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lac operon
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The lac operon (lactose operon) is an operon required for the transport and metabolism of lactose in Escherichia coli and many other enteric bacteria. Although glucose is the preferred carbon source for most bacteria, the lac operon allows for the effective digestion of lactose when glucose is not available through the activity of beta-galactosidase.[1] Gene regulation of the lac operon was the first genetic regulatory mechanism to be understood clearly, so it has become a foremost example of prokaryotic gene regulation. It is often discussed in introductory molecular and cellular biology classes for this reason. This lactose metabolism system was used by Jacob and Monod to determine how a cell knows which enzyme to synthesize. Their work on the lac operon won them the Nobel Prize in Physiology in 1965. [2]
Bacterial operons are polycistronic transcripts that are able to produce multiple proteins from one mRNA transcript. In this case, when lactose is required as a sugar source for the bacterium, the three genes of the lac operon can be expressed and their subsequent proteins translated: lacZ, lacY, and lacA. The gene product of lacZ is β-galactosidase which cleaves lactose, a disaccharide, into glucose and galactose. lacY encodes Beta-galactoside permease, a protein which becomes embedded in the cytoplasmic membrane to enable transport of lactose into the cell. Finally, lacA encodes β-galactoside transacetylase.
The lac operon. Top:Repressed, Bottom:Active.
1: RNA Polymerase, 2: Repressor, 3: Promoter, 4: Operator, 5: Lactose, 6: lacZ, 7: lacY, 8: lacA.
It would be wasteful to produce the enzymes when there is no lactose available or if there is a more preferable energy source available, such as glucose. The lac operon uses a two-part control mechanism to ensure that the cell expends energy producing the enzymes encoded by the lac operon only when necessary.[3] In the absence of lactose, the lac repressor, lacI, halts production of the enzymes encoded by the lac operon.[4] The lac repressor is always expressed unless a co-inducer binds to it. In other words, it is transcribed only in the presence of small molecule co-inducer. In the presence of glucose, the catabolite activator protein (CAP), required for production of the enzymes, remains inactive, and EIIAGlc shuts down lactose permease to prevent transport of lactose into the cell. This dual control mechanism causes the sequential utilization of glucose and lactose in two distinct growth phases, known as diauxie.
Contents
[hide]
1 Structure
1.1 Genetic nomenclature
2 Regulation
2.1 Repressor structure
2.1.1 Mechanism of induction
2.1.2 Role of non-specific binding
2.2 Lactose analogs
3 Development of the classic model
3.1 Classification of regulatory mutants
3.2 Regulation by cyclic AMP[20]
4 Use in molecular biology
5 See also
6 References
7 External links
Structure[edit]
Structure of lactose and the products of its cleavage.
The lac operon consists of three structural genes, and a promoter, a terminator, regulator, and an operator. The three structural genes are: lacZ, lacY, and lacA.
lacZ encodes β-galactosidase (LacZ), an intracellular enzyme that cleaves the disaccharide lactose into glucose and galactose.
lacY encodes Beta-galactoside permease (LacY), a transmembrane symporter that pumps β-galactosides including lactose into the cell using a proton gradient in the same direction.
lacA encodes β-galactoside transacetylase (LacA), an enzyme that transfers an acetyl group from acetyl-CoA to β-galactosides.
Only lacZ and lacY appear to be necessary for lactose catabolism.
Genetic nomenclature[edit]
Three-letter abbreviations are used to describe phenotypes in bacteria including E. coli.
Examples include:
Lac (the ability to use lactose),
His (the ability to synthesize the amino acid histidine)
Mot (swimming motility)
SmR (resistance to the antibiotic streptomycin)
In the case of Lac, wild type cells are Lac+ and are able to use lactose as a carbon and energy source, while Lac− mutant derivatives cannot use lactose. The same three letters are typically used (lower-case, italicized) to label the genes involved in a particular phenotype, where each different gene is additionally distinguished by an extra letter. The lac genes encoding enzymes are lacZ, lacY, and lacA. The fourth lac gene is lacI, encoding the lactose repressor—"I" stands for inducibility.
One may distinguish between structural genes encoding enzymes, and regulatory genes encoding proteins that affect gene expression. Current usage expands the phenotypic nomenclature to apply to proteins: thus, LacZ is the protein product of the lacZ gene, β-galactosidase. Various short sequences that are not genes also affect gene expression, including the lac promoter, lac p, and the lac operator, lac o. Although it is not strictly standard usage, mutations affecting lac o are referred to as lac oc, for historical reasons.
Regulation[edit]
Specific control of the lac genes depends on the availability of the substrate lactose to the bacterium. The proteins are not produced by the bacterium when lactose is unavailable as a carbon source. The lac genes are organized into an operon; that is, they are oriented in the same direction immediately adjacent on the chromosome and are co-transcribed into a single polycistronic mRNA molecule. Transcription of all genes starts with the binding of the enzyme RNA polymerase (RNAP), a DNA-binding protein, which binds to a specific DNA binding site, the promoter, immediately upstream of the genes. Binding of RNA polymerase to the promoter is aided by the cAMP-bound catabolite activator protein (CAP, also known as the cAMP receptor protein).[5] However, the lacI gene (regulatory gene for lac operon) produces a protein that blocks RNAP from binding to the promoter of the operon. This protein can only be removed when allolactose binds to it, and inactivates it. The protein that is formed by the lacI gene is known as the lac repressor. The type of regulation that the lac operon undergoes is referred to as negative inducible, meaning that the gene is turned off by the regulatory factor (lac repressor) unless some molecule (lactose) is added. Because of the presence of the lac repressor protein, genetic engineers who replace the lacZ gene with another gene will have to grow the experimental bacteria on agar with lactose available on it. If they do not, the gene they are trying to express will not be expressed as the repressor protein is still blocking RNAP from binding to the promoter and transcribing the gene. Once the repressor is removed, RNAP then proceeds to transcribe all three genes (lacZYA) into mRNA. Each of the three genes on the mRNA strand has its own Shine-Dalgarno sequence, so the genes are independently translated.[6] The DNA sequence of the E. coli lac operon, the lacZYA mRNA, and the lacI genes are available from GenBank (view).
The first control mechanism is the regulatory response to lactose, which uses an intracellular regulatory protein called the lactose repressor to hinder production of β-galactosidase in the absence of lactose. The lacI gene coding for the repressor lies nearby the lac operon and is always expressed (constitutive). If lactose is missing from the growth medium, the repressor binds very tightly to a short DNA sequence just downstream of the promoter near the beginning of lacZ called the lac operator. The repressor binding to the operator interferes with binding of RNAP to the promoter, and therefore mRNA encoding LacZ and LacY is only made at very low levels. When cells are grown in the presence of lactose, however, a lactose metabolite called allolactose, made from lactose by the product of the lacZ gene, binds to the repressor, causing an allosteric shift. Thus altered, the repressor is unable to bind to the operator, allowing RNAP to transcribe the lac genes and thereby leading to higher levels of the encoded proteins.
The second control mechanism is a response to glucose, which uses the catabolite activator protein (CAP) homodimer to greatly increase production of β-galactosidase in the absence of glucose. Cyclic adenosine monophosphate (cAMP) is a signal molecule whose prevalence is inversely proportional to that of glucose. It binds to the CAP, which in turn allows the CAP to bind to the CAP binding site (a 16 bp DNA sequence upstream of the promoter on the left in the diagram below, about 60 bp upstream of the transcription start site),[7] which assists the RNAP in binding to the DNA. In the absence of glucose, the cAMP concentration is high and binding of CAP-cAMP to the DNA significantly increases the production of β-galactosidase, enabling the cell to hydrolyse lactose and release galactose and glucose.
More recently inducer exclusion was shown to block expression of the lac operon when glucose is present. Glucose is transported into the cell by the PEP-dependent phosphotransferase system. The phosphate group of phosphoenolpyruvate is transferred via a phosphorylation cascade consisting of the general PTS (phosphotransferase system) proteins HPr and EIA and the glucose-specific PTS proteins EIIAGlc and EIIBGlc, the cytoplasmic domain of the EII glucose transporter. Transport of glucose is accompanied by its phosphorylation by EIIBGlc, draining the phosphate group from the other PTS proteins, including EIIAGlc. The unphosphorylated form of EIIAGlc binds to the lac permease and prevents it from bringing lactose into the cell. Therefore, if both glucose and lactose are present, the transport of glucose blocks the transport of the inducer of the lac operon.[8]
Repressor structure[edit]
Tetrameric LacI binds two operator sequences and induces DNA looping. Two dimeric LacI functional subunits (red+blue and green+orange) each bind a DNA operator sequence (labeled). These two functional subunits are coupled at the tetramerization region (labeled); thus, tetrameric LacI binds two operator sequences. This allows tetrameric LacI to induce DNA looping.
The lac repressor is a four-part protein, a tetramer, with identical subunits. Each subunit contains a helix-turn-helix (HTH) motif capable of binding to DNA. The operator site where repressor binds is a DNA sequence with inverted repeat symmetry. The two DNA half-sites of the operator together bind to two of the subunits of the repressor. Although the other two subunits of repressor are not doing anything in this model, this property was not understood for many years.
