published on
Recording of the performance on July 9, 2018, in Wedel by the Mendelssohn Choir under the direction of Almut Stümke.
Anakreon: Der Gebrauch des Lebens.
Hier, im Schatten junger Myrten,
Hier, auf weiche Lotosblätter
Hingelagert, will ich trinken.
Amor, schürze dein Gewand auf!
Amor, reiche mir den Becher!
Denn das Leben fleucht von hinnen,
Wie das Rad am Wagen hinrollt.
Und wann diess Gebein zerfallen,
Sind wir eine Hand voll Asche.
Hilft es dann das Grab zu salben
Und mit Most den Staub zu tränken?
Salbe mich, weil ich noch lebe;
Kröne mir die Stirn mit Rosen;
Lade meine Freundinn zu mir!
Amor, eh' ich mich dort unten
In den Tanz der Todten mische,
Scherz' ich Gram und Unmuth von mir.
Anacreon: The Use of Life"
Here, in the shade of young myrtles,
Here, reclined on soft lotus leaves,
I want to drink.
Cupid, adjust your attire!
Cupid, hand me the goblet!
For life flees away,
Like the wheel rolls on the chariot.
And when these bones crumble,
We are but a handful of ashes.
Will it then help to anoint the grave
And moisten the dust with wine?
Anoint me, for I still live;
Crown my brow with roses;
Invite my beloved to join me!
Cupid, before I mingle
In the dance of the dead below,
I'll cast off sorrow and discontent
When the choir conductor Norbert Klose was searching for a suitable piece to complement the program for a performance of Mozart's Requiem in 2006, he approached the composer Peter Heeren from Schleswig-Holstein to compose a fitting work for the occasion. Heeren chose a text that contrasted with the Requiem, namely the 4th Ode by the Greek poet Anacreon, titled 'On the Use of Life,' in the translation by the Berlin poet and philosopher Karl Wilhelm Ramler (1725-1798), who was once called the 'German Horace.' The text invokes and celebrates the joy of life in the face of the inevitable end brought by death.
Heeren attempted to establish a connection between Mozart's Requiem and Anacreon's Ode in two ways. First, the instrumental and vocal arrangement exactly matches that of the Requiem. Second, he aimed to illuminate Mozart's well-known appreciation for the pleasures of life.
The musical language is situated at the border of tonal harmony and, despite occasional textual challenges, remains logical and comprehensible to the listener. The instrumentation is rich and makes full use of the instruments' capabilities. For instance, at the beginning, clarinet solos twist and turn like trees over ostinato string figures during the solo singing, 'Here in the shade of young myrtles.' The choral composition is mostly contrapuntal, with fugues and canons playing a significant role, the latter also intended to represent a dance of death. The concluding part of this 22-minute piece is occupied by the text, 'Love, before I join the dance of the dead below, I will cast off sorrow and discontent.' The choir passionately and exuberantly declaims this text in ever-changing variations, marked by striking melody, harmony, ostinato patterns, and constant changes in meter. The choral performance is repeatedly punctuated by stirring orchestral interludes and culminates in a majestic unison. After the abrupt ending, the strings conclude with high-pitched, sparkling pianissimo-glissando arpeggios, as if peering into the afterlife, concluding the work.
'The Use of Life' had its premiere on November 18, 2006, alongside Mozart's Requiem at the Church of Hohenwestedt, conducted by Norbert Klose. On August 28, 2010, a third performance took place at the Market Church in Hamburg-Poppenbüttel, receiving enthusiastic acclaim from the numerous listeners and highly regarded in the press.
The performance material is published by Hayo-Verlag (www.hayo-music.de), and a viewable score is available in the VDKC library."
Hans Gebhard
October 26, 2010
- Genre
- Classical