Hans Gál
Das Lied der Nacht

Un pays exhorte Lianora, l'orpheline héritière, à se marier après la mort du roi. Lianora, cependant, ne veut pas de ce mariage, et l'entrée au monastère apparaît comme la seule issue.
Mais alors, nuit après nuit, la voix d'un homme dont le chant de nostalgie semble d'autant plus fascinant, et dont personne ne sait rien de l'origine des sons, ni de l'identité du chanteur habillé de noir et masqué.
La chanson crée de plus en plus un lien d'amour entre de Lianora et l'étranger mystérieux qui ose se rapprocher du Palais Royal. Une nuit, Tancrède, le cousin de Lianora pénètre dans la chambre de la princesse.
Le chanteur étranger sauve Lianora de Tancrede, saisissant de violence possessive. Le lendemain, elle annonce aux peuple que le chanteur est son mari.
Quand l'étranger, Ciullo, batelier de Lianora, ôte son masque, il se révèle être un homme simple du peuple. Offensée, Lianora reprend ses vœux.
Trop tard, et c'est seulement quand, devant elle, Ciullo perd la vie, qu'elle entend la chanson de l'amour.
Le chant de la nuit a connu une première enthousiaste au théâtre de Wroclaw le 24 avril 1926.
Avec le poète Karl Michael von Levetzow, Hans Gál a créé une narration poétique et musicalement colorée d'un royaume mythique de Sicile, qui, selon le temps, a trouvé des profondeurs psychologiques dans la parole et la musique et explore.
Le compositeur et musicologue autrichien Hans Gál (1890 – 1987) est l'un des artistes socialistes «Juifs» et «dégénérés» du XXe siècle. La plupart des œuvres de l'artiste jadis très bien connu et très estimé sont oubliées aujourd'hui.
Le chant de la nuit n'a jamais été joué à nouveau après 1930, un enregistrement de l'œuvre n'est pas disponible.
Pour la première fois depuis 1920, Masha Pörzgen l'œuvre est mise en scène au théâtre Osnabrück (April 2017), - Opéra et théâtre musical contemporain présentant des raretés et des œuvres d'un intérêt particulier.
La direction musicale est assurée par Andreas Hotz, qui déjà dans les dernières saisons a fourni des redécouverts acclamés à des œuvres injustement oubliées.
Das Lied der Nacht – Theater Osnabrück – 5 May 2017 (Link to promotional video -mp4- : https://vimeo.com/215983662)

Broadcast Recording

Remote

  1. http://www.mediafire.com/file/jcx4hc3k1cl32hl/1_Gal_Lied_der_Nacht_Akt_1.mp3
  2. http://www.mediafire.com/file/58q8ie2e8421k1b/2_Gal_Lieder_der_Nacht_Zwischenspiel.mp3 (Intermède)
  3. http://www.mediafire.com/file/ggx1obqyk9l87jb/3_Gal_Lied_der_Nacht_Akt_2.mp3
  4. http://www.mediafire.com/file/66d73wcbo9oussc/4_Gal_Lied_der_Nacht_Akt_3.mp3

Local (D:/Musiques/Ma musique/GalHans/Lied der Nacht/)

  1. 1_Gal_Lied_der_Nacht_Akt_1.mp3
  2. 2_Gal_Lieder_der_Nacht_Zwischenspiel.mp3 (Intermède)
  3. 3_Gal_Lied_der_Nacht_Akt_2.mp3
  4. 4_Gal_Lied_der_Nacht_Akt_3.mp3

Lianora - Lina Liu
The Princess-Abbess - Gritt Gnauck
Hämone - Susann Vent-Wunderlich
Tancred - Rhys Jenkins
Ciullo/The Nameless Singer - Ferdinand von Bothmer
The Chancellor - José Gallisa

Opera Chorus & Extra Chorus of Theater Osnabrück
Osnabruck Symphony Orchestra
Chef d'orchestre : Andreas Hotz
Réalisation : Masha Pörzgen
Scène et costumes : Frank Fellmann Chef des Chœurs : Markus Lafleur
Dramaturgie : Ulrike Schumann