Eventually it was discovered that two additional operators are involved in lac regulation.[9] One (O3) lies about -90 bp upstream of O1 in the end of the lacI gene, and the other (O2) is about +410 bp downstream of O1 in the early part of lacZ. These two sites were not found in the early work because they have redundant functions and individual mutations do not affect repression very much. Single mutations to either O2 or O3 have only 2 to 3-fold effects. However, their importance is demonstrated by the fact that a double mutant defective in both O2 and O3 is dramatically de-repressed (by about 70-fold).
In the current model, lac repressor is bound simultaneously to both the main operator O1 and to either O2 or O3. The intervening DNA loops out from the complex. The redundant nature of the two minor operators suggests that it is not a specific looped complex that is important. One idea is that the system works through tethering; if bound repressor releases from O1 momentarily, binding to a minor operator keeps it in the vicinity, so that it may rebind quickly. This would increase the affinity of repressor for O1.
Mechanism of induction[edit]
1: RNA Polymerase, 2: Repressor, 3: Promoter, 4: Operator, 5: Lactose, 6: lacZ, 7: lacY, 8: lacA. Top: The gene is essentially turned off. There is no allolactose to inhibit the lac repressor, so the repressor binds tightly to the operator, which obstructs the RNA polymerase from binding to the promoter, resulting in no laczya mRNA transcripts. Bottom: The gene is turned on. Allolactose inhibits the repressor, allowing the RNA polymerase to bind to the promoter and express the genes, resulting in production of LacZYA. Eventually, the enzymes will digest all of the lactose, until there is no allolactose that can bind to the repressor. The repressor will then bind to the operator, stopping the transcription of the LacZYA genes.
The repressor is an allosteric protein, i.e. it can assume either one of two slightly different shapes, which are in equilibrium with each other. In one form the repressor will bind to the operator DNA with high specificity, and in the other form it has lost its specificity. According to the classical model of induction, binding of the inducer, either allolactose or IPTG, to the repressor affects the distribution of repressor between the two shapes. Thus, repressor with inducer bound is stabilized in the non-DNA-binding conformation. However, this simple model cannot be the whole story, because repressor is bound quite stably to DNA, yet it is released rapidly by addition of inducer. Therefore, it seems clear that inducer can also bind to the repressor when the repressor is already bound to DNA. It is still not entirely known what the exact mechanism of binding is.[10]
Role of non-specific binding[edit]
Non-specific binding of the repressor to DNA plays a crucial role in the repression and induction of the Lac-operon. The specific binding site for the Lac-repressor protein is the operator. The non-specific interaction is mediated mainly by charge-charge interactions while binding to the operator is reinforced by hydrophobic interactions. Additionally, there is an abundance of non-specific DNA sequences to which the repressor can bind. Essentially, any sequence that is not the operator, is considered non-specific. Studies have shown, that without the presence of non-specific binding, induction (or unrepression) of the Lac-operon could not occur even with saturated levels of inducer. It had been demonstrated that, without non-specific binding, the basal level of induction is ten thousand times smaller than observed normally. This is because the non-specific DNA acts as sort of a "sink" for the repressor proteins, distracting them from the operator. The non-specific sequences decrease the amount of available repressor in the cell. This in turn reduces the amount of inducer required to unrepress the system.[11]
Lactose analogs[edit]
IPTG
ONPG
X-gal
allolactose
A number of lactose derivatives or analogs have been described that are useful for work with the lac operon. These compounds are mainly substituted galactosides, where the glucose moiety of lactose is replaced by another chemical group.
Isopropyl-β-D-thiogalactoside (IPTG) is frequently used as an inducer of the lac operon for physiological work.[1] IPTG binds to repressor and inactivates it, but is not a substrate for β-galactosidase. One advantage of IPTG for in vivo studies is that since it cannot be metabolized by E. coli its concentration remains constant and the rate of expression of lac p/o-controlled genes, is not a variable in the experiment. IPTG intake is dependent on the action of lactose permease in P. fluorescens, but not in E. coli.[12]
Phenyl-β-D-galactose (phenyl-Gal) is a substrate for β-galactosidase, but does not inactivate repressor and so is not an inducer. Since wild type cells produce very little β-galactosidase, they cannot grow on phenyl-Gal as a carbon and energy source. Mutants lacking repressor are able to grow on phenyl-Gal. Thus, minimal medium containing only phenyl-Gal as a source of carbon and energy is selective for repressor mutants and operator mutants. If 108 cells of a wild type strain are plated on agar plates containing phenyl-Gal, the rare colonies which grow are mainly spontaneous mutants affecting the repressor. The relative distribution of repressor and operator mutants is affected by the target size. Since the lacI gene encoding repressor is about 50 times larger than the operator, repressor mutants predominate in the selection.
Thiomethyl galactosidase [TMG] is another lactose analog. These inhibit the lacI repressor. At low inducer concentrations, both TMG and IPTG can enter the cell through the lactose permease. However at high inducer concentrations, both analogs can enter the cell independently. TMG can can reduce growth rates at high extracellular concentrations. [13]
Other compounds serve as colorful indicators of β-galactosidase activity.
ONPG is cleaved to produce the intensely yellow compound, orthonitrophenoland galactose, and is commonly used as a substrate for assay of β-galactosidase in vitro.[14]
Colonies that produce β-galactosidase are turned blue by X-gal (5-bromo-4-chloro-3-indolyl-β-D-galactoside) which is an artificial substrate for B-galactosidase whose cleavage results in galactose and 4-Cl,3-Br indigo thus producing a deep blue color. [15]
Allolactose is an isomer of lactose and is the inducer of the lac operon. Lactose is galactose-(β1->4)-glucose, whereas allolactose is galactose-(β1->6)-glucose. Lactose is converted to allolactose by β-galactosidase in an alternative reaction to the hydrolytic one. A physiological experiment which demonstrates the role of LacZ in production of the "true" inducer in E. coli cells is the observation that a null mutant of lacZ can still produce LacY permease when grown with IPTG but not when grown with lactose. The explanation is that processing of lactose to allolactose (catalyzed by β-galactosidase) is needed to produce the inducer inside the cell.
Development of the classic model[edit]
The experimental microorganism used by François Jacob and Jacques Monod was the common laboratory bacterium, E. coli, but many of the basic regulatory concepts that were discovered by Jacob and Monod are fundamental to cellular regulation in all organisms.[16] The key idea is that proteins are not synthesized when they are not needed--- E. coli conserves cellular resources and energy by not making the three Lac proteins when there is no need to metabolize lactose, such as when other sugars like glucose are available. The following section discusses how E. coli controls certain genes in response to metabolic needs.
During World War II, Monod was testing the effects of combinations of sugars as nutrient sources for E. coli and B. subtilis. Monod was following up on similar studies that had been conducted by other scientists with bacteria and yeast. He found that bacteria grown with two different sugars often displayed two phases of growth. For example, if glucose and lactose were both provided, glucose was metabolized first (growth phase I, see Figure 2) and then lactose (growth phase II). Lactose was not metabolized during the first part of the diauxic growth curve because β-galactosidase was not made when both glucose and lactose were present in the medium. Monod named this phenomenon diauxie.[17]
Figure 2: Monod's "bi-phasic" growth curve
Monod then focused his attention on the induction of β-galactosidase formation that occurred when lactose was the sole sugar in the culture medium.[18]
Classification of regulatory mutants[edit]
A conceptual breakthrough of Jacob and Monod[19] was to recognize the distinction between regulatory substances and sites where they act to change gene expression. A former soldier, Jacob used the analogy of a bomber that would release its lethal cargo upon receipt of a special radio transmission or signal. A working system requires both a ground transmitter and a receiver in the airplane. Now, suppose that the usual transmitter is broken. This system can be made to work by introduction of a second, functional transmitter. In contrast, he said, consider a bomber with a defective receiver. The behavior of this bomber cannot be changed by introduction of a second, functional aeroplane.
To analyze regulatory mutants of the lac operon, Jacob developed a system by which a second copy of the lac genes (lacI with its promoter, and lacZYA with promoter and operator) could be introduced into a single cell. A culture of such bacteria, which are diploid for the lac genes but otherwise normal, is then tested for the regulatory phenotype. In particular, it is determined whether LacZ and LacY are made even in the absence of IPTG (due to the lactose repressor produced by the mutant gene being non-functional). This experiment, in which genes or gene clusters are tested pairwise, is called a complementation test.
This test is illustrated in the figure (lacA is omitted for simplicity). First, certain haploid states are shown (i.e. the cell carries only a single copy of the lac genes). Panel (a) shows repression, (b) shows induction by IPTG, and (c) and (d) show the effect of a mutation to the lacI gene or to the operator, respectively. In panel (e) the complementation test for repressor is shown. If one copy of the lac genes carries a mutation in lacI, but the second copy is wild type for lacI, the resulting phenotype is normal---but lacZ is expressed when exposed to inducer IPTG. Mutations affecting repressor are said to be recessive to wild type (and that wild type is dominant), and this is explained by the fact that repressor is a small protein which can diffuse in the cell. The copy of the lac operon adjacent to the defective lacI gene is effectively shut off by protein produced from the second copy of lacI.
