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The Mermaid’s Song – Hob XXVIa:25 | Song Texts, Lyrics & Translations | Oxford Lieder
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- Summary of article content: Articles about The Mermaid’s Song – Hob XXVIa:25 | Song Texts, Lyrics & Translations | Oxford Lieder The Merma’s Song – Hob XXVIa:25 ; Now the dancing sunbeams play. On the green and glassy sea,. Come, and I will lead the way. Where the pearly treasures be. …
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The Mermaid’s Song, Hob.XXVIa:25 (Haydn, Joseph) – IMSLP: Free Sheet Music PDF Download
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The mermaid’s song | Now the dancing sunbeams play | LiederNet
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The mermaid’s song | Now the dancing sunbeams play | LiederNet
Follow, follow, follow me. Come, behold what treasures lie Far below the rolling waves, Riches, h from human eye, Dimly shine in ocean’s caves. Ebbing tes … … - Most searched keywords: Whether you are looking for
The mermaid’s song | Now the dancing sunbeams play | LiederNet
Follow, follow, follow me. Come, behold what treasures lie Far below the rolling waves, Riches, h from human eye, Dimly shine in ocean’s caves. Ebbing tes … Texts and Translations to Lieder and other classical vocal works in more than a hundred languagesLieder, translation, lyrics, art song, poetry, vocal text, kunstlieder, uebersetzungen, gedichte, melodie, traductions, Liederen, canzoni, laulua, piosenki, pisne, letra, cancoe - Table of Contents:
The Mermaid’s Song – THE ACCOMPANIMENT COMPANY
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- Summary of article content: Articles about The Mermaid’s Song – THE ACCOMPANIMENT COMPANY This is another lovely and sweet Haydn tune. The song depicts a merma (merman) bding someone (a lover, a friend) to follow her/him to where the “pearly … …
- Most searched keywords: Whether you are looking for The Mermaid’s Song – THE ACCOMPANIMENT COMPANY This is another lovely and sweet Haydn tune. The song depicts a merma (merman) bding someone (a lover, a friend) to follow her/him to where the “pearly …
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The Mermaid’s Song Sheet Music PDF – BFlatMajor
The Mermaid’s Song Accompaniment – Piano & Melody – MP3 – BFlatMajor
The Mermaid’s Song Accompaniment- Piano Only – MP3 – BFlatMajor
The Mermaid’s Song Sheet Music PDF – CMajor
The Mermaid’s Song Accompaniment – Piano & Melody – CMajor – MP3
The Mermaid’s Song Accompaniment – Piano Only – CMajor – MP3
Haydn – The Mermaid’s Song, Hob. XXVIa no. 25 – Max Derrickson Max Derrickson
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- Summary of article content: Articles about Haydn – The Mermaid’s Song, Hob. XXVIa no. 25 – Max Derrickson Max Derrickson The “canzonetta” as a song form originated in Renaissance Italy, [. . .] The Merma’s Song (the song was numbered No. 25 by Haydn’s cataloger, … …
- Most searched keywords: Whether you are looking for Haydn – The Mermaid’s Song, Hob. XXVIa no. 25 – Max Derrickson Max Derrickson The “canzonetta” as a song form originated in Renaissance Italy, [. . .] The Merma’s Song (the song was numbered No. 25 by Haydn’s cataloger, … Music Program Writer in Washington DC for over 20 years.Music Programs, Orchestra Notes, Writer, Washington DC, Max .
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Stream The Mermaid’s Song, Joseph Haydn by Mireille Asselin, Soprano | Listen online for free on SoundCloud
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The Mermaid’s Song – song and lyrics by Joseph Haydn, Victoria Livengood, William Lewis | Spotify
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- Summary of article content: Articles about The Mermaid’s Song – song and lyrics by Joseph Haydn, Victoria Livengood, William Lewis | Spotify Listen to The Merma’s Song on Spotify. Joseph Haydn · Song · 2000. …
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Now the dancing sunbeams play
The mermaid’s song
Language: English
Authorship:
Musical settings (art songs, Lieder, mélodies, (etc.), choral pieces, and other vocal works set to this text), listed by composer (not necessarily exhaustive):
Available translations, adaptations, and transliterations (if applicable):
FRE French (Français) (Guy Laffaille) , title 1: “Le chant de la sirène”, copyright © 2008, (re)printed on this website with kind permission
French (Français) (Guy Laffaille) , title 1: “Le chant de la sirène”, 2008, (re)printed on this website with kind permission DUT Dutch (Nederlands) [singable] (Lau Kanen) , title 1: “Het lied van de meermin”, copyright © 2016, (re)printed on this website with kind permission
Researcher for this text: Emily Ezust [
This text was added to the website between May 1995 and September 2003.
Line count: 16
Word count: 87
Haydn – The Mermaid’s Song, Hob. XXVIa no. 25 – Max Derrickson
Franz Josef Haydn (Born March 31, 1732 in Rohrau, Austria; died May 31, 1809 in Vienna)
The Mermaid’s Song, Hob. XXVIa no. 25
By the time Haydn had reached his 29th year of service in 1790 to his patron, the music loving Prince Nikolaus Esterhazy of Vienna, he was undeniably the most famous living composer in the world. But, in those days of musical patronage, he wasn’t entirely free to go where he pleased and collect a fortune to his fame – being in the service of a patron was a contract, and one not easily broken. But fortune shined on Haydn in 1790, in a strange twist, with the death of Prince Nikolaus that year. Prince Nikolaus’s successor, Prince Anton, gutted his predecessor’s lavish musical workforce, retaining only Haydn and two other musicians, which freed up Haydn’s workload considerably, and coincided with a famous visit from a London gentleman.
That visitor was Johann Peter Salomon (1745-1815), known in London as its most influential impresario. He invited Haydn to visit London for a year, assuring him that he would be treated as a treasured guest, and offering him
[. . .]the Salomon-Haydn business deal produced some of the