Immédiatement après, Hans Gál, 33 ans, a fait sa percée avec son Die heilige Ente à Düsseldorf en 1923, il a commencé travailler sur un successeur, créer une « ballade dramatique en trois scènes » sur un texte par le poète Karl Michael von Levetzow.
Das Lied der Nacht a été créé en Breslau (aujourd’hui Wrocław polonaise) en 1926 et fut bientôt reprise par plusieurs d’autres théâtres, avant que l’arrivée au pouvoir des nazis n’envoie Gál en exil et sa musique dans l’obscurité.
L’opéra n’avait pas été joué pendant la majeure partie de 90 ans jusqu’à ce qu’il soit déterré des archives pour être relancé ce le printemps par l’entreprenant Theater Osnabrück à temps pour marquer le 30e anniversaire de la mort du compositeur.
Il est également repris dans une semi-mise en scène au Festival d’Édimbourg de cette année, on pourrait donc dire que son heure a venir.
C’est certainement une œuvre intéressante, tant musicalement que dramatiquement, et même s’il n’aurait peut-être pas émergé comme un chef-d’œuvre perdu depuis longtemps à mettre en scène aux côtés des œuvres de Schreker et Zemlinsky de la même décennie,
il y a assez de substance pour faire espérer qu’elle ne sera pas oubliée après cette première rafale d’exposition.

Musicalement, Das Lied impressionne par sa fluidité plus que par sa frappe – Gál connaissait évidemment son Strauss et Mahler et dirigeait leur langues à ses propres usages sans trouver d’idées qui persistent longtemps dans l’esprit.
À son meilleur, dans les harmonies sombres et sombres de la scène avec le Abbess par exemple, c’est puissant et plein de résonance, mais on en désire quelque chose de plus frappant pour le « Lied » lui-même, la chanson mystérieuse chantée par la « chanteuse sans nom »
qui ravit tant la princesse héritière, Lianora
– son La caractéristique la plus puissante est son accompagnement à la harpe. Mais il y a un impressionnant prélude de l’acte II pour compenser
– un morceau d’ingéniosité texturale et un ravissement harmonique qui ferait un objet de concert attrayant en soi – et tout au long du film, Gál est particulièrement habile à laisser transparaître ses lignes vocales l’écriture orchestrale souvent chargée.

À première vue, l’histoire est simple : la princesse Lianora orpheline est refusant de nommer son mari pour que la Sicile puisse gagner un roi – elle est plus attirée par la Chanteuse sans nom que par son prétendant taureau, Tancrède, et préférerait de loin entrer dans le couvent de sa tante en tout cas.
Mais ceci étant le œuvre d’un Viennois post-freudien, l’opéra est une exploration de la psychologie de l’enfance, quelque chose qui s’est dessiné dans le livre de Mascha Pörzgen mise en scène perceptive.
Avec la mort de son père, Lianora est catapultée dans l’âge adulte avant qu’elle ne soit prête, avec la nécessité de choisir un mari à entretenir la stabilité politique de l’île.
C’est aussi une femme dans un monde où les hommes Appelez les coups – En tant que princesse, elle a des obligations qui relèvent du pouvoir du vieux chancelier et de la pavanerie macho de Tancrède.
Ce qui suit les dérives dans le monde des rêves – la séduction du chanteur sans nom est-elle une Fruit de son désir inconscient de s’échapper ? Une façon de l’inconsciemment éviter la réalité en projetant ses fantasmes sur son gondolier préféré, Ciullo, qui s’avère être chanteur ?
Nous devons réfléchir à ce qui est réel et ce qui est imaginé – les entrées et les sorties sont souvent faites de manière ambiguë de l’intérieur le décor et dans l’acte I, l’abbesse « Stony » émerge comme une figure géante de ce que l’on supposait être la garde-robe de la princesse.
Les images aqueuses abondent aussi, en accord avec le thème de la complainte du Chanteur, et ajoutent au sens de le subconscient est exploré.
Le score de Gál avait de l’ampleur et du rythme entre les mains du charismatique GMD d’Osnabrück Andreas Hotz, et bien que le jeu orchestral ait de l’éclat et de la puissance, il être bon d’entendre ce qu’un ensemble vraiment de premier ordre pourrait faire de cette musique.
Lana Liu était très efficace dans le rôle de Lianora, avec une projection ciblée et une manière communicative avec les mots ; Susann Vent-Wunderlich dans le rôle de sa femme de chambre/confidente Hämone a également été impressionnant.
Gritt Gnauck, une mezzo familière du Detmold ensemble, a fait une imposante abbesse, apportant une touche de Klytemnestre à son interprétation vocale, et Ferdinand von Bothmer chantait vaillamment dans le rôle de la Nameless Singer et Ciullo,
avec juste une touche d’insécurité dans son ténor à moments de tension accrue. Rhys Jenkins était un Tancrède solide, José Gallisa, un chancelier robuste, et le chœur ont chanté avec une attention particulière et Côté dramatique.