If the same experiment is carried out using an operator mutation, a different result is obtained (panel (f)). The phenotype of a cell carrying one mutant and one wild type operator site is that LacZ and LacY are produced even in the absence of the inducer IPTG; because the damaged operator site, does not permit binding of the repressor to inhibit transcription of the structural genes. The operator mutation is dominant. When the operator site where repressor must bind is damaged by mutation, the presence of a second functional site in the same cell makes no difference to expression of genes controlled by the mutant site.
A more sophisticated version of this experiment uses marked operons to distinguish between the two copies of the lac genes and show that the unregulated structural gene(s) is(are) the one(s) next to the mutant operator (panel (g). For example, suppose that one copy is marked by a mutation inactivating lacZ so that it can only produce the LacY protein, while the second copy carries a mutation affecting lacY and can only produce LacZ. In this version, only the copy of the lac operon that is adjacent to the mutant operator is expressed without IPTG. We say that the operator mutation is cis-dominant, it is dominant to wild type but affects only the copy of the operon which is immediately adjacent to it.
This explanation is misleading in an important sense, because it proceeds from a description of the experiment and then explains the results in terms of a model. But in fact, it is often true that the model comes first, and an experiment is fashioned specifically to test the model. Jacob and Monod first imagined that there must be a site in DNA with the properties of the operator, and then designed their complementation tests to show this.
The dominance of operator mutants also suggests a procedure to select them specifically. If regulatory mutants are selected from a culture of wild type using phenyl-Gal, as described above, operator mutations are rare compared to repressor mutants because the target-size is so small. But if instead we start with a strain which carries two copies of the whole lac region (that is diploid for lac), the repressor mutations (which still occur) are not recovered because complementation by the second, wild type lacI gene confers a wild type phenotype. In contrast, mutation of one copy of the operator confers a mutant phenotype because it is dominant to the second, wild type copy.
Regulation by cyclic AMP[20][edit]
Explanation of diauxie depended on the characterization of additional mutations affecting the lac genes other than those explained by the classical model. Two other genes, cya and crp, subsequently were identified that mapped far from lac, and that, when mutated, result in a decreased level of expression in the presence of IPTG and even in strains of the bacterium lacking the repressor or operator. The discovery of cAMP in E. coli led to the demonstration that mutants defective the cya gene but not the crp gene could be restored to full activity by the addition of cAMP to the medium.
The cya gene encodes adenylate cyclase, which produces cAMP. In a cya mutant, the absence of cAMP makes the expression of the lacZYA genes more than ten times lower than normal. Addition of cAMP corrects the low Lac expression characteristic of cya mutants. The second gene, crp, encodes a protein called catabolite activator protein (CAP) or cAMP receptor protein (CRP).[21]
However the lactose metabolism enzymes are made in small quantities in the presence of both glucose and lactose (sometimes called leaky expression) due to the fact that the LacI repressor rapidly associates/dissociates from the DNA rather than tightly binding to it, which can allow time for RNAP to bind and transcribe mRNAs of lacZYA. Leaky expression is necessary in order to allow for metabolism of some lactose after the glucose source is expended, but before lac expression is fully activated.
In summary:
When lactose is absent then there is very little Lac enzyme production (the operator has Lac repressor bound to it).
When lactose is present but a preferred carbon source (like glucose) is also present then a small amount of enzyme is produced (Lac repressor is not bound to the operator).
When glucose is absent, CAP-cAMP binds to a specific DNA site upstream of the promoter and makes a direct protein-protein interaction with RNAP that facilitates the binding of RNAP to the promoter.
The delay between growth phases reflects the time needed to produce sufficient quantities of lactose-metabolizing enzymes. First, the CAP regulatory protein has to assemble on the lac promoter, resulting in an increase in the production of lac mRNA. More available copies of the lac mRNA results in the production (see translation) of significantly more copies of LacZ (β-galactosidase, for lactose metabolism) and LacY (lactose permease to transport lactose into the cell). After a delay needed to increase the level of the lactose metabolizing enzymes, the bacteria enter into a new rapid phase of cell growth.
lac operon in detail
Two puzzles of catabolite repression relate to how cAMP levels are coupled to the presence of glucose, and secondly, why the cells should even bother. After lactose is cleaved it actually forms glucose and galactose (easily converted to glucose). In metabolic terms, lactose is just as good a carbon and energy source as glucose. The cAMP level is related not to intracellular glucose concentration but to the rate of glucose transport, which influences the activity of adenylate cyclase. (In addition, glucose transport also leads to direct inhibition of the lactose permease.) As to why E. coli works this way, one can only speculate. All enteric bacteria ferment glucose, which suggests they encounter it frequently. It is possible that a small difference in efficiency of transport or metabolism of glucose v. lactose makes it advantageous for cells to regulate the lac operon in this way.[22]
Use in molecular biology[edit]
The lac gene and its derivatives are amenable to use as a reporter gene in a number of bacterial-based selection techniques such as two hybrid analysis, in which the successful binding of a transcriptional activator to a specific promoter sequence must be determined.[15] In LB plates containing X-gal, the colour change from white colonies to a shade of blue corresponds to about 20-100 β-galactosidase units, while tetrazolium lactose and MacConkey lactose media have a range of 100-1000 units, being most sensitive in the high and low parts of this range respectively.[15] Since MacConkey lactose and tetrazolium lactose media both rely on the products of lactose breakdown, they require the presence of both lacZ and lacY genes. The many lac fusion techniques which include only the lacZ gene are thus suited to X-gal plates[15] or ONPG liquid broths.[23]
See also[edit]
Catabolite repression
References[edit]
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Jump up ^ Oehler, S.; Eismann, E. R.; Krämer, H.; Müller-Hill, B. (1990). "The three operators of the lac operon cooperate in repression". The EMBO Journal. 9 (4): 973–979. PMC 551766  . PMID 2182324.
Jump up ^ Griffiths, Anthony JF; Gelbart, William M.; Miller, Jeffrey H.; Lewontin, Richard C. (1999). "Regulation of the Lactose System".
Jump up ^ von Hippel, P.H.; Revzin, A.; Gross, C.A.; Wang, A.C. (December 1974). "Non-specific DNA binding of genome regulating proteins as a biological control mechanism: I. The lac operon: equilibrium aspects". PNAS. 71 (12): 4808–12. doi:10.1073/pnas.71.12.4808. PMC 433986  . PMID 4612528.
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Jump up ^ Marbach A, Bettenbrock K (Jan 2012). "lac operon induction in Escherichia coli: Systematic comparison of IPTG and TMG induction and influence of the transacetylase LacA". Science Direct. 157 (1): 82–88. doi:10.1016/j.jbiotec.2011.10.009. PMID 22079752.
Jump up ^ "ONPG (β-Galactosidase) test". September 2000.
^ Jump up to: a b c d Joung J, Ramm E, Pabo C (2000). "A bacterial two-hybrid selection system for studying protein–DNA and protein–protein interactions". Proc Natl Acad Sci USA. 97 (13): 7382–7. doi:10.1073/pnas.110149297. PMC 16554  . PMID 10852947.
Jump up ^ "Milestone 2 - A visionary pair : Nature Milestones in gene expression". www.nature.com. Retrieved 2015-12-27.
Jump up ^ Muller-Hill, Benno (1996). The lac Operon, a Short History of a Genetic Paradigm. Berlin: Walter de Gruyter. pp. 7–10. ISBN 3-11-014830-7.
Jump up ^ McKnight, Steven L. (1992). Transcriptional Regulation. Cold Spring Harbor, NY: Cold Spring Harbor Laboratory Press. pp. 3–24. ISBN 0-87969-410-6.
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Jump up ^ "Induction of the lac operon in E. coli" (PDF). SAPS. Retrieved 29 June 2016.
External links[edit]
Lac Operon at the US National Library of Medicine Medical Subject Headings (MeSH)
lac operon in NCBI Bookshelf [2]
Virtual Cell Animation Collection Introducing: The Lac Operon
The lac Operon: Bozeman Science
Staining Whole Mouse Embryos for β-Galactosidase (lacZ) Activity
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t
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Transcription (Bacterial, Eukaryotic)
Transcriptional regulation
prokaryotic
Operon
lac operon
trp operon
gab operon
ara operon
gal operon
Repressor
lac repressor
trp repressor
eukaryotic
Histone-modifying enzymes
(histone/nucleosome):
Histone methylation/Histone methyltransferase
EZH2
Histone demethylase
Histone acetylation and deacetylation
Histone deacetylase HDAC1
Histone acetyltransferase
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Chromatin remodeling:
CHD7
both
Transcription coregulator
Coactivator
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Inducer
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CAAT box
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Internal control region
Initiation (bacterial,
eukaryotic
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Das Lied von der Erde
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Das Lied von der Erde
Symphony by Gustav Mahler
Gustav Mahler in 1907
Key
A minor - C major
Text
from Hans Bethge's Die chinesische Flöte
