> Isabelle Bracamonte wrote:
> > Lorelei songs... or sirens of any kind.
> > Enchantresses, witches, any women whose sole
> purpose> > was to lure men to their doom.
Dear lsabelle and co-vocalisters,
I sent an email some 13 hours ago, but I don't see it
back on the list,so I'll try (working on a different
computer) to rewrite it. Here we go:
I like the idea very much. Aren't women like this the
most intersting ones, at least in art?
The 'Waldesgespraech' is of course of Schumanns
Eichendorf Liederkreis (opus 39), but I think that was
a typo. I almost sure, Clara Schumann wrote a Lorelei
song as well.
Then there is Hahn's Avertimento, where the singer
warns men for a beautiful woman, who has the heart of
a 'tigra'.
We have a song by Schubert that starts with the words
'Das Wasser schwoll' where a mermaid persuades a
fisherman (I even think the title is 'Der Fischer') to
live with her on the bottom of the sea (or to drown
himself, which the music suggests).
But in my opinion this theme is often a metahpor for
women that make men unhappy, so women that not
necessairily have to be mean.
The schoene Muellerin (I mean the woman) and certainly
the woman that made the main character from Die
Winterreise unhappy, fall maybe even in both
categories, depending on how you interprete them. But
the romantci literature is crowded with (young) men
that are in love with women that will finally bring
them to their tragic end, whether they are mean or
not. (Werther!) Many of the women are even of the type
of the 'belle dame sans merci', which is a romantic
arche type.
Mozart songs also contain a few charcteres that vary
from the original theme to a vary free
ineterpertation.
First of all: 'Das Veilchen'. In my interpretation
(but not only in mine) the flower is a young man. (As
das Heidenroeslein and Die Forelle are allegoric
stories about women, but that is definitively a
different theme.)
In 'Dans un bois solitaire' we see, that Amor condemns
someone to be in love forever with a women that does
not love him (as a punishment for wakening Amor up).
Then in 'Das Lied der Trennung' the main character
canot forget Louisa, as Mozart himself never was able
to forget the older sister of his wife with the same
name.
If you would interprete the theme a buit freere, you
might need someone who explains this, but soemoen who
teels teh lsiteners soemthing about the pices, is in
my experience a good idea anyway, whcih the audience
loves.
I'll try tho remember a few more pieces,
Best greetings,
Dre
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