There are two elements in the Christmas song we listened to last week, Mariä Wiegenlied, that can be understood as symbols of the crucifixion: the rose garden (with its thorns) and the bird. We can find similar details in many paintings that show the Madonna with the Child. The artist reminds us of what is ahead; a future that the mother is aware of in some way.
Last spring, we listened to Trost, a song by Max Reger. I told you then that the composer was a rara avis who was not interested in affiliating himself to any aesthetic current. Furthermore, he admitted without any problem that among his closest references were Hugo Wolf and Johannes Brahms, a shocking affirmation at the time. Regers music confused critics, and this confusion [...]
When we returned to school after the summer, my grandmother used to say: “In a few days, it will be Christmas”. And we used to say: “Oh, Granny, it's ages until Christmas!” For children, three months was a long, long time; however, my grandmother probably began to organize in her head the many big and small things that had to be prepared and considered. And one day, [...]
After seeing how the woman he loves marries another, and having taken refuge in the forest to cry his grief, the poet of Dichterliebe is ready to tell us exactly what happened. Did she get married to the love of her life? I mean, given that circumstance, you could say: "Well, I'm deeply saddened, but she's so happy". However, it turns out that the love of her life has married another [...]
The last seconds of a condemned person's life. This is what the poem Eight O'Clock by A.E. Housman is about. Only two stanzas; eight verses to convey the harshness of the moment.