna Philharmonic. These “humorous,
sweet, and rustic” songs, Bernstein explained, were a
particularly appropriate celebration because not only
Mezzo-soprano Christa Ludwig, who sang in the Orchestra’s
did the Vienna ensemble share the same birth year as
first cycle of Des Knaben Wunderhorn, in 1967, and soprano
Alma Gluck, who premiered “Rhinelegendchen” with the the New York Philharmonic (both founded in 1842) they
also shared the same conductor — Gustav Mahler.
New York Philharmonic in 1910
— The Archivists
To see the printed program for “A Toast to Vienna in ¾ Time,” and the cue sheet for the telecast producers, scan the code at left or visit this link to the New York Philharmonic Leon
Levy Digital Archives: http://nyphil.us/26fqteZ.
34 | NEW YORK PHILHARMONIC
settings, and although they were published before the orchestral versions, there is no doubt
that in every case he conceived of the pieces
with symphonic forces in mind.
“Revelge” (“Reveille”) and “Der Tamboursg’sell” (“The Drummer Boy”) were the
last two of Mahler’s Des Knaben Wunderhorn
settings. Both are large-scale and tragic, haunting, depictions of military life — epic works of
intense, even macabre desperation. But, as
Goethe observed, there is something for every
mood in Des Knaben Wunderhorn.
Military settings also provide the background for “Trost im Unglück” (“Solace in Misfortune”), “Der Schildwache Nachtlied” (“The
Sentinel’s Nightsong”), and “Lied des Verfolgten im Turm” (“Song of the Persecuted in the
Tower”). Here one is introduced, in the first, to
a swaggering hussar blithely bidding farewell
to a girl with whom he has had a fleeting romance; in the second, to the seductive banter
that might have passed between those two
characters when the soldier was making his
nighttime rounds on sentinel duty; and, in the
third, to an ironic exchange between a prisoner
deprived of liberty and a woman “on the outside” who represents liberty itself. In “Des Antonius von Padua Fischpredigt” (“St. Anthony
of Padua’s Sermon to the Fishes”) Des Knaben
Wunderhorn reveals its most delightful aspect
through a tale in which St. Anthony preaches
to the river creatures, who respond by going
back to behaving the way they always have.
Instrumentation: two flutes and piccolo, two
oboes (one doubling English horn) and English
horn, two clarinets and bass clarinet, three bassoons (one doubling contrabassoon), four
horns, three trumpets, tuba, timpani, triangle,
snare drum, suspended cymbals, cymbals, bass
drum, tam-tam, switch (rute), harp, and strings,
in addition to the singer (bass-baritone).
Views and Reviews
The conductor Bruno Walter, who in his youth spent a period as Mahler’s assistant, wrote an appreciative volume about his mentor and published it in 1936. (The year is highly relevant to understanding the text.) Among
his observations is this on Des Knaben Wunderhorn:
This whole world of fair maidens and errant knights, forlorn sentinels and ghostly drummers, of moonlit castles
and bewitched forests, of love’s joy and sorrow, must have had relevant symbolical significance to [Brentano and
Arnim] although much of it appears to us as dusty pasteboard settings and obsolete stage props. Mahler was beyond doubt perfectly
candid in his musical interpretation of this literary substance. However, the intense excitement which still emanates from the music is
due less to the faithfulness with which those romantic moods are
given musical expression than to the desperation with which the composer clutches a set of ideas and emotions which were threatened by
immediate disintegration. Evidence of this desperate nostalgia, which
is one of the keynotes of Mahler’s work, is furnished by the frequently
exaggerated pathos of emotional expression, an almost spasmodic
intensity of sentiment. Some commentators have found that this overheated eloquence betrays Mahler’s Jewish origin. Without questioning the relative truth of such an explanation, the author is of the opinion
that it too easily disposes of an essential spiritual aspect of Mahler’s
work in terms of a materialistic doctrine. Instead of penetrating to the
core of a purely artistic problem, it obstructs unbiased discussion of
what some people, rightly or wrongly, find irritating in Mahler’s music.
