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Gestorben war ich, S308

composer
circa 1849; LW N18; published as Liebesträume No 2 in 1850
author of text

 
In a similar Uhland poem, Gestorben war ich, the poet plays on numerous Death-and-Eros analogies (dying in love’s rapture, buried in her arms, resurrected by her kisses), avoiding the stated home key until heaven is revealed in her eyes in the poem’s last line.

from notes by Susan Youens © 2018

Dans un poème analogue d’Uhland, Gestorben war ich, le poète joue sur de nombreuses analogies entre la mort et Eros (mourant dans l’extase de l’amour, enterré dans ses bras, ressuscité par ses baisers), évitant la tonalité d’origine indiquée jusqu’à ce que le paradis soit révélé par les yeux de la bien-aimée au dernier vers du poème.

extrait des notes rédigées par Susan Youens © 2018
Français: Marie-Stella Pâris

In einem ähnlichen Gedicht Uhlands, Gestorben war ich, ergeht sich der Dichter in einer Fülle von Bildern über Eros und Tod (gestorben vor Liebeswonne, begraben in ihren Armen, auferweckt von ihren Küssen). Liszt meidet die Haupttonart, bis sich in der letzten Zeile der „Himmel“ öffnet.

aus dem Begleittext von Susan Youens © 2018
Deutsch: Friedrich Sprondel

Recordings

Liszt: The Complete Songs, Vol. 5 - Allan Clayton
Studio Master: CDA68179Studio Master FLAC & ALAC downloads available

Details

Track 17 on CDA68179 [2'28]

Track-specific metadata for CDA68179 track 17

Artists
ISRC
GB-AJY-18-17917
Duration
2'28
Recording date
25 November 2017
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Simon Kiln
Recording engineer
Ben Connellan
Hyperion usage
  1. Liszt: The Complete Songs, Vol. 5 - Allan Clayton (CDA68179)
    Disc 1 Track 17
    Release date: November 2018
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