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Poems On / About MUSIC  4/29/2016 9:04:00 AM
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An Die Musik

Bin ich allein,
Hauch ich di meine Empfindungen ein.
When I’m alone,
I breathe to you discoveries I own.
Sing, Klavier,
So worries that I own may disappear.
Playing double,
Accompany my trials, transcending trouble.

Inspired by an article by Rachel Cohen in the Fall 2009 issue of The Threepenny Review, discussing the synchrony of hands required when playing the piano, while waiting to obtain free tickets for a performance of Lucy Letts’s play “August: Osage County, ” at the Ahmanson Theater in LA. The poem alludes to Schubert, Rachel Cohen’s article and Letts’s extraordinary play. by Rachel Cohen writes:

The unusual capacity for paired patterns––rhythm, in time, and counterpoint, in relational space––are part of what makes piano music, in the lovely expression of Richard Capell––“veer between a genuine sensuous communication and an idea of music, an abstraction. The voice, the violin, the clarinet, ” he continues, “have no capacity of representing an imaginary music; while pianoforte music is more often than not something else in short score.”…

In Schubert’s song “An Mein Klavier” (“To My Piano”) written in 1816, as in the more famous “An Die Musik” (“To Music” of a year later. The voice has a melody in continuous lines, and the piano has two patters: one imitates the quick music of the voice, and the other holds to rhythmic chords. The pensive sonority of chords, as Capell points out, was one of the new pleasures that the piano afforded and with which it had, over the course of the eighteenth century, utterly vanquished the rival harpsichords and clavichords.

“Bin ich allein/ Hauch’ ich dir meine Empfindungen ein” (Whe I am alone, I breathe my sensations to you”) is the sentiment which opens the song’s second stanza, and the relation is presumed to be reciprocal, for at the song’s end the singer exclaims, “When in life worries surround me, sing to me, beloved clavier.” Schubert has arranged for the piano to respond very simply, by having, after each four-lined strophe of accompanied singing, a line in which the piano plays alone. In this fifth line, the piano doesn’t limit itself to either rhythm or melody: it joins the patterns, singing and accompanying, and in this way becomes a companion to thoughts. Schubert creates this effect with the simplest little pair of patterns, and I do not think the feeling would come through if this little pair did not carry, buried far below the surface, the almost impossible stretch of technique by which the capacity to play double as first acquired.

gershon hepner

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It's there for me from the start
It's there for me until the end
It tells different kinds of stories
And reminds us of sweet memories

Everybody left me
But music is still there for me
Music tells the story from the start
And it ends it as well with a spark

Music expresses the feelings we've been
Hiding for days, months or years
Friends might leave us but music won't
Some people will betray us but music won't
Shari'a Belarmino

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Let Me Hear The Music


Let me hear the music
To the end of my life-
Let me listen to and enjoy the music-
I love the music so much-
It moves me so deeply
Why I do not know
It brings me to weeping
Let me hear the music
Let me listen to and enjoy the music
All the way
To the end
And if possible
Beyond it.
Shalom Freedman

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A Music Of Poetry!

Grief stricken violin music,
Boasting trumpet music,
Dance inducing guitar music,
Thrilling beats of drum music,
All these and more as words
Making rhythm of poetry
Make all dance to sing songs
Depicting message of poetry
To be amused and enlightened!
Let us all sing and dance as to
The music of heart inspired
By the poetic words forever!
Music, song, dance and poetry
Amuse all with information fine!
Ramesh T A

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