Title page of Brentano and Arnim’s Des Knaben Wunderhorn, Vol. I, 1806;
The collection was published in three volumes.
MAY 2016 | 35
TEXTS AND TRANSLATIONS
Selections from Mahler’s Des Knaben Wunderhorn (The Boy’s Magic Horn),
with text from Des Knaben Wunderhorn, by Clemens Bretano and Achim von Arnim
“Revelge”
“Reveille”
Des Morgens zwischen drei’n und vieren,
da müssen wir Soldaten marschieren
das Gäßlein auf und ab,
trallali, trallaley, trallalera,
mein Schätzel sieht herab!
In the morning, between three and four,
We soldiers have to march
Up and down the path.
Trallali, trallaley, trallalera,
My sweetheart is looking down!
Ach Bruder, jetzt bin ich geschossen,
die Kugel hat mich schwere, schwer getroffen,
trag’ mich in mein Quartier,
trallali, trallaley, trallalera,
es ist nicht weit von hier!
Ah, brother, now I am shot;
The bullet has wounded me gravely.
Carry me to my quarters.
Trallali, trallaley, trallalera,
It isn’t far away!
Ach Bruder, ich kann dich nicht tragen,
die Feinde haben uns geschlagen,
helf’ dir der liebe Gott!
Trallali, trallaley,
trallali, trallaley, trallalera,
ich muß marschieren bis in’ Tod!
Ah brother, ah brother, I cannot carry you.
The enemy has defeated us,
May the good Lord help you!
Trallali, trallaley,
trallali, trallaley, trallalera,
I must march on toward death!
Ach Brüder, ach Brüder,
ihr geht ja mir vorüber,
als wär’s mit mir vorbei,
als wär’s mit mir schon vorbei!
Trallali, trallaley,
trallali, trallaley, trallalera,
ihr tretet mir zu nah!
Ah brothers, ah brothers,
you go on past me
as if I were done with,
as if I were already done with!
Trallali, trallaley,
trallali, trallaley, trallalera,
you’re treading too near to me!
Trallali, trallaley, trallali, trallaley.
Ich muß meine Trommel wohl rühren,
trallali, trallaley, trallali, trallaley,
sonst werd’ ich mich verlieren.
Die Brüder, dick gesät,
sie liegen wie gemäht.
Trallali, trallaley, trallali, trallaley.
I must nevertheless beat my drum,
trallali, trallaley, trallali, trallaley,
otherwise I will lose myself.
My brothers, thickly covering the ground,
lie as if mown down.
Er schlägt die Trommel auf und nieder,
er wecket seine stillen Brüder,
trallali, trallaley, trallali, trallaley,
sie schlagen und sie schlagen ihren Feind,
trallali, trallaley, trallalerallala,
ein Schrecken schlägt den Feind!
Up and down he beats the drum,
he wakes his silent brothers,
trallali, trallaley, trallali, trallaley,
they hit and strike their enemy,
trallali, trallaley, trallalerallala,
a fear strikes the enemy!
38 | NEW YORK PHILHARMONIC
Er schlägt die Trommel auf und nieder,
da sind sie vor dem Nachtquartier schon wieder,
trallali, trallaley, trallali, trallaley.
In’s Gäßlein hell hinaus!
Sie zieh’n vor Schätzleins Haus.
Trallali, trallaley,
trallali, trallaley, trallalera,
sie ziehen vor Schätzeleins Haus,
trallali.
Up and down he beats the drum,
there they are again before their billets,
trallali, trallaley, trallali, trallaley.
Clearly out into the alley!
They draw before the sweetheart’s house.
Trallali, trallaley,
trallali, trallaley, trallalera,
they draw before the sweetheart’s house,
trallali.
Des Morgens stehen da die Gebeine
in Reih’ und Glied, sie steh’n wie Leichensteine
in Reih’, in Reih’ und Glied.
Die Trommel steht voran,
daß sie ihn sehen kann,
trallali, trallaley,
trallali, trallaley, trallalera,
daß sie ihn sehen kann!
