IJOA Osterfestival 2019 Richard Wagner: „Im Treibhaus“ aus den Wesendonck-Liedern

SYMPHONIEKONZERT
Mittwoch, 24. April 2019 Volkshaus Jena
Richard Wagner: „Im Treibhaus“ aus den Wesendonck-Liedern
Dirigent: Matthias Foremny
Solistin: Kathrin Göring

Richard Wagner Five songs based on texts by Mathilde Wesendonck
(1813 – 1883) - „Der Engel” („The Angel“)
„Stehe still!” („Be still!“)
„Im Treibhause” („In the Greenhouse“)
„Schmerzen” („Sorrows“)
„Träume” („Dreams“)

After his participation in the May Uprising of 1849 in Dresden, Richard Wagner was wanted for being a revolutionist. This forced him to flee and he decided to give his recently completed „Lohengrin“- score to Franz Liszt in Weimar who took care of its premiere. Wagner himself was granted asylum in Zurich, where he met Otto Wesendonck. Wesendonck was a rich merchant from the Rhineland, who generously supported Wagner financially and allowed him to live in his villa’s summerhouse from 1857 onwards. A close but platonic relationship, which is reflected artistically in “Tristan and Isolde”, developed between Wagner and Wesendonck’s wife Mathilde. In April 1858, a letter found and misinterpreted by Wagner’s wife Minna led to an éclat, which put an end to the idyll at the “green hill”in Bayreuth. Luckily, this did not destroy the friendship between the Wesendoncks and Wagner. Between 1857 and 1858, Wagner set five poems written by Mathilde to music. “Der Engel” (“The Angel”) is a harmonic, venturous meditation full of euphony. The restless movement at the beginning becomes a lot calmer in “Stehe still!” (“Be still!”), and climaxes in solemn transfiguration with the words “erkennt der Mensch des Ew’gen Spur und löst dein Rätsel, heil’ge Natur” (“then man recognizes the sign of eternity, and solves your riddle, holy nature!”). The change from desperately sad lines to consoling intertwined figures gives “Im Treibhause” (“In the greenhouse”) its emotionally moving effect. The core of this musical setting can also be found in the prelude to the third act of “Tristan and Isolde”. According to the lyrics, “Schmerzen” (“Sorrows”) and “Wonne” (“Delight”) are tightly connected in the fourth song. “Träume” (“Dreams”) permanently dwell on the ninth chords, which are very typical in Wagner’s use of harmony. The Wesendonck-songs were originally melodies with piano accompaniment. However nowadays, an arrangement for orchestra by Felix Mottl is more commonly performed, as is a version for chamber ensemble by Hans Werner Henze.