Composed
1908 (1908): Toblach
Published
1912[show]
Universal Edition
Recorded
Bruno Walter, Vienna Philharmonic Orchestra, 1936
Movements
six
Scoring
contralto
tenor
orchestra
Premiere
Date
20 November 1911 (1911-11-20)
Location
Munich
Conductor
Bruno Walter
Das Lied von der Erde ("The Song of the Earth") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler between 1908 and 1909. Described as a symphony when published, it comprises six songs for two singers who alternate movements.
Mahler specified the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available.[1]
Mahler composed this work following the most painful period in his life, and the songs address themes such as those of living, parting and salvation.
On the centenary of Mahler's birth, the composer and prominent Mahler conductor Leonard Bernstein described Das Lied von der Erde as Mahler's "greatest symphony".[2]
Contents
[hide]
1 Origins
2 Text of Das Lied von der Erde
2.1 1. "Das Trinklied vom Jammer der Erde" ("The Drinking Song of Earth's Sorrow" or "The Drinking Song of Earthly Woe")
2.2 2. "Der Einsame im Herbst" ("The Solitary One in Autumn")
2.3 3. "Von der Jugend" ("Youth")
2.4 4. "Von der Schönheit" ("Beauty")
2.5 5. "Der Trunkene im Frühling" ("The Drunkard in Spring")
2.6 6. "Der Abschied" ("The Farewell")
3 Text in Mahler's sources
4 Instrumentation
5 Premieres
6 Commentary
7 Curse of the Ninth
8 Structure
8.1 1. "Das Trinklied vom Jammer der Erde"
8.2 2. "Der Einsame im Herbst"
8.3 3. "Von der Jugend"
8.4 4. "Von der Schönheit"
8.5 5. "Der Trunkene im Frühling"
8.6 6. "Der Abschied"
9 Recordings
9.1 Original score as written by Mahler
9.1.1 Versions with female and male soloists
9.1.2 Versions with two male soloists
9.1.3 Versions with one male soloist
9.1.4 Original version for high and middle voice and piano
9.2 Schoenberg and Riehn arrangement
9.3 Cantonese translation
10 Related works
11 References
12 Sources
13 External links
Origins[edit]
Three disasters befell Mahler during the summer of 1907. Political maneuvering and antisemitism forced him to resign as Director of the Vienna Court Opera, his eldest daughter Maria died from scarlet fever and diphtheria, and Mahler himself was diagnosed with a congenital heart defect. "With one stroke," he wrote to his friend Bruno Walter, "I have lost everything I have gained in terms of who I thought I was, and have to learn my first steps again like a newborn".[3]
The same year (1907) saw the publication of Hans Bethge's Die chinesische Flöte, a volume of ancient Chinese poetry rendered into German. Mahler was very taken by the vision of earthly beauty and transience expressed in these verses[4] and chose seven of the poems to set to music as Das Lied von der Erde. Mahler completed the work in 1909.
Text of Das Lied von der Erde[edit]
The Universal Edition score of 1912 for Das Lied von der Erde shows Mahler's adapted text as follows.
1. "Das Trinklied vom Jammer der Erde" ("The Drinking Song of Earth's Sorrow" or "The Drinking Song of Earthly Woe")[edit]
Schon winkt der Wein im gold'nen Pokale,
Doch trinkt noch nicht, erst sing' ich euch ein Lied!
Das Lied vom Kummer soll auflachend in die Seele euch klingen.
Wenn der Kummer naht, liegen wüst die Gärten der Seele,
Welkt hin und stirbt die Freude, der Gesang.
Dunkel ist das Leben, ist der Tod.
Herr dieses Hauses!
Dein Keller birgt die Fülle des goldenen Weins!
Hier, diese Laute nenn' ich mein!
Die Laute schlagen und die Gläser leeren,
Das sind die Dingen, die zusammen passen.
Ein voller Becher Weins zur rechten Zeit
Ist mehr wert, als alle Reiche dieser Erde!
Dunkel ist das Leben, ist der Tod!
Das Firmament blaut ewig, und die Erde
Wird lange fest steh'n und aufblüh'n im Lenz.
Du aber, Mensch, wie lang lebst denn du?
Nicht hundert Jahre darfst du dich ergötzen
An all dem morschen Tande dieser Erde!
Seht dort hinab! Im Mondschein auf den Gräbern
Hockt eine wild-gespenstische Gestalt --
Ein Aff'ist's! Hört ihr, wie sein Heulen
Hinausgellt in den süßen Duft des Lebens!
Jetzt nehmt den Wein! Jetzt ist es Zeit, Genossen!
Leert eure gold'nen Becher zu Grund!
Dunkel ist das Leben, ist der Tod!
The wine beckons in golden goblets
but drink not yet; first I'll sing you a song.
The song of sorrow shall ring laughingly in your soul.
When the sorrow comes, blasted lie the gardens of the soul,
wither and perish joy and singing.
Dark is life, dark is death!
Master of this house,
your cellar is full of golden wine!
Here, this lute I call mine.
The lute to strike and the glasses to drain,
these things go well together.
A full goblet of wine at the right time
is worth more than all the kingdoms of this earth.
Dark is life, dark is death!
The heavens are ever blue and the Earth
shall stand sure, and blossom in the spring.
But you O man, what long life have you?
Not a hundred years may you delight
in all the rotten baubles of this earth.
See down there! In the moonlight, on the graves
squats a wild ghostly shape;
an ape it is! Hear you his howl go out
in the sweet fragrance of life.
Now! Drink the wine! Now it is time comrades.
Drain your golden goblets to the last.
Dark is life, dark is death!
2. "Der Einsame im Herbst" ("The Solitary One in Autumn")[edit]
Herbstnebel wallen bläulich überm See;
Vom Reif bezogen stehen alle Gräser;
Man meint, ein Künstler habe Staub von Jade
Über die feinen Blüten ausgestreut.
Der süße Duft der Blumen ist verflogen;
Ein kalter Wind beugt ihre Stengel nieder.
Bald werden die verwelkten, gold'nen Blätter
Der Lotosblüten auf dem Wasser zieh'n.
Mein Herz ist müde. Meine kleine Lampe
Erlosch mit Knistern, es gemahnt mich an den Schlaf.
Ich komm' zu dir, traute Ruhestätte!
Ja, gib mir Ruh', ich hab' Erquickung Not!
Ich weine viel in meinen Einsamkeiten.
Der Herbst in meinem Herzen währt zu lange.
Sonne der Liebe willst du nie mehr scheinen,
Um meine bittern Tränen mild aufzutrocknen?
Autumn fog creeps bluishly over the lake.
Every blade of grass stands frosted.
As though an artist had jade-dust
over the fine flowers strewn.
The sweet fragrance of flower has passed;
A cold wind bows their stems low.
Soon will the wilted, golden petals
of lotus flowers upon the water float.
My heart is tired. My little lamp
expires with a crackle, minding me to sleep.
I come to you, trusted resting place.
Yes, give me rest, I have need of refreshment!
I weep often in my loneliness.
Autumn in my heart lingers too long.
Sun of love, will you no longer shine
to gently dry up my bitter tears?
3. "Von der Jugend" ("Youth")[edit]
Mitten in dem kleinen Teiche
Steht ein Pavillon aus grünem
Und aus weißem Porzellan.
Wie der Rücken eines Tigers
Wölbt die Brücke sich aus Jade
Zu dem Pavillon hinüber.
In dem Häuschen sitzen Freunde,
Schön gekleidet, trinken, plaudern.
Manche schreiben Verse nieder.
Ihre seidnen Ärmel gleiten
Rückwärts, ihre seidnen Mützen
Hocken lustig tief im Nacken.
Auf des kleinen Teiches stiller
Wasserfläche zeigt sich alles
Wunderlich im Spiegelbilde.
Alles auf dem Kopfe stehend
In dem Pavillon aus grünem
Und aus weißem Porzellan;
Wie ein Halbmond steht die Brücke,
Umgekehrt der Bogen. Freunde,
Schön gekleidet, trinken, plaudern.
In the middle of the little pond
stands a pavilion of green
and white porcelain.
Like the back of a tiger
arches the jade bridge
over to the pavilion.
Friends sit in the little house
well dressed, drinking, chatting.
some writing verses.
Their silk sleeves glide
backwards, their silk caps
rest gaily at the napes of their necks.
On the small pond's still
surface, everything shows
whimsical in mirror image.
Everything stands on its head
in the pavilion of green
and white porcelain.
Like a half-moon is the bridge
its arch upturned. Friends
well dressed, drinking, chatting.
4. "Von der Schönheit" ("Beauty")[edit]
Junge Mädchen pflücken Blumen,
Pflücken Lotosblumen an dem Uferrande.
Zwischen Büschen und Blättern sitzen sie,
Sammeln Blüten in den Schoß und rufen
Sich einander Neckereien zu.
Gold'ne Sonne webt um die Gestalten,
Spiegelt sich im blanken Wasser wider,
Sonne spiegelt ihre schlanken Glieder,
Ihre süßen Augen wider,
Und der Zephir hebt mit Schmeichelkosen das Gewebe
Ihrer Ärmel auf, führt den Zauber
Ihrer Wohlgerüche durch die Luft.
O sieh, was tummeln sich für schöne Knaben
Dort an dem Uferrand auf mut'gen Rossen?
Weithin glänzend wie die Sonnenstrahlen;
Schon zwischen dem Geäst der grünen Weiden
Trabt das jungfrische Volk einher!
Das Roß des einen wiehert fröhlich auf
Und scheut und saust dahin,
Über Blumen, Gräser, wanken hin die Hufe,
Sie zerstampfen jäh im Sturm die hingesunk'nen Blüten,
Hei! Wie flattern im Taumel seine Mähnen,
Dampfen heiß die Nüstern!
Gold'ne Sonne webt um die Gestalten,
Spiegelt sie im blanken Wasser wider.
Und die schönste von den Jungfrau'n sendet
Lange Blicke ihm der Sehnsucht nach.
Ihre stolze Haltung ist nur Verstellung.
In dem Funkeln ihrer großen Augen,
In dem Dunkel ihres heißen Blicks
Schwingt klagend noch die Erregung ihres Herzens nach.
Young girls picking flowers,
Picking lotus flowers at the riverbank.
Amid bushes and leaves they sit,
gathering flowers in their laps and calling
one another in raillery.
Golden sun plays about their form
reflecting them in the clear water.
The sun reflects back their slender limbs,
their sweet eyes,
and the breeze teasing up the warp
of their sleeves, directs the magic
of perfume through the air.
O see, what a tumult of handsome boys
there on the shore on their spirited horses.
Yonder shining like the sun's rays
between the branches of green willows
trot along the bold companions.
The horse of one neighs happily on
and shies and rushes there,
hooves shaking down blooms, grass,
trampling wildly the fallen flowers.
Hei! How frenzied his mane flutters,
and hotly steam his nostrils!
Golden sun plays about their form
reflecting them in the clear water.
And the most beautiful of the maidens sends
long looks adoring at him.
Her proud pose is but a pretense;
in the flash of her big eyes,
in the darkness of her ardent gaze
beats longingly her burning heart.
5. "Der Trunkene im Frühling" ("The Drunkard in Spring")[edit]
Wenn nur ein Traum das Leben ist,
Warum denn Müh' und Plag'!?
Ich trinke, bis ich nicht mehr kann,
Den ganzen, lieben Tag!
Und wenn ich nicht mehr trinken kann,
Weil Kehl' und Seele voll,
So tauml' ich bis zu meiner Tür
Und schlafe wundervoll!
Was hör' ich beim Erwachen? Horch!
Ein Vogel singt im Baum.
Ich frag' ihn, ob schon Frühling sei,
Mir ist als wie im Traum.
Der Vogel zwitschert: Ja!
Der Lenz ist da, sei kommen über Nacht!
Aus tiefstem Schauen lauscht' ich auf,
Der Vogel singt und lacht!