 

 

Universal Edition - Hans Gál – Das Lied der Nacht
http://www.universaledition.com/performances-and-calendar#work=1814

 


Hans Gál Picture – © Lotte Meitner-Graf

Hans Gál : Das Lied der Nacht

Opus: op. 23
Year of composition: 1924/1925
Subtitle: Dramatische Ballade in 3 Akten
Composer: Hans Gál
Text Source: Eine Dichtung
Text Author: Karl M. von Levetzow
Parts: Die Fürst-Äbtissin, Alt / Lianora, Erbprinzessin von Sizilien, Sopran / Hämone, Sopran / Galwina, stumme Rolle / Tancred, Vetter Lianoras, Bariton / Der Kanzler-Reichsver-weser, Baß / Ciullo der Bootsmann (der namenlose Sänger), Tenor
Choir: SATB
Instrumentation: 3 3 3 3 - 4 6 3 1 - timp, perc (3), hp, cel, str, stage music: 1st trp in C, 2nd trp in C, 3rd trp in C, deep bells
Scenery: 2 Bühnenbilder
Duration: 130′

Reviews

After the success of the Heilige Ente there followed Gál's third opera, Das Lied der Nacht ('The Song of the Night', Op.23), a romantic drama set in 12th century Sicily, with a Turandot-like plot [the opera was written in 1924-25, was therefore almost simultaneous with Turandot, and had its first performance just one day before Turandot (on the 24th April, 1926)]. It was premièred in Breslau in 1926, and then in Düsseldorf, Königsberg and Graz. This opera, called a 'dramatic ballad', again had a libretto by Levetzow, and it brought further confirmation of Gál's standing as an opera composer. The critic of the Schlesische Tagespost wrote of the first performance:
"A great success. For me personally the evening was altogether one of the most powerful operatic experiences ever! Music and poetic conception combined in the happiest fashion. [Schlesische Tagespost, April 1926]"
In Breslau, where all previous Gál operas had been performed (and in 1924 even a carnival parody under the title Die Heilige Rente: nach der Oper von Gans Egal), das Lied der Nacht was received as a new high point:
"One doesn't know whether to emphasise the extraordinary variety and expressive colour in his music, which confronts us in the exposition, or the magnificent musical construction of the second 'Scene', which has rarely been equalled in the operatic literature. Corresponding to this exuberant lyricism in mood and solemnity there is the depth of symphonic ideas, whose working out reveals the hand of the mature practitioner. The harmonic combinations are thoroughly modern, but modern in the best sense; they signify an enrichment of the expressive palette, they are spiritually conceived, they communicate throughout an original experience of beauty... All in all, therefore, the new opera constitutes an enormous advance for the composer, as, alongside the mastery and creativity which we had already admired in the 'Heilige Ente', it opens up for the first time the fullness of his heart. And so it will always be considered the most valid testimony of his talent so far." [Breslauer Zeitung]
Hanna Gál explained how the collaboration with Levetzow (whose texts had also been set to music by Schönberg in his Op. 1) had come about, and revealed something of the extraordinary character of the librettist:
"After the success of the Heilige Ente Hans received innumerable manuscripts from poets, writers and those who regarded themselves as such, with suggestions for collaboration on a new opera. Hans was completely uninterested, and barely took the trouble to read the manuscripts. It was not until a few years later that he again became interested in writing an opera, but insisted on having Levetzow as librettist. But where had the fellow gone? A letter to his last known address in Paris remained unanswered. Eventually Hans learned from one of the poet's aristocratic cousins [he was related to Ulrike von Levetzow, the last love of Goethe, and the subject of his Marienbader Elegie] that Levetzow was in Corsica and obtained the address. Levetzow showed a lively interest, and so Hans decided that our holiday would take us to Italy and Corsica. After a few all-too-short days in Venice and Florence we arrived at Livorno from where, once a week, a ship went to Bastia. The crossing over the incredibly blue Mediterranean was uneventful. We had to spend the night in Bastia. Pretty dreadful. We then took the train that went once a day along the coast from Bastia to Ajaccio (Napoleon's birthplace). The train stopped at every little town. In response to our question regarding a certain sanitary facility we received the answer 'Le pays est large.' Arriving at Levetzow's abode we found the place almost deserted. It was a malaria area, and in the summer the inhabitants took their animals to their summer quarters on the nearby mountain plateau. Levetzow couldn't do that, for he and his friend Jean Baptiste literally didn't have a sou in their pockets. Fortunately, J. B. was a Berganzi, belonging to one of the most famous bandit families of the island, and he had credit everywhere.

