No Song is Safe From Us

No Song Is Safe From Us - The NYFOS Blog
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We begin our week with a horror story in the Black Forest. One of my favorite things about the study of poetry and music is opening my imagination to the world in which these magnificent compositions were birthed. Take a journey with me now to Stuttgart in the 1820s where we meet a twenty-something year old named Eduard Mörike who was studying to be a clergyman but along the way found a passion for writing. We are in the height of German Romanticism and the fascination between our earthly, mortal existence as juxtaposed to the greater and more powerful universe around us. Science has developed enough to begin explaining how nature functions, but for the Romantic thinkers this practical understanding of nature only sparks a deeper awe for the almighty powers that created the universe in the first place. Time and time again in the writing of the German Romantics there is a mortal character as the central figure of the story who encounters an unexplainable—often fearful—supernatural presence. The key for the Romantics, however, is these ghostly forces don’t impose their wrath onto mortals, rather the turmoil comes from within the human and is projected onto the scene, often stunning them until it is too late and our protagonists meet their fate. Thus sets the stage for our 1829 ghost story.

Deep between hills in the northern Black Forest, our protagonist has found the beautiful lake Mummelsee. It is past twilight and the Forest has gone to sleep. Across the lake are small glowing lights coming down from the mountains and the sound of unfamiliar songs. Our speaker soon realizes he has found the ghosts of Mummelsee and they are having a funeral procession for their King. Captivated by their beauty and how the ghosts float above the lake without disturbing the peaceful water, the mortal hides in the bushes seemingly unnoticed. Soon the lake opens up and the ghosts float under for the final stages of their burial procedures. The lake and surrounding forest turn green from the ghosts’ underwater fires. Suddenly, the spirits sense an intruder and swarm out of the water towards the shoreline, only to bring our narrator to his demise.

The Ghosts at Mummelsee
What is coming down from the mountain there
With torches so splendid at midnight so late?
Will there be a dance or perhaps a feast?
The songs sound so feisty.
   O no!
But tell me, what might that be?

What you see is a funeral train,
And what you hear is lamenting.
Due to sorrow for the Sorcerer King,
They are bringing him back again.
   Oh my!
Those are the ghosts of the lake!

They glide down the valley to the lake—
They are treading now on its surface—
Touching it with their feet, yet walking dry-shod—
They whir about in muted prayer—
   O look,
A woman all aglitter at the bier!

Now the lake opens its sparkling green gate;
See how they submerge!
A real set of stairs emerges now,
And—down under, songs being hummed already,
   Do you hear?
They are singing him to rest down there.

How lovely the fires glow on the water!
They flare and then turn green;
Fog moves in clusters along the shore,
The pond is turning into a sea—
   Be still!
Is there something stirring out there?

In the middle a twitching—For heaven’s sake! Help!
They come back again, they are coming!
A bellowing in the reeds, a crunching in the rushes;
Make haste, take flight!
   Away!
They sense trouble, they are on my tracks!

Translation: Charles L. Cingolani

Miles Mykkanen

An alumnus of NYFOS’s Emerging Artist program, Miles Mykkanen is gaining recognition on the world’s concert and operatic stages for his “focused, full-voiced tenor” (The New York Times). Fred Cohn of Opera News wrote of his performance in Eugene Onegin, “Mykkanen was a knockout as Lensky.  The lyric intensity of his singing made each moment count, and the duel-scene aria was a stretch of sheer vocal gold.” Hear Miles this summer as Jontek in Halka at the Bard Music Festival, and next season in NYFOS’s opening night concert Take Care of This House.

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