Ich fülle mir den Becher neu
Und leer' ihn bis zum Grund
Und singe, bis der Mond erglänzt
Am schwarzen Firmament!
Und wenn ich nicht mehr singen kann,
So schlaf' ich wieder ein.
Was geht mich denn der Frühling an!?
Laßt mich betrunken sein!
If life is but a dream,
why work and worry?
I drink until I no more can,
the whole, blessed day!
And if I can drink no more
as throat and soul are full,
then I stagger to my door
and sleep wonderfully!
What do I hear on waking? Hark!
A bird sings in the tree.
I ask him if it's spring already;
to me it's as if I'm in a dream.
The bird chirps Yes!
The spring is here, it came overnight!
From deep wonderment I listen;
the bird sings and laughs!
I fill my cup anew
and drink it to the bottom
and sing until the moon shines
in the black firmament!
And if I can not sing,
then I fall asleep again.
What to me is spring?
Let me be drunk!
6. "Der Abschied" ("The Farewell")[edit]
Die Sonne scheidet hinter dem Gebirge.
In alle Täler steigt der Abend nieder
Mit seinen Schatten, die voll Kühlung sind.
O sieh! Wie eine Silberbarke schwebt
Der Mond am blauen Himmelssee herauf.
Ich spüre eines feinen Windes Weh'n
Hinter den dunklen Fichten!
Der Bach singt voller Wohllaut durch das Dunkel.
Die Blumen blassen im Dämmerschein.
Die Erde atmet voll von Ruh' und Schlaf.
Alle Sehnsucht will nun träumen,
Die müden Menschen geh'n heimwärts,
Um im Schlaf vergess'nes Glück
Und Jugend neu zu lernen!
Die Vögel hocken still in ihren Zweigen.
Die Welt schläft ein!
Es wehet kühl im Schatten meiner Fichten.
Ich stehe hier und harre meines Freundes;
Ich harre sein zum letzten Lebewohl.
Ich sehne mich, o Freund, an deiner Seite
Die Schönheit dieses Abends zu genießen.
Wo bleibst du? Du läßt mich lang allein!
Ich wandle auf und nieder mit meiner Laute
Auf Wegen, die von weichem Grase schwellen.
O Schönheit! O ewigen Liebens -- Lebens -- trunk'ne Welt!
Er stieg vom Pferd und reichte ihm den Trunk
Des Abschieds dar. Er fragte ihn, wohin
Er führe und auch warum es müßte sein.
Er sprach, seine Stimme war umflort. Du, mein Freund,
Mir war auf dieser Welt das Glück nicht hold!
Wohin ich geh'? Ich geh', ich wand're in die Berge.
Ich suche Ruhe für mein einsam Herz.
Ich wandle nach der Heimat! Meiner Stätte.
Ich werde niemals in die Ferne schweifen.
Still ist mein Herz und harret seiner Stunde!
Die liebe Erde allüberall blüht auf im Lenz und grünt
Aufs neu! Allüberall und ewig blauen licht die Fernen!
Ewig... ewig...
The sun departs behind the mountains.
In all the valleys the evening descends
with its shadow, full cooling.
O look! Like a silver boat sails
the moon in the watery blue heaven.
I sense the fine breeze stirring
behind the dark pines.
The brook sings out clear through the darkness.
The flowers pale in the twilight.
The earth breathes, in full rest and sleep.
All longing now becomes a dream.
Weary men traipse homeward
to sleep; forgotten happiness
and youth to rediscover.
The birds roost silent in their branches.
The world falls asleep.
It blows coolly in the shadows of my pines.
I stand here and wait for my friend;
I wait to bid him a last farewell.
I yearn, my friend, at your side
to enjoy the beauty of this evening.
Where are you? You leave me long alone!
I walk up and down with my lute
on paths swelling with soft grass.
O beauty! O eternal loving-and-life-bedrunken world!
He dismounted and handed him the drink
of Farewells. He asked him where
he would go and why must it be.
He spoke, his voice was quiet. Ah my friend,
Fortune was not kind to me in this world!
Where do I go? I go, I wander in the mountains.
I seek peace for my lonely heart.
I wander homeward, to my abode!
I'll never wander far.
Still is my heart, awaiting its hour.
The dear earth everywhere blossoms in spring and grows green
anew! Everywhere and forever blue is the horizon!
Forever ... Forever ...
Text in Mahler's sources[edit]
Mahler's source for the text was Hans Bethge's Die chinesische Flöte. Bethge used prior translations and adaptations of the original Chinese poetry.[5] Texts now identified as being likely sources used by Bethge include Hans Heilman's Chinesische Lyrik (1905),[6] Marquis d'Hervey de Saint Denys' Poésies de l'époque des Thang,[7] and Judith Gautier's Livre de Jade.[8][9][10]
Four of the songs -- Das Trinklied vom Jammer der Erde, Von der Jugend, Von der Schönheit and Der Trunkene im Frühling—were derived from poems written by Li Bai, the wandering poet of the Tang dynasty. Der Einsame im Herbst is based on a poem by Qian Qi, another poet of the Tang Dynasty.[11] Der Abschied combines poems by Tang Dynasty poets Meng Haoran and Wang Wei, with several additional lines by Mahler himself. These attributions have been a matter of some uncertainty, and around the turn of the 21st century, Chinese scholars extensively debated the sources of the songs following a performance of the work in China in 1998.[12]
Instrumentation[edit]
Mahler had already included movements for voice and orchestra in his Second, Third, Fourth and Eighth Symphonies. However, Das Lied von der Erde is the first complete integration of song cycle and symphony. The form was afterwards imitated by other composers, notably by Shostakovich and Zemlinsky. This new form has been termed a "song-symphony",[13] a hybrid of the two forms that had occupied most of Mahler's creative life.
Das Lied von der Erde is scored for a large orchestra, consisting of the following:
Woodwinds
piccolo
3 flutes (3rd doubling 2nd piccolo)
3 oboes (3rd doubling cor anglais)
3 B♭ clarinets
E♭ clarinet
bass clarinet
3 bassoons (3rd doubling contrabassoon)
Brass
4 horns
3 trumpets
3 trombones
tuba
Percussion
4 timpani (used only in "Von der Schöneit")
bass drum
snare drum
cymbals
triangle
tambourine (used only in "Von der Schönheit")
tam-tam (used only in "Der Abschied")
glockenspiel
Keyboards
celesta (used only in "Der Abschied")
Voices
alto solo
tenor solo
Strings
mandolin
2 harps
1st violins
2nd violins
violas
cellos
double basses (with low C string)
Mahler deploys these resources with great restraint; only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth. In many places the texture resembles chamber music, with only a few instruments being used at one time.
Mahler's habit was to subject the orchestration of every new orchestral work to detailed revision over several years. Though the musical material itself was hardly ever changed, the complex instrumental 'clothing' would be altered and refined in the light of experience gained in performance. In the case of Das Lied von der Erde, however, this process could not occur as the work's publication and first performance occurred posthumously.
The score calls for tenor and alto soloists.[1] However, Mahler includes the note that "if necessary, the alto part may be sung by a baritone". For the first few decades after the work's premiere, this option was little used. On one occasion Bruno Walter tried it out, and engaged Friedrich Weidemann, the baritone who had premiered Kindertotenlieder under Mahler's own baton in 1905. However, Walter felt that tenor and baritone did not work as well as tenor and alto, and he never repeated the experiment.[14]
Following the pioneering recordings of the work by baritone Dietrich Fischer-Dieskau under conductors Paul Kletzki and Leonard Bernstein, the use of baritones in this work has increased.
Arnold Schoenberg began to arrange Das Lied von der Erde for chamber orchestra, reducing the orchestral forces to string and wind quintets, and calling for piano, celesta and harmonium to supplement the harmonic texture. Three percussionists are also employed. Schoenberg never finished this project, but the arrangement was completed by Rainer Riehn in 1980.
In 2004, the Octavian Society commissioned Glen Cortese to create two reductions of the work, one for a chamber ensemble of twenty instruments and one for a small orchestra with woodwinds and brass in pairs. Both these reductions are published in critical editions by Universal in Vienna.
Mahler also arranged the work for piano accompaniment, and this has been recorded by Cyprien Katsaris with Thomas Moser and Brigitte Fassbaender. Katsaris has also performed this version in concert.[15]
Premieres[edit]
The first public performance was given, posthumously, on 20 November 1911 in the Tonhalle in Munich, sung by Sara Cahier and William Miller (both Americans) with Bruno Walter conducting. Mahler had died six months earlier, on 18 May.
One of the earliest performances in London (possibly the first) occurred in January 1913 at the Queen's Hall under conductor Henry Wood, where it was sung by Gervase Elwes and Doris Woodall. Wood reportedly thought that the work was 'excessively modern but very beautiful'.[16]
Commentary[edit]
According to the musicologist Theodor W. Adorno, Mahler found in Chinese poetry what he had formerly sought after in the genre of German folk song: a mask or costume for the sense of rootlessness or "otherness" attending his identity as a Jew.[17] This theme, and its influence upon Mahler's tonality, has been further explored by John Sheinbaum.[18] It has also been asserted that Mahler found in these poems an echo of his own increasing awareness of mortality.[19]
Curse of the Ninth[edit]
Mahler was aware[20] of the so-called "curse of the ninth", a superstition arising from the fact that no major composer since Beethoven had successfully completed more than nine symphonies: he had already written eight symphonies before composing Das Lied von der Erde. Fearing his subsequent demise,[citation needed] he decided to subtitle the work A Symphony for Tenor, Alto and Large Orchestra (Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester), rather than numbering it as a symphony. His next symphony, written for purely instrumental forces, was numbered his Ninth. That was indeed the last symphony he fully completed, because only two movements of the Tenth had been fully orchestrated at the time of his death.
Structure[edit]
1. "Das Trinklied vom Jammer der Erde"[edit]
The first movement, "The Drinking Song of Earth's Misery" (in A minor), continually returns to the refrain, Dunkel ist das Leben, ist der Tod (literally, "Dark is life, is death"), which is pitched a semitone higher on each successive appearance.
Like many drinking poems by Li Bai, the original poem "Bei Ge Xing" (a pathetic song) (Chinese: 悲歌行) mixes drunken exaltation with a deep sadness. The singer's part is notoriously demanding, since the tenor has to struggle at the top of his range against the power of the full orchestra. This gives the voice its shrill, piercing quality, and is consistent with Mahler's practice of pushing instruments, including vocal cords, to their limits. According to musicologist Theodor W. Adorno, the tenor should here create the impression of a "denatured voice in the Chinese (falsetto) style",[21] perhaps in the style of Peking opera.[citation needed]