The pair had got nowhere in Paris and had decided to move to Corsica and live off hunting and fishing. They had bad luck with the hunting; Levetzow thought he had killed a chamois, but it turned out to be the neighbour's goat, the breeding bull, so to speak, of the whole village. And the fishing wasn't right either, as Jean Baptiste didn't like fish soup. I don't know how they managed, but in any case they always had plenty of wine and cigarettes, and through our visit some cash came into circulation again. J. B. did the cooking. Levetzow: 'Tu n'as pas oublié le poivre?' J. B. 'Non, je n'ai pas oublié le poivre.' The first ideas for Das Lied der Nacht were sketched out and discussed, sitting on Levetzow's bed. ...

Hans was horrified by the circumstances of his friend's life and pulled all the strings to get him to return to civilisation. And so a few weeks later Levetzow appeared in Vienna. The director of Universal Edition paid him a monthly honorarium in anticipation of future royalties, my mother bought some pictures from him that he had inherited, so a start was made. He wanted to give language lessons, but it went the same way as with the hunting and fishing in Corsica. Without Jean Baptiste it just wasn't right. One day the latter appeared in Vienna, with a dachshund on a lead. The height difference between the dachshund and Jean Baptise was the same as that between J. B. and Levetzow. Naturally, nothing came of the good resolutions for a bourgeois life, and he eventually had to move in with a nephew on a mortgaged estate in Moravia. There he got into political difficulties and was taken into custody. He died in prison before the case came to court.

He was the only real bohemian that I ever knew." [Private correspondence, 1989.]

 

Fully-staged Opera by Hans Gál
Das Lied der Nacht

Premièred in Breslau in 1926, it was hailed as “one of the most powerful operatic experiences ever!”
The Queen's Hall, Edinburgh, UK
Last performed in 1930, and banned by Hitler along with all Gál’s music, Das Lied Der Nacht is a powerful romantic drama, set in 12th century Palermo.
It shows Gál at the height of his musical power as an operatic composer.

 

  Hans Gál's opera Das Lied der Nacht
Saturday 6th May 2017
Radio Broadcast : Deutschlandfunk Kultur

Das Lied der Nacht preview : vimeo.com/215983662
29th April, 5th, 10th, 12th, 14th, 23rd & 25th May 2017
Theater Osnabrück, Osnabrück, Lower Saxony, Germany

 

Sunday 4th June 2017
Concert-staged Opera by Hans Gál presented by the Hans Gál Society
Das Lied der Nacht (Song of the Night)
Emma Morwood (soprano), Janet de Vigne (soprano), Judy Brown (alto), Luke Sinclair (tenor), Mark Saberton (baritone), Marcin Gesla (bass)
Chorus & Orchestra of the Canongait
Conductor: Robert Dick

Queen Hall

The Story
Set in a mythical 12th Century Sicilian kingdom, Song of the Night, subtitled a "romantic ballad in three scenes", explores the female psyche in a patriarchal society. Leonora, the crown princess, is under extreme pressure to find a husband who will fill the vacant throne as king. Tancred, a swashbuckling knight, is deemed by all to be the most eligible suitor and is confident that he is the chosen one. Leonora, however, abhors the prospect of wedlock and asks her Aunt, the Abbess, to admit her into the convent.
The Abbess challenges Leonora to listen to her heart, to look into the “night within herself”, and to acknowledge the “inner voice before which she has trembled” or risk “turning into stone”, like the Abbess herself.
Leonora, in deep denial, is profoundly unsettled by the Abbess's oracular words and is stirred to the core when her companion, Hämone, jokes that perhaps the “Unknown singer', a disembodied voice heard only by night,
whom no-one has ever really seen, would be the man for her. She realises that His “song of the night” is indeed the nocturnal voice that is making her tremble as it sounds across the waves...

