Word: das
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...command which de los Angeles seems recently to have developed over the realm of German lieder. Her exuberant performance of Schubert's Mein! made me forget for a moment that the songs from Die Schone Mullerin and hardly suited to a woman's voice and manner. Der Tod und das Madchen, on the other hand, conveyed such a deep sense of both the terror and the serenity of death, that it was with a bit of a shock that I recalled de los Angeles' remark to her accompanist Gerald Moore in his book Am I Too Loud? When he arrived...
...conventional statesmanship to heal the ancient feud between Gaul and Teuton. On his state visit to West Germany, he went out of his way to wring Germans' hands and bid them Guten Tag. Few Germans who heard him could fail to be moved when De Gaulle cried: "Das deutsche Volk ist ein grosses Volk." A popular Christmas gift in West Germany last week was a recording of the speeches he made on that trip. Its name: De Gaulle in Germany, the Symbol of European Understanding...
...destruction of life" moved on contrasting levels, with the mourning liturgical passages accompanied by full chorus and orchestra, and the Owen poetry (sung by tenor and baritone) accompanied by only a small chamber group. The general effect, as one critic noted, was "as though sections of [Mahler's] Das Lied von der Erde had been interpolated into the Verdi Requiem." The bells tolling for the dead in one segment of the Mass were echoed by Owen's line, "What passing-bells for these who die like cattle," while the distant menace of battle was evoked by the orchestra...
...have leveled off, West German entrepreneurs are going ahead with plans to build new homes and hotels from the Atlantic to the Adriatic, yielding to the mystic lure of the sun that impelled the Goths across the Alps for centuries, and that inspired Goethe to ask yearningly Kennst du das Land wo die Żitronen blühn? (Do you know the land where the lemons bloom...
...composer normally went from sketches to "raw scoring" to a final version, and, according to Ratz, he was at least two years away from a final version of the Tenth. "Even with his finished works, Mahler did retouching in the instrumentation after a few performances; you cannot say that Das Lied von der Erde and the Ninth have the same character they might have had if Mahler himself had lived to perform them." An even greater problem: not all Mahler experts agree that the composer had decided in what order he wanted the symphony's various movements arranged...