The movement begins with a three-note horn call which recurs throughout the song, most notably at the climax in which the singer describes an ape calling "into the sweet fragrance of life." The climax also marks the first of the three whole-tone passages that occur in the symphony.
2. "Der Einsame im Herbst"[edit]
"The lonely one in Autumn" (for alto, in D minor) is a much softer, less turbulent movement. Marked 'somewhat dragging and exhausted', it begins with a repetitive shuffling in the strings, followed by solo wind instruments. The lyrics, which are based on the first part of a Tang Dynasty era poem by Qian Qi,[11] lament the dying of flowers and the passing of beauty, as well as expressing an exhausted longing for sleep. The orchestration in this movement is sparse and chamber music-like, with long and independent contrapuntal lines.
3. "Von der Jugend"[edit]
The third movement, "Of Youth" (for tenor, in B-flat major), is the most obviously pentatonic and faux-Asian. The form is ternary, the third part being a greatly abbreviated revision of the first. It is also the shortest of the six movements, and can be considered a first scherzo.
4. "Von der Schönheit"[edit]
The music of this movement, "Of Beauty" (for alto, in G major), is mostly soft and legato, meditating on the image of some "young girls picking lotus flowers at the riverbank." Later in the movement there is a louder, more articulated section in the brass as the young men ride by on their horses. There is a long orchestral postlude to the sung passage, as the most beautiful of the young maidens looks longingly after the most handsome of the young men.
5. "Der Trunkene im Frühling"[edit]
The second scherzo of the work is provided by the fifth movement, "The drunken man in Spring" (for tenor, in A major). Like the first, it opens with a horn theme. In this movement Mahler uses an extensive variety of key signatures, which can change as often as every few measures. The middle section features a solo violin and solo flute, which represent the bird the singer describes.
6. "Der Abschied"[edit]
The final movement, "The Farewell" (for alto, form C minor to C major), is nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking. Mahler himself added the last lines. This final song is also notable for its text-painting, using a mandolin to represent the singer's lute, imitating bird calls with woodwinds, and repeatedly switching between the major and minor modes to articulate sharp contrasts in the text.
The movement is divided into three major sections. In the first, the singer describes the nature around her as night falls. In the second, she is waiting for her friend to say a final farewell. A long orchestral interlude precedes the third section, which depicts the exchange between the two friends and fades off into silence.
Lines 1–3, 17–19, and 26–28 are all sung to the same music, with a pedal point in the low strings and soft strokes of the tam-tam; in the first two of these sections, a countermelody in the flute imitates the song of a bird, but the third of these sections is just the bare pedal point and tam-tam.[22] The singer repeats the final word of the song, "ewig" ("forever"), like a mantra, accompanied by sustained chords in the orchestra, which features mandolin, harps, and celesta. "Ewig" is repeated as the music fades into silence, the final chord "printed on the atmosphere" as Benjamin Britten asserted.[23] It is also worth noting that throughout Das Lied von der Erde there is a persistent message that "The earth will stay beautiful forever, but man cannot live for even a hundred years." At the end of "Der Abschied," however, Mahler adds three original lines which repeat this, but purposefully omit the part saying that "man must die".[22] Conductor and composer Leonard Bernstein asserts that this ties in with the Eastern idea of Nirvana, in that the "soul" of the singer, as she or he dies, becomes one with the everlasting earth.[24]
The last movement is very difficult to conduct because of its cadenza-like writing for voice and solo instruments, which often flows over the barlines. Mahler specifically instructed the movement to be played "Ohne Rücksicht auf das Tempo" (Without regard for the tempo). Bruno Walter related that Mahler showed him the score of this movement and asked about one passage, "Can you think of a way of conducting that? Because I can't."[25] Mahler also hesitated to put the piece before the public because of its relentless negativity, unusual even for him. "Won't people go home and shoot themselves?" he asked.[26]
Recordings[edit]
Original score as written by Mahler[edit]
Versions with female and male soloists[edit]
Bruno Walter, with Kerstin Thorborg and Charles Kullman, Vienna Musikvereinsaal 1936 (live). (Columbia Records, 78rpm, 7x12" Mahler Society Issue)
Carl Schuricht, with Kerstin Thorborg and Carl Martin Öhmann, Royal Concertgebouw Orchestra Amsterdam (October 1939 broadcast concert, live). (Bel Age CD, from acetates.)
Bruno Walter, with Kathleen Ferrier and Julius Patzak, Wiener Philharmoniker (Decca LP LXT 2721–2722) 1952. Remastered in 2003 by Mark Obert-Thorn (Naxos Historical 8.110871).
Bruno Walter, with Mildred Miller and Ernst Haefliger, New York Philharmonic Orchestra (Sony CD SMK 64455)
Otto Klemperer, with Elsa Cavelti and Anton Dermota, Vienna Symphony Orchestra (Vox Legends CDX2-5521 [2-CD reissue])
Hans Rosbaud, with Grace Hoffman and Helmut Melchert, SWR Sinfonieorchester Baden-Baden (Vox Turnabout LP, TV 34220S)
Eduard van Beinum, with Nan Merriman and Ernst Haefliger, Concertgebouw Orchestra, Amsterdam (Fontana LP 894 120 ZKY)
Eugen Jochum, with Nan Merriman and Ernst Haefliger, Concertgebouw Orchestra, Amsterdam (DGG 289 46362822)
Fritz Reiner, with Maureen Forrester and Richard Lewis, Chicago Symphony Orchestra (RCA 60178-2-RG)
Otto Klemperer, with Christa Ludwig and Fritz Wunderlich, New Philharmonia and Philharmonia Orchestras (HMV LP Angel Series SAN 179)
Eugene Ormandy, with Lili Chookasian and Richard Lewis, Philadelphia Orchestra (Sony CD SBK 53518)
Jascha Horenstein, with Alfreda Hodgson and John Mitchinson, BBC Northern Symphony Orchestra (BBC Legends BBC 4042)
Georg Solti, with Yvonne Minton and René Kollo, Chicago Symphony Orchestra (Decca CD 414 066-2)
Herbert von Karajan, with Christa Ludwig and René Kollo, Berliner Philharmoniker (DGG CD 419 058-2)
Bernard Haitink, with Janet Baker and James King, Royal Concertgebouw Orchestra Amsterdam (Philips LP 6500 831)
Colin Davis, with Jessye Norman and Jon Vickers, London Symphony Orchestra (Philips 441 474-2)
Eliahu Inbal, with Jard van Nes and Peter Schreier, Frankfurt Radio Symphony Orchestra (Denon 72605) (1988)
Eliahu Inbal, with Iris Vermillion and Robert Gambill, Tokyo Metropolitan Symphony Orchestra (Exton OVCL-00473) (live recording 2012)
Herbert Kegel, with Věra Soukupová and Reiner Goldberg, Leipzig Radio Symphony Orchestra (Weitblick SSS0052-2)
Walter Susskind, with Lili Chookasian and Richard Cassilly, Cincinnati Symphony Orchestra (Vox VU 9040)
Carlo Maria Giulini, with Brigitte Fassbaender and Francisco Araiza, Berliner Philharmoniker (DGG CD 413 459-2)
Carlo Maria Giulini, with Brigitte Fassbaender and Francisco Araiza, Berliner Philharmoniker (Testament Records SBT1465; live recording from February 1984)
Klaus Tennstedt, with Agnes Baltsa and Klaus König, London Philharmonic Orchestra (EMI Classics 5 74849 2, 2-CD set)
Gary Bertini, with Marjana Lipovšek and Ben Heppner, Cologne Radio Symphony Orchestra (EMI Classics 0946 3 40238 2 5, 11-CD box set)
Daniel Barenboim, with Waltraud Meier and Siegfried Jerusalem, Chicago Symphony Orchestra (Erato CD D-2292-45624-2)
James Levine, with Jessye Norman and Siegfried Jerusalem, Berlin Philharmonic Orchestra (DG 289 439-948-2)
Giuseppe Sinopoli, with Iris Vermillion and Keith Lewis, Staatskapelle Dresden (DG 289 453 437-2)
Michael Halasz, with Ruxandra Donose and Thomas Harper, National Symphony Orchestra of Ireland (Naxos 8.550933)
Sir Georg Solti, with Marjana Lipovšek and Thomas Moser, Royal Concertgebouw Orchestra (Decca 440 314-2)
Pierre Boulez, with Violeta Urmana and Michael Schade, Vienna Philharmonic Orchestra (DGG, CD E4695262)
Rafael Kubelik, with Janet Baker and Waldemar Kmentt, Symphonie-Orchester des Bayerischen Rundfunks (Audite B0000669K1)
Rafael Kubelik, with Hilde Rössel-Majdan and Waldemar Kmentt, Vienna Philharmonic Orchestra (Orfeo C820102B; live recording from 30 August 1959)
Rudolf Kempe, with Janet Baker and Ludovic Speiss, BBC Symphony Orchestra (BBC Legends BBCL41292)
Josef Krips, with Anna Reynolds and Jess Thomas, Vienna Symphony Orchestra (Orfeo C278921B; live recording)
Paul Kletzki, with Oralia Dominguez and Set Svanholm, Vienna Symphony Orchestra (Orfeo C748071B; live recording from 12 November 1954)
Kurt Sanderling, with Birgit Finnilä and Peter Schreier, Berlin Symphony Orchestra (Berlin Classics 0094022BC)
Lorin Maazel, with Waltraud Meier and Ben Heppner, Symphonie-Orchester des Bayerischen Rundfunks (RCA Red Seal 74321 67957 2)
Dietrich Fischer-Dieskau, with Yvi Jänicke and Christian Elsner, Stuttgart Radio Symphony Orchestra (Orfeo C494001B; live recording from 1996)
Eiji Oue, with Michelle DeYoung and Jon Villars, Minnesota Orchestra (Reference Recordings RR-88CD)
Raymond Leppard, with Janet Baker and John Mitchinson, BBC Northern Symphony (BBC Legends BBCL 4243-2)
Michael Gielen, with Cornelia Kalisch and Siegfried Jerusalem, SWR Sinfonieorchester Baden-Baden und Freiburg (SWR Music 93.269)
Hans Graf, with Jane Henschel and Gregory Kunde, Houston Symphony Orchestra (Naxos 8.527498)
Michael Zilm, with Jadwiga Rappé and Piotr Kusiewicz, Polish National Radio Symphony Orchestra Katowice (DUX 0810)
Martin Sieghart, with Christianne Stotijn and Donald Litaker, Het Gelders Orkest (Arnhem Philharmonic Orchestra) (Exton HGO0702)
Yannick Nézet-Séguin, with Sarah Connolly and Toby Spence, London Philharmonic Orchestra (LPO-0073)
Marc Albrecht, with Alice Coote and Burkhard Fritz, Netherlands Philharmonic Orchestra (Pentatone 3530480)
Carlos Kleiber, with Christa Ludwig and Waldemar Kmentt, Vienna Symphony Orchestra (Vienna Symphony Orchestra; live recording from 1967)