The opera's history
Hans Gál's third opera, Das Lied der Nacht (“Song of the Night'), enjoyed its first performance in Breslau (Wroclow) in 1926, to glowing reviews. There followed performances across Germany and Austria. However Hitler's accession to power and Gál's Jewish ancestry combined to bring this flourishing career to an abrupt end, as his operas, along with all his music, were banned from performance and publication.

Revival
2017 sees a rebirth of this masterpiece, forgotten for 87 years.
Theater Osnabrück in Germany has been staging this opera in April and May 2017 to widespread acclaim ("Fantastische Musik"...)
Now the Hans Gál Society presents this powerful opera at The Queen's Hall in Edinburgh, the city in which Gál spent the latter half of his life, greatly contributing to the Scottish music scene including helping to found the Edinburgh Festival.
This will be the first ever performance of this opera in the UK. This short montage from the recent fully-staged production in Germany gives a taste of the music.

Website : www.hansgal.org

Score : DasLiedDerNacht_UE31394Score.pdf

http://www.hansgal.com/hansgal/39

After the success of the Heilige Ente there followed Gál's third opera, Das Lied der Nacht ('The Song of the Night', Op.23), a romantic drama set in 12th century Sicily, with a Turandot-like plot [the opera was written in 1924-25, was therefore almost simultaneous with Turandot, and had its first performance just one day before Turandot (on the 24th April, 1926)]. It was premièred in Breslau in 1926, and then in Düsseldorf, Königsberg and Graz. This opera, called a 'dramatic ballad', again had a libretto by Levetzow, and it brought further confirmation of Gál's standing as an opera composer. The critic of the Schlesische Tagespost wrote of the first performance:

"A great success. For me personally the evening was altogether one of the most powerful operatic experiences ever! Music and poetic conception combined in the happiest fashion."

In Breslau, where all previous Gál operas had been performed (and in 1924 even a carnival parody under the title Die Heilige Rente: nach der Oper von Gans Egal), das Lied der Nacht was received as a new high point:

"One doesn't know whether to emphasise the extraordinary variety and expressive colour in his music, which confronts us in the exposition, or the magnificent musical construction of the second 'Scene', which has rarely been equalled in the operatic literature. Corresponding to this exuberant lyricism in mood and solemnity there is the depth of symphonic ideas, whose working out reveals the hand of the mature practitioner. The harmonic combinations are thoroughly modern, but modern in the best sense; they signify an enrichment of the expressive palette, they are spiritually conceived, they communicate throughout an original experience of beauty... All in all, therefore, the new opera constitutes an enormous advance for the composer, as, alongside the mastery and creativity which we had already admired in the 'Heilige Ente', it opens up for the first time the fullness of his heart. And so it will always be considered the most valid testimony of his talent so far." [Breslauer Zeitung]

Hanna Gál explained how the collaboration with Levetzow (whose texts had also been set to music by Schönberg in his Op. 1) had come about, and revealed something of the extraordinary character of the librettist:

"After the success of the Heilige Ente Hans received innumerable manuscripts from poets, writers and those who regarded themselves as such, with suggestions for collaboration on a new opera. Hans was completely uninterested, and barely took the trouble to read the manuscripts. It was not until a few years later that he again became interested in writing an opera, but insisted on having Levetzow as librettist. But where had the fellow gone? A letter to his last known address in Paris remained unanswered. Eventually Hans learned from one of the poet's aristocratic cousins [he was related to Ulrike von Levetzow, the last love of Goethe, and the subject of his Marienbader Elegie] that Levetzow was in Corsica and obtained the address. Levetzow showed a lively interest, and so Hans decided that our holiday would take us to Italy and Corsica.

