The living glory of our nights, of our nights and days. This version also had three stanzas, like Schubert's original, but only the third stanza made it into the film (one line in the last stanza is partially repeated to show how it is sung in the film): The text for this version is sung in English, and was written by Rachel Field. A procession of monks is shown walking along. The end of Mussorgsky's work blends with almost no break into the beginning of Schubert's song, and as Deems Taylor remarked, the bells in Night on Bald Mountain, originally meant to signal the coming of dawn, which cause the demon Chernobog to stop his dark worship and the ghosts to return to the grave, now seem to be church bells signalling the beginning of religious services. Walt Disney used Schubert's song in the final part of his 1940 film Fantasia, where he linked it to Modest Mussorgsky's Night on Bald Mountain in one of his most famous pastiches. This meant finding correspondences to Storck's sometimes quite free translations, which entailed significant difficulties.īlessed art thou among women, and blessed, 5, the songs were clearly intended to be published with the original English texts as well. Schubert composed the songs to the German texts. 843, Mein Roß so müd / "My steed is tired" 839, Ave Maria! Jungfrau mild / "Ave Maria! maiden mild!" "Ellens Gesang III" ( Hymne an die Jungfrau / Hymn to the Virgin), D.846, Die Nacht bricht bald herein ("Night will soon be falling") 836, Er ist uns geschieden / "He is gone to the mountain", for female choir "Coronach" (Deathsong of the women and girls), D.835, Triumph, er naht / "who in triumph approaches", for male voice quartet 838, Jäger, ruhe von der Jagd / "Huntsman, rest! thy chase is done" 837, Raste Krieger, Krieg ist aus / "Soldier rest! the warfare o'er" Of the remaining two songs, one was for a male ensemble and the other for a female ensemble. The songs are not intended for a single performer: the three songs of Ellen are for a woman's voice with piano accompaniment, while the songs for Norman and Malcolm Graeme were intended for the baritone Johann Michael Vogl. They were published in 1826 as his Opus 52. In 1825, Schubert composed a selection of seven songs from Scott's The Lady of the Lake. The Latin version of the "Ave Maria" is now so frequently used with Schubert's melody that it has led to the misconception that he originally wrote the melody as a setting for the "Ave Maria". The opening words and refrain of Ellen's song, namely " Ave Maria" (Latin for "Hail Mary"), may have led to the idea of adapting Schubert's melody as a setting for the full text of the traditional Roman Catholic prayer " Ave Maria". Schubert's setting is said to have first been performed at the castle of Countess Sophie Weissenwolff in the little Austrian town of Steyregg and dedicated to her, which led to her becoming known as "the lady of the lake" herself. Roderick Dhu pauses, then goes on to battle. Roderick Dhu, the chieftain of Clan Alpine, sets off up the mountain with his warriors, but lingers and hears the distant sound of the harpist Allan-bane, accompanying Ellen who sings a prayer addressed to the Virgin Mary, calling upon her for help. In Scott's poem, the character Ellen Douglas, the Lady of the Lake ( Loch Katrine in the Scottish Highlands), has gone with her exiled father to stay in the Goblin's cave as he has declined to join their previous host, Roderick Dhu, in rebellion against King James. The piece was composed as a setting of a song (verse XXIX from Canto Three) from Walter Scott's popular narrative poem The Lady of the Lake, in a German translation by Adam Storck (1780–1822), and thus forms part of Schubert's Liederzyklus vom Fräulein vom See. 1879 painting of Ellen's Isle, Loch Katrine
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