David Zinman, with Susan Graham and Christian Elsner, Tonhalle Orchester Zürich (RCA Red Seal 5438152)
Versions with two male soloists[edit]
Paul Kletzki, with Murray Dickie and Dietrich Fischer-Dieskau, Philharmonia Orchestra (HMV LP SXLP 30165)
Leonard Bernstein, with James King and Dietrich Fischer-Dieskau, Wiener Philharmoniker (Decca CD 417 783-2)
Simon Rattle, with Peter Seiffert and Thomas Hampson, City of Birmingham Symphony Orchestra (EMI Classics 5 56200)
Esa-Pekka Salonen, with Plácido Domingo and Bo Skovhus, Los Angeles Philharmonic (Sony Classical 60646)
Josef Krips, with Fritz Wunderlich and Dietrich Fischer-Dieskau, Vienna Symphony Orchestra (DGG 289 477 8988 8; live recording from 1964)
Kent Nagano, with Klaus Florian Vogt and Christian Gerhaher, Orchestre Symphonique de Montréal (Sony Classical 88697508212)
Michael Tilson Thomas, with Stuart Skelton and Thomas Hampson, San Francisco Symphony (SFS Media 1206)
Jonathan Nott, with Roberto Saccà and Stephen Gadd, Bamberger Symphoniker (Tudor 7202)
Versions with one male soloist[edit]
Jonathan Nott, with Jonas Kaufmann, Wiener Philharmoniker (Sony Classical B01MZZXR1G)
Original version for high and middle voice and piano[edit]
Brigitte Fassbaender (mezzo-soprano), Thomas Moser (tenor), Cyprien Katsaris (piano) (Warner Apex 2564681627 - reissue number)
Hermine Haselböck (mezzo-soprano), Bernhard Berchtold (tenor), Markus Vorzellner (piano). Recorded 2008 at the occasion of the 100th anniversary in the Kulturzentrum Toblach, in cooperation with the Gustav-Mahler-Musikweks Toblach 2008 (C-AVI MUSIC 4260085531257)
Schoenberg and Riehn arrangement[edit]
Osmo Vänskä, with Monica Groop and Jorma Silvasti, Sinfonia Lahti Chamber Ensemble (BIS CD-681).
Robert HP Platz, with Ingrid Schmithüsen and Aldo Baldin, Ensemble Köln, Canterino 1031
Mark Wigglesworth, with Jean Rigby and Robert Tear, Premiere Ensemble (RCA CD Dig-09026-68043-2)
Kenneth Slowik, with John Elwes, Russell Braun, Smithsonian Chamber Players & Santa Fe Pro Musica (Dorian Recordings)
Philippe Herreweghe, with Birgit Remmert, Hans Peter Blochwitz, Ensemble Musique Oblique (Harmonia Mundi HMA 1951477).
George Manahan, with Jennifer Johnson Cano and Paul Groves, Orchestra of St. Luke's (St. Luke's Collection)
Ken Selden, with Robert Breault and Richard Zeller, Martingale Ensemble (MSR Classics MS1406)
Nicol Matt, with Anna Haase and Daniel Sans, European Chamber Soloists (Brilliant Classics 82192)
Fabio Luisi, with Doris Soffel and Wolfgang Muller-Lorenz, MDR Symphony Orchestra (Querstand VKJK0428)
Edward Carroll, with Miriam Murphy and Henry Moss, Royal Academy of Music Chamber Ensemble (Royal Academy of Music RAM 010 66108)
Scott Tilley, with Timothy W Sparks and Ellen Williams, Duraleigh Chamber Players (Centaur CRC3044)
Douglas Boyd, with Jane Irwin and Peter Wedd, Manchester Camerata (Avie AV2195)
Kenneth Woods, with Emma Curtis and Brennen Guillory, Orchestra of the Swan (Somm Recordings SOMMCD 0109)
Linos Ensemble (no conductor identified), with Ivonne Fuchs and Markus Schäfer (Capriccio C5136)
Cantonese translation[edit]
In 2004, Daniel Ng and Glen Cortese prepared a Cantonese version. The world premiere of this version was given on 14 August 2004 by the Chamber Orchestra Anglia at the British Library, conducted by Sharon Andrea Choa, with soloists Robynne Redmon and Warren Mok.[27] It was performed again by the Singapore Symphony Orchestra on 22 July 2005, with mezzo Ning Liang and tenor Warren Mok, under the direction of Lan Shui.
Related works[edit]
American poet Ronald Johnson wrote a series of concrete poems called "Songs of the Earth" (1970) based on a "progression of hearings" of Mahler's work.[28]
References[edit]
^ Jump up to: a b Das Lied von der Erde | Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges "Die chinesische Flöte") | von Gustav Mahler | Partitur | Translated: The Song of the Earth. A Symphony for Tenor and Alto (or Baritone) Voice and Orchestra (after Hans Bethge's "The Chinese Flute"). By Gustav Mahler. Score. Published by Universal Edition 1912.
Jump up ^ New York Philharmonic Young People's Concerts. Original Broadcast February 7, 1960 "Who is Gustav Mahler?"
Jump up ^ Richard Freed, programme note Archived 2007-09-30 at the Wayback Machine.
Jump up ^ J. Johnson, 'Mahler and the idea of Nature', in J. Barham (ed.), Perspectives on Gustav Mahler (Ashgate Publishing Ltd., 2005), 22ff.
Jump up ^ Hans Bethge. Die chinesische Flöte. Insel-Verlag. Page 103. 'Geleitwort'. Final paragraph.
Jump up ^ R. Piper & Co. Verlag, München 1907.
Jump up ^ D'Hervey de Saint-Denys (1862). Poésies de l'Époque des Thang (Amyot, Paris). See Minford, John and Lau, Joseph S. M. (2000)). Classic Chinese Literature (Columbia University Press) ISBN 978-0-231-09676-8.
Jump up ^ Judith Gautier. Le livre de Jade. Felix Juven. Paris.
Jump up ^ S. Spencer. Wagner Remembered. Faber. London, 2000. Page 213.
Jump up ^ Teng-Leong Chew, 'Perspectives: The Identity of the Chinese Poems Mahler adapted for 'Von der Jugend' Archived 2006-12-22 at the Wayback Machine.,' in The Mahler Archive
^ Jump up to: a b Quantangshi, 卷236_23 《效古秋夜長》, by 錢起 (Qian Qi)
Jump up ^ A summary of the interpretations of Tang poem origins of Mahler's Das Lied von der Erde (in Chinese:关于马勒《大地之歌》唐诗歌词之解译研究的综述)
Jump up ^ M. Kennedy and J. Bourne Kennedy (Eds.), The Concise Oxford Dictionary of Music (OUP, London 2007).
Jump up ^ Audiophile Audition Archived 2014-04-07 at the Wayback Machine.
Jump up ^ Alex Ross (1993-02-23). "Classical Music in Review". New York Times. Retrieved 2015-11-02.
Jump up ^ H.J. Wood, My Life of Music (Gollancz, London 1946 edn), 287.
Jump up ^ Adorno 1960, 1966.
Jump up ^ John J. Sheinbaum, 'Adorno's Mahler and the Timbral Outsider', Journal of the Royal Musical Association, 2006, Vol. 131 no. 1, pp. 38–82.
Jump up ^ M. Kennedy, The Dent Master Musicians: Mahler (Dent, London 1974 and 1990), p. 155. 'It voices the aching regret of a man who must soon leave the world', (Blom 1937, p. 4).
Jump up ^ M. Kennedy, The Dent Master Musicians: Mahler (J.M. Dent, London, 1974 and 1990), p. 156.
Jump up ^ Theodore W. Adorno, Mahler:Eine musikalische Physiognomik Bibliothek Suhrkamp no 62 (Suhrkamp 1960). See also T. W. Adorno, Wagner - Mahler: Due Studi (Einaudi, Saggi, Torino 1966.
^ Jump up to: a b Gustav Mahler, "Das Lied von der Erde: Eine Symphonie für eine Tenor- und eine Alt- (oder Bariton-) Stimme und Orchester (nach Hans Bethges "Die chinesische Flöte")" (Universal-Edition, Vienna, 1912)
Jump up ^ Letter to Henry Boys, 29th June 1937, quoted in Mitchell and Reid (eds.) (1991) Letters from a Life: Selected Letters and Diaries of Benjamin Britten, London: Faber, p. 493
Jump up ^ "Das Lied von der Erde: A Personal Introduction (1972); documentary by Humphrey Burton starring Leonard Bernstein, Rene Kollo, Christa Ludwig, and the Israel Philharmonic Orchestra
Jump up ^ De La Grange, Henry-Louis, Gustav Mahler, Volume IV: A New Life Cut Short. Oxford University Press (ISBN 978-0-19-816387-9), p 510 (2008).
Jump up ^ SCO Programme Note
Jump up ^ See http://idp.bl.uk/archives/news24/idpnews_24.a4d#4
Jump up ^ Songs of the Earth, © 1970 by Ronald Johnson and 2000 by his estate.
Sources[edit]
Theodor W. Adorno, Mahler:Eine musikalische Physiognomik, Bibliothek Suhrkamp 62 (Suhrkamp 1960).
Adorno, Wagner - Mahler: Due Studi (Einaudi, Saggi, Torino 1966).
Jeremy Barham, Perspectives on Gustav Mahler (Ashgate Publishing Ltd., 2005).
Hans Bethge, Der Chinesische Flöte: Nachdichtungen von chinesischer Lyrik (Leipzig 1907).
Eric Blom, Mahler's "Song of the Earth" (with introduction by Bruno Walter)" (Columbia Graphophone Company, Hayes (Middlesex) 1937).
Teng-Leong Chew, 'Perspectives: The identity of the Chinese poem Mahler adapted for 'Von der Jugend', Naturlaut, Vol 3 no 2, p. 15–17.
Teng-Leong Chew, 'Tracking the Literary Metamorphosis in Das Lied von der Erde'
Teng-Leong Chew, 'Das Lied von der Erde: the Literary Changes'
Henry-Louis de La Grange, Gustav Mahler III: Le Génie Foudroyé (1907–1911) (Paris 1984).
Fusako Hamao, 'The Sources of the Texts in Mahler's Lied von der Erde,' 19th Century Music 19 Part 1 (Summer 1995), 83–94.
S. E. Hefling, Mahler: Das Lied von der Erde (The Song of the Earth)', (Cambridge University Press 2000).
Hans Heilman, Chinsesischer Lyrik Vom 12 Jahrhundert vor Christ bis zur Gegenwart (Munich 1907).
M. Kennedy, The Dent Master Musicians: Mahler (Dent, London 1974 and 1990).
Kennedy (ed.), Concise Oxford Dictionary of Music', (OUP, London 1996 edn.).
G. Mahler, Das Lied von der Erde in Full Score (Dover 1998).
Donald Mitchell, Gustav Mahler: Songs and Symphonies of Life and Death (Berkeley and Los Angeles, 1985).
John J. Sheinbaum, 'Adorno's Mahler and the Timbral Outsider,' Journal of the Royal Musical Association, 2006 Vol 131 no 1, 38–82.
Arthur B. Wenk, 'The composer as poet in Das Lied von der Erde,' 19th Century Music 1 Part 1 (1977), 33–47.
External links[edit]
http://classicalnotes.net/classics2/mahlerlied.html
Das Lied von der Erde: Scores at the International Music Score Library Project (IMSLP)
Das Lied von der Erde: The Literary Changes – synopsis of original Chinese poems, Bethge's translations and Mahler's changes
The LiederNet Archive: Das Lied von der Erde German texts, with translations into several languages.
Extensive history and analysis by renowned Mahler scholar Henry-Louis de La Grange
[show]
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Symphonies by Gustav Mahler
Wunderhorn period
No. 1 in D major (Titan)
No. 2 (Resurrection)
No. 3
No. 4
Middle period
No. 5
No. 6 in A minor (Tragic)
No. 7
No. 8 in E-flat major (Symphony of a Thousand)
Late works
Das Lied von der Erde
No. 9
No. 10 (unfinished)
List of compositions by Gustav Mahler
[show]
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Lieder by Gustav Mahler
Das klagende Lied (1878–80)
Lieder eines fahrenden Gesellen (1885–86)
Lieder und Gesänge (1880–90)
Des Knaben Wunderhorn (1892–1901)
Rückert-Lieder (1901–04)
Kindertotenlieder (1901–04)
Das Lied von der Erde (1908–09)
List of compositions by Gustav Mahler
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Retrieved from "https://en.wikipedia.org/w/index.php?title=Das_Lied_von_der_Erde&oldid=836001868"
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Symphonies by Gustav Mahler
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This page was last edited on 12 April 2018, at 02:21.
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/wiki/Vienna_Philharmonic_Orchestra
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Vienna Philharmonic Orchestra

