by Rainer Maria Rilke (1875 - 1926)
Language: German (Deutsch)
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Authorship:
- by Rainer Maria Rilke (1875 - 1926), appears in Das Stundenbuch
Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive):
- by Sofia Gubaidulina (b. 1931), "Aus dem Stundenbuch", first performed 1991 [ narrator, cello, men's chorus, percussion ]
- by Rolf Looser (1920 - 2001), "Drei Sprüche aus dem Stundenbuch", 1944 [ mixed chorus ], Zentralbibliothek Zürich
- by Michael R. Mathis , "Rilke songs from "Das studenbuch"", 1996 [ soprano, flute, clarinet, percussion, piano, violin, and cello ], Sung in English
- by Jacques Murgier (1912 - 1986), "Das Stunden Buch", copyright © 1980 [ voice and piano ], Paris : Editions Musicales Transatlantiques;note: Placeholder
- by Robert Oboussier (1900 - 1957), "Trilogia sacra", copyright © 1930 [ solo voices, chorus, orchestra and organ ], from cantata Trilogia sacra, Berlin : Bote & Bock, placeholder
- by Martin Schröder , "Aus Rilkes Stundenbuch", published 2001 [ soli and chamber orchestra ], from Aus Rilkes Stundenbuch, Selbstverlag; placeholder for 11 Miniaturen
- by Thomas F. Schubert (b. 1961), "Stundenbuch" [ chorus ], from Die Ikonen des Andrej Rublev, Placeholder: Gedichten aus dem Stundenbuch von Rainer Maria Rilke, Worten des Alten und Neuen Testaments und spirituellen Texten der Ostkirche
- by Andrew Schultz (b. 1960), "Das dritte Schöpfungswort" [ mixed chorus ], Placeholder: The title's Third Word of Creation refers to verses from Rilke's Book of Hours which indicate the fear of what other delicate experiments God might come up with after 'light' and 'man'. Schultz contradicts the text by combining it with the monolithic beginning of the First Book of Moses in the Old Testament, which is imbued with the rightness of God's actions, as well as with lines by the Persian poet Rumi in the translation by Friedrich Rückert. The latter indicate the comforting certainty of rebirth as a higher being up to the unfathomable spirit of God. The composer accomplishes the feat of weaving all three levels into a complex, ethereal structure in which the words nevertheless always remain clearly understandable.
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