- Current Issue
SIGN IN to access Harper’s Magazine
Need to create a login? Want to change your email address or password? Forgot your password?
1. Sign in to Customer Care using your account number or postal address.
2. Select Email/Password Information.
3. Enter your new information and click on Save My Changes.
Subscribers can find additional help here. Not a subscriber? Subscribe today!
Jetzund kömpt die Nacht herbey,
Vieh und Menschen werden frey,
Die gewüntschte Ruh geht an;
Meine Sorge kömpt heran.
Schöne gläntzt der Mondenschein;
Vnd die Gülden Sternelein;
Froh ist alles weit vnd breit,
Ich nur bin in Trawrigkeit.
Zweene mangeln uberall
An der schönen Sternen Zahl;
Diese Sternen die ich mein’
Ist der Liebsten Augenschein.
Nach dem Monden frag’ ich nicht,
Tunckel ist der Sternen Liecht;
Weil sich von mir weggewendt
Asteris mein Firmament.
Wann sich aber neigt zu mir
Dieser meiner Sonnen Ziehr,
Acht’ ich es das beste seyn,
Daß kein Stern noch Monde schein.
And now the night descends,
Beast and man gain their freedom,
The rest they hope for has come;
But now my sorrow descends.
The moonlight shines beautifully;
And the tiny golden stars;
Everything is happy, far and wide;
Only I am trapped in sorrow.
Everywhere two are missing
In the count of beautiful stars;
These stars that I mean
Radiate from the eyes of my beloved.
I ask not for the stars,
Dark is their light,
Because she has turned her back on me,
Asteris, my firmament.
But when she shows her inclination to me,
She, the ornament of my suns,
Then I think it best
That neither star nor moon shines.
–Martin Opitz, Ode IV: Jetzund kömpt die Nacht herbey from Oden und Gesänge (1618)(S.H. transl.)
This is a relatively youthful and simple composition by the great Silesian Baroque poet Martin Opitz. Listen to Andreas Scholl sing Johann Nauwach’s setting of the poem taken from Teutsche Villanellen (1627), one of the pioneering works of the art song format north of the Alps. The art song was extremely well established at this time in Italy, and Nauwach, who studied music in Italy and was well versed in its forms appears here to be importing the continuo song which was well settled in the Italian north.
His settings of the Opitz odes were popular across middle Europe, and we have evidence of their performance in Delft at the time of Vermeer. They were designed to be sung with accompaniment on harpsichord, bass or lute, or a combination of these instruments. Hence, the Vermeer painting “The Concert” matches the performance that Nauwach envisions (note that one woman sits at the harpsichord, the man with his back to the artist holds a lute, and the standing woman holds and sings from a text, while a bass lies on the floor in the foreground–this is the specific casting of Jetzund kömpt die Nacht herbey). Was Vermeer portraying a performance of Nauwach’s Opitz Lieder? They stood at the core of the repertoire at this time, and the emotional timber they deftly use, light and darkness, love and sorrow, come close to the palette and technique of Vermeer.
<object width=”425″ height=”344″><param name=”movie” value=”http://www.youtube.com/v/BG1UN8uh3NY&hl=en&fs=1″> <embed src=”http://www.youtube.com/v/BG1UN8uh3NY&hl=en&fs=1″ type=”application/x-shockwave-flash” allowscriptaccess=”always” allowfullscreen=”true” width=”425″ height=”344″></embed></object></p>
More from Scott Horton:
No Comment — November 4, 2013, 5:17 pm
An expert panel concludes that the Pentagon and the CIA ordered physicians to violate the Hippocratic Oath
No Comment — August 12, 2013, 7:55 am
How will the Obama Administration handle Edward Snowden’s case in the long term?
No Comment — July 29, 2013, 11:36 am
Is it possible to simply disband the partisan FISA court?
Fleming awoke in the dark and his room felt loose, sloshing so badly he gripped the bed. From his window there was nothing but a hallway, and if he craned his neck, a blown lightbulb swung into view. The room pitched up and down and for a moment he thought he might be sick. The word “hallway” must have a nautical name. Why didn’t they supply a glossary for this cruise? Probably they had, in the welcome packet he’d failed to read. A glossary. A history of the boat, which would be referred to as a ship. Sunny biographies of the captain and crew, who had always dreamed of this life. Lobotomized histories of the islands they’d visit. Who else had sailed this way. Famous suckwads from the past, slicing through this very water on wooden longships.
A welcome packet, the literary genre most likely to succeed in the new millennium. Why not read about a community you don’t belong to, that doesn’t actually exist, a captain and crew who are, in reality, if that isn’t too much of a downer on your vacation, as indifferent to one another as any set of co-employees at an office or bank? Read doctored personal statements from underpaid crew members — because ocean life pays better than money! — who hate their lives but have been forced to buy into the mythology of working on a boat, separated now from loved ones and friends, growing lonelier by the second, even while they wait on you and follow your every order.
Number of people stopped and frisked by the NYPD in 2011 for “furtive movements”:
The faces of Lego people were growing angrier.
Four people were arrested for using a remote-controlled hexacopter to fly two pounds of tobacco to prisoners inside the yard at Calhoun State Prison in Georgia.
Subscribe to the Weekly Review newsletter. Don’t worry, we won’t sell your email address!
Our congratulations to Alice Munro, winner of the 2013 Nobel Prize for Literature