After a few all-too-short days in Venice and Florence we arrived at Livorno from where, once a week, a ship went to Bastia. The crossing over the incredibly blue Mediterranean was uneventful. We had to spend the night in Bastia. Pretty dreadful. We then took the train that went once a day along the coast from Bastia to Ajaccio (Napoleon's birthplace). The train stopped at every little town. In response to our question regarding a certain sanitary facility we received the answer 'Le pays est large.' Arriving at Levetzow's abode we found the place almost deserted. It was a malaria area, and in the summer the inhabitants took their animals to their summer quarters on the nearby mountain plateau. Levetzow couldn't do that, for he and his friend Jean Baptiste literally didn't have a sou in their pockets. Fortunately, J. B. was a Berganzi, belonging to one of the most famous bandit families of the island, and he had credit everywhere.

The pair had got nowhere in Paris and had decided to move to Corsica and live off hunting and fishing. They had bad luck with the hunting; Levetzow thought he had killed a chamois, but it turned out to be the neighbour's goat, the breeding bull, so to speak, of the whole village. And the fishing wasn't right either, as Jean Baptiste didn't like fish soup. I don't know how they managed, but in any case they always had plenty of wine and cigarettes, and through our visit some cash came into circulation again. J. B. did the cooking. Levetzow: 'Tu n'as pas oublié le poivre?' J. B. 'Non, je n'ai pas oublié le poivre.' The first ideas for Das Lied der Nacht were sketched out and discussed, sitting on Levetzow's bed. ...

Hans was horrified by the circumstances of his friend's life and pulled all the strings to get him to return to civilisation. And so a few weeks later Levetzow appeared in Vienna. The director of Universal Edition paid him a monthly honorarium in anticipation of future royalties, my mother bought some pictures from him that he had inherited, so a start was made. He wanted to give language lessons, but it went the same way as with the hunting and fishing in Corsica. Without Jean Baptiste it just wasn't right. One day the latter appeared in Vienna, with a dachshund on a lead. The height difference between the dachshund and Jean Baptise was the same as that between J. B. and Levetzow. Naturally, nothing came of the good resolutions for a bourgeois life, and he eventually had to move in with a nephew on a mortgaged estate in Moravia. There he got into political difficulties and was taken into custody. He died in prison before the case came to court.

He was the only real bohemian that I ever knew." [Private correspondence, 1989.]

http://www.hansgal.org/works/show/28
Das Lied der Nacht (The Song of the Night)

(Opera) Dramatic ballad in three scenes. Text by K.M. von Levetzow, Opus 23, (1924)
Soloists: 2 sop, 1 alt, 1 ten, 1 bass;  mixed chorus;  orchestra: 3(picc), 2(cor),3 (D-cl,bcl), 2(cbn); 4,3,3,1; timp; perc; hrp; cel; str.; 2 scenes
Duration: full evening'
Publisher: Universal Edition
Score and parts available for hire

Performances

First performance: Breslau, Apr.1926 (Josef Witt / Berta Ebner-Oswald. Dir. Cortolezis)

Other performances:

Gál, Breslau, May 1926
Seidelmann, Breslau, Aug. 1926
Königsberg, Dec.1926
Balzer, Düsseldorf, Jun.1928
Graz, Oct. 1930

"A great success. For me personally the evening was altogether one of the most powerful operatic experiences ever! Music and poetic conception combined in the happiest fashion."
[Schlesische Tagespost, April 1926, after the first performance]

"One doesn't know whether to emphasise the extraordinary variety and expressive colour in his music, which confronts us in the exposition, or the magnificent musical construction of the second 'Scene', which has rarely been equalled in the operatic literature.
Corresponding to this exuberant lyricism in mood and solemnity there is the depth of symphonic ideas, whose working out reveals the hand of the mature practitioner. The harmonic combinations are thoroughly modern, but modern in the best sense;
they signify an enrichment of the expressive palette, they are spiritually conceived, they communicate throughout an original experience of beauty...
All in all, therefore, the new opera constitutes an enormous advance for the composer, as, alongside the mastery and creativity which we had already admired in the 'Heilige Ente', it opens up for the first time the fullness of his heart.
And so it will always be considered the most valid testimony of his talent so far." [Breslauer Zeitung]