In the morning there stand the skeletons
in rank and file, they stand like tombstones,
in rank, in rank and file.
The drum stands in front,
so that they can see it,
trallali, trallaley,
trallali, trallaley, trallalera,
so that they can see it!
“Trost im Unglück”
“Solace in Misfortune”
Husar:
Wohlan! Die Zeit ist kommen!
Mein Pferd, das muß gesattelt sein!
Ich hab’ mir’s vorgenommen,
geritten muß es sein!
Hussar:
All right! My time has come!
My horse must be saddled!
I have decided:
it must be mounted!
Geh’ du nur hin!
Ich hab’ mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben.
Ohn’ dich kann ich wohl sein!
So setz’ ich mich auf’s Pferdchen,
und trink’ ein Gläschen kühlen Wein,
und schwör’s bei meinem Bärtchen:
dir ewig treu zu sein!
Just go on your way!
I have all I need!
My loving you is mere foolishness.
I can live very well without you,
I can do very well without you!
So I’ll climb on my little horse
And drink a little glass of cool wine,
And swear by my beard
To be true to you forever.
Mädchen:
Du glaubst, du bist der Schönste
wohl auf der ganzen weiten Welt,
und auch der Angenehmste!
Ist aber weit gefehlt!
In meines Vaters Garten
wächst eine Blume drin:
so lang’ will ich noch warten,
bis die noch größer ist.
Girl:
You think you are really the finest man
In the whole wide world,
And the most agreeable, too!
But that is far from the mark!
In my father’s garden
A flower grows:
I will keep on waiting
Until it has become larger still.
(Please turn the page quietly.)
MAY 2016 | 39
Und geh’ du nur hin!
Ich hab’ mein Teil!
Ich lieb’ dich nur aus Narretei!
Ohn’ dich kann ich wohl leben,
ohn’ dich kann ich wohl sein!
So just go on your way!
I have all I need!
My loving you is mere foolishness!
I can live very well without you,
I can do very well without you!
Beide:
Du denkst, ich werd’ dich nehmen!
Das hab’ ich lang’ noch nicht im Sinn!
Ich muß mich deiner schämen,
wenn ich in Gesellschaft bin.
Both:
You think I shall accept you!
I do not intend to do that for quite a while!
I am bound to feel ashamed of you
When I am in your presence!
“Der Schildwache Nachtlied”
“The Sentinel’s Nightsong”
Ich kann und mag nicht fröhlich sein!
Wenn alle Leute schlafen!
So muß ich wachen!
Ja, wachen!
Muß traurig sein!
I cannot, will not be merry!
When everyone is asleep!
I must stay awake!
Yes, awake!
I must be sorrowful!
Lieb’ Knabe, du mußt nicht traurig sein!
Will deiner warten
im Rosengarten!
Im grünen Klee!
Dear boy, you need not be sorrowful!
I will wait on you
in the rose garden!
In the green clover!
Zum grünen Klee da komm ich nicht!
Zum Waffengarten!
Voll Helleparten!
Bin ich gestellt!
I am not going to the green clover!
The garden of weapons!
Full of halberds!
Is where I keep my post!
Stehst du im Feld, so helf’ dir Gott!
An Gottes Segen
ist alles gelegen!
Wer’s glauben tut!
May God help you when you are in the field!
Everything depends
on God’s blessing!
For anyone who believes in it!
Wer’s glauben tut, ist weit davon!
Er ist ein König!
Er ist ein Kaiser!
Er führt den Krieg!
Halt! Wer da!? Rund’!
Bleib’ mir vom Leib!
Anyone who believes it is far away!
He is a King!
He is an emperor!
He leads on to war!
Halt! Who goes there!? Speak up!
Out with you!
Wer sang es hier?
Wer sang zur Stund’?
Verlorne Feldwacht
sang es um Mitternacht!
Mitternacht! Mitternacht!
Feldwacht!
Who has been singing here?
Who was singing a moment ago?
A forlorn sentinel
was singing at midnight!