value: Edit section: Text of Das Lied von der Erde

value: Edit section: 1. "Das Trinklied vom Jammer der Erde" ("The Drinking Song of Earth's Sorrow" or "The Drinking Song of Earthly Woe")

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value: Edit section: 2. "Der Einsame im Herbst" ("The Solitary One in Autumn")

value: Edit section: 3. "Von der Jugend" ("Youth")

value: Edit section: 4. "Von der Schönheit" ("Beauty")

value: Edit section: 5. "Der Trunkene im Frühling" ("The Drunkard in Spring")

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Tang Dynasty

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value: Edit section: Original score as written by Mahler

value: Edit section: Versions with female and male soloists

value:
/wiki/Wiener_Philharmoniker
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Wiener Philharmoniker

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/wiki/Vienna_Symphony_Orchestra
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Vienna Symphony Orchestra

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/wiki/Cologne_Radio_Symphony_Orchestra
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Cologne Radio Symphony Orchestra

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/wiki/Berlin_Philharmonic_Orchestra
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Berlin Philharmonic Orchestra

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/wiki/Michael_Halasz
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Michael Halasz

value: Thomas Harper (opera singer) (page does not exist)

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/wiki/Rafael_Kubelik
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Rafael Kubelik

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/wiki/Oralia_Dominguez
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Oralia Dominguez

value: SWR Sinfonieorchester Baden-Baden und Freiburg

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/wiki/Houston_Symphony_Orchestra
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Houston Symphony Orchestra

value: Edit section: Versions with two male soloists

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/wiki/Thomas_Hampson_(baritone)
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Thomas Hampson (baritone)

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/wiki/Bamberger_Symphoniker
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Bamberger Symphoniker

value: Edit section: Versions with one male soloist

value: Edit section: Original version for high and middle voice and piano

value: Edit section: Schoenberg and Riehn arrangement

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/wiki/Robert_HP_Platz
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Robert HP Platz

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/wiki/MDR_Symphony_Orchestra
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MDR Symphony Orchestra

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