© hansgal.org 2014. All Rights Reserved

Text of a poem by Levetzow,
commemorating the Gáls' visit to Corsica

Ecloga I. ex Cyrno ad GALENUM peritissimum

O, wie schön ist es und herrlich,
Lucrativ und ungefährlich,
Landwirt sein in Corsica! -:
Eig’nen Wein kann da man pantschen,
Suzelt eigene Orangen, -
Auch der Ölbaum wächst uns da:

Sodaß man zu den Tomaten.
Welche Kürbis-groß geraten,
Selbstgequetschtes Öl genießt;
Während Schweinchen Auberginen,
Äpfel, Eicheln und Lupinen
Kalibanisch grunzend frißt.

Auch ist es gesund und labend,
Wenn man, eig’ne Esel habend,
Morgens reitet durch die Flur:
Als modernster Don Quixote
Fühlt man sich ganz nah dem Gotte
Und gebietet der Natur!

Allerdings, „Bequemlichkeiten“ –
Lieber Leser, lass’ mich gleiten! –
Solches wird hier nicht benützt;
Doch auf dunkelgrünen Wiesen,
Wo die roten Lilien sprießen,
Ist vor Neugier man geschützt.

Ochsen ächzen vor der Scholle;
Über’s Jahr schwillt da die Knolle,
Einst von Parmentier entdeckt,
Die geschmort, gekocht, gebraten,
In Pürée, wie in Salaten
Immer so vortrefflich schmeckt.

Amalthea, meine Ziege,
Meckert auf der Bodenstiege,
Guckt vom Oberstock heraus;
Ihre großen Augen glotzen,
Drohend Bart und Hörner trotzen:
So bewacht sie mir das Haus.

Unterdes legt in der Scheuer
Manche Henne Netto-Eier,
Staunend schaut ein Igel zu,
Zwei verliebte Katzen miauen,
Und die weise Küchenfrauen
Rührt am Herde das Ragoût.

Streu’ ich meiner Häsin Futter,
Dankt sie mir als Dutzend-Mutter:
Jeder dankt halt wie er kann;
Pfunde werden aus dem Pfündchen ---
„Und mein Bologneserhündchen
Bellt erbost den Gockel an.“

Pflanz’ ich nun noch Kaktusfeigen,
Kann ich sie dem Fremdling zeigen,
Der gebildet ruft: „aha!
Diese Pflanze voller Dornen,
So von hinten wie von vornen,
Heißt ja wohl Opuntia!“ –

Ist bei uns sie Glashauszierde,
Schlägt sie hier als Gartenhürde
Vieh und Diebsvolk in die Flucht;
Stachlig sind die Blätterzweige,
Wie des Lebens Hühnersteige:
Süß doch ist der Dornen Frucht! –

Während in die wohlbezahlten
Gras- und Kleebegrünten Halden
Hirte seine Schafe treibt;
Schlägt der Junker die Maschine,
Mittelst der er Mord und Minne
In die Opernbücher schreibt.

Raucht dazu den eignen Knaster;
Ferne sind die Kritikaster
Bühnen- und Verlag-Skandal! –
Hier zerreißt kein Jazz die Ohren –
Höchstens, wenn sie was verloren,
Quiekt die Köchin . . . ATONAL!

Stolz, vor mir, auf Manuskripten
Klärt der Gast aus Alt-Ägypten
Über einen neuen Dreh.
Alles, weiß er, ist höchst fraglich;
Dennoch, blinzelnd und behaglich . . . . . .
Schnurrt der Kater Ptolemée!

Ferne, hinter Lorbeerzweigen,
Die sich stumm ins Fenster neigen,
Glänzt das Meer und Elba auf;
Möven ziehn dort hohe Runden . . . . . .
Sag’: wer tauschte solche Stunden
Gegen Stadt-Lärm und –Gerauf!!?? –

- - - - - - - - - - - - - - - - - - - - - - -

Aber, kommt der Wohlbekannte
Componist und Musikante,
Gál mit Frau aus Österreich,
Kann er in den Glücksrewieren
„Heiligen Enten“ dirigieren . . . .
Ohne Taktstock . . . . vor dem Teich!!!

Querciolo-Valle. 13/X/26.
Levetzow