Midnight! Midnight!
Sentinel!
40 | NEW YORK PHILHARMONIC
“Lied des verfolgten im Turm”
“Song of the Persecuted in the Tower”
Der Gefangene:
Die Gedanken sind frei,
wer kann sie erraten;
sie rauschen vorbei
wie nächtliche Schatten,
kein Mensch kann sie wissen,
kein Jäger sie schißen;
es bleibet dabei:
die Gedanken sind frei!
The Prisoner:
Thoughts are free.
Who can guess what they are?
They rush past
Like shadows in the night.
No man can know them,
No hunter can shoot them;
This remains true:
Thoughts are free.
Das Mädchen:
Im Sommer ist gut lustig sein,
auf hohen, wilden Haiden.
Dort findet man grün’ Plätzelein,
mein Herz verliebtes Schätzelein,
von dir mag ich nit scheiden!
The Girl:
In summer it is good to make merry
On the wild, high moors.
There you can find little patches of green.
My beloved treasure,
I do not want to leave you!
Der Gefangene:
Und sperrt man mich ein
in finstere Kerker,
dies Alles sind nur
vergebliche Werke;
denn meine Gedanken
zerreißen die Schranken
und Mauern entzwei,
die Gedanken sind frei!
The Prisoner:
And if I’m locked up
In gloomy prisons,
This is all
Done in vain;
For my thoughts
Break the barriers
And walls apart,
Thoughts are free!
Das Mädchen:
Im Sommer ist gut lustig sein
auf hohen, wilden Bergen.
Man ist da ewig ganz allein
auf hohen, wilden Bergen,
man hört da gar kein Kindergeschrei.
Die Luft mag einem da werden.
The Girl:
In summer it is good to make merry
On wild, high mountains.
There you are forever alone,
On wild, high mountains,
There no clamor of children interrupts.
There you can breathe the fresh air.
Der Gefangene:
So sei’s, wie es will!
Und wenn es sich schicket,
nur Alles sei in der Stille,
nur All’s in der Still’!
Mein Wunsch und Begehren,
Niemand kann’s wehren!
Es bleibt dabei,
die Gedanken sind frei!
The Prisoner:
So let it be as it will!
And if it should thus occur,
Just let everything be as it will,
Quietly let everything be!
My wishes and desires,
Nobody can reign them in!
This remains true,
Thoughts are free.
(Please turn the page quietly.)
MAY 2016 | 41
Das Mädchen:
Mein Schatz, du singst
so fröhlich hier,
wie’s Vögelein im Grase;
ich steh’ so traurig bei Kerkertür,
wär’ ich doch tot, wär’ ich bei dir,
ach, muß ich immer denn klagen?
The Girl:
My sweetheart, you are singing
here happily
As a little bird in the grass;
I am so sad, standing by the prison gate.
If only I were dead, if only I were with you,
Must I then go on forever grieving?
Der Gefangene:
Und weil du so klagst,
der Lieb’ ich entsage,
und ist es gewagt,
so kann mich Nichts plagen!
The Prisoner
And because you grieve so,
I renounce love,
And once I have risked that,
Nothing can trouble me!
So kann ich im Herzen
stets lachen und scherzen;
es bleibet dabei:
die Gedanken sind frei!
die Gedanken sind frei!
In my heart I can
Always laugh and sport.
This remains true:
Thoughts are free!
Thoughts are free!
“Des Antonius von Padua Fischpredigt”
“St. Anthony of Padua’s Sermon to
the Fishes”
Antonius zur Predigt
die Kirche find’t ledig!
Er geht zu den Flüssen
und predigt den Fischen!
Sie schlag’n mit den Schwänzen!
Im Sonnenschein glänzen, sie glänzen.
For his sermon, St. Anthony
finds the church empty!
He goes to the rivers
and preaches to the fish!
They beat their tails,
Glistening in the sunshine.
Die Karpfen mit Rogen
sind all hierher zogen;
hab’n d’Mäuler aufrissen,
sich Zuhör’n’s beflissen.
Kein Predigt niemalen
den Fischen so g’fallen!
The carp with their spawn
Have all gathered here;
Their mouths are agape
As they listen intently.
No sermon ever
Pleased the fish as much!
Spitzgoschte Hechte,
die immerzu fechten,
sind eilends herschwommen,
zu hören den Frommen!
Auch jene Phantasten,
die immerzu fasten,
die Stockfisch ich meine,
zur Predigt erscheinen!
Kein Predigt niemalen
den Stockfisch so g’fallen!
Pike with pointed snouts,
Who are constantly fighting,
Have swum here quickly
To hear the godly man!
Also those dreamers
Who are forever fasting —
The cod, I mean —
Appear at the sermon.
No sermon ever
Pleased the cod so much.
42 | NEW YORK PHILHARMONIC
Gut’ Aale und Hausen,
die Vornehme schmausen,
die selbst sich bequemen,
die Predigt vernehmen.
Auch Krebse, Schildkroten,
sonst langsame Boten,
steigen eilig vom Grund,
zu hören diesen Mund!
Kein Predigt niemalen
den Krebsen so g’fallen!
Fine eels and sturgeon,
Who always feast greatly,
Even they settle back
To listen to the sermon!
Crabs, too, and turtles,
Usually slow on the uptake,
Swiftly rise from the depths
To hear this man speak!
No sermon ever pleased
The crabs as much!
Fisch’ große, Fisch’ kleine,
Vornehm’ und gemeine!
Erheben die Köpfe
wie verständ’ge Geschöpfe!
Auf Gottes Begehren
die Predigt anhören!
Fish large and small,
Noble and common,
Raise their heads
Like sensible beings,
And at God’s will
Take in the sermon.
Die Predigt geendet,
ein Jeder sich wendet!
Die Hechte bleiben Diebe,
die Aale viel lieben,
die Predigt hat g’fallen,
sie bleiben wie Allen!
Die Krebs’ geh’n zurücke,
die Stockfisch’ bleib’n dicke,
die Karpfen viel fressen,
die Predigt vergessen!
Die Predigt hat g’fallen,
sie bleiben wie Allen!
When the sermon is finished,
They all turn about.
The pike are still thieves,
The eels remain great lovers;
The sermon has pleased them,
They remain like everyone else!
The crabs still walk sideways,
The cod remain heavy,
The carp still eat a lot,
And forget the sermon!
The sermon has pleased them,
They remain like everyone else!
(Please turn the page quietly.)
MAY 2016 | 43
“Der Tamboursg’sell”
“The Drummer Boy”
Ich armer Tamboursg’sell!
Man führt mich aus dem G’wölb!
Wär ich ein Tambour blieben,
dürft’ ich nicht gefangen liegen!
Woe is me, a drummer boy!
Being led out of the dungeon!
If I’d stayed a drummer
I might not find myself in prison!
O Galgen, du hohes Haus,
du siehst so furchtbar aus!
Ich schau dich nicht mehr an!
Weil i weiß, daß i g’hör d’ran!
O gallows, you house on high,
How ghastly you appear!
I will not look on you again
For I know that’s where I belong.
Wenn Soldaten vorbeimarschier’n,
bei mir nit inquartier’n.
Wenn sie fragen, wer i g’wesen bin:
Tambour von der Leibkompanie!
When soldiers march by
who were not quartered with me —
when they ask, who was I:
A drummer from the first company.
Gute Nacht, ihr Marmelstein!
Ihr Berg’ und Hügelein!
Gute Nacht, ihr Offizier,
Korporal und Musketier!
Gute Nacht!
Ihr Offizier, Korporal und Grenadier!
Good night, marble stone,
mountains and hills —
Good night, you officers,
corporals, and musketeers.
Good night, you officers,
corporals, and grenadiers.
Ich schrei’ mit heller Stimm’:
von Euch ich Urlaub nimm!
Gute Nacht!
I cry with a loud voice,
and take my leave of you!
Good night!
Translations by Michael Steinberg
44 | NEW YORK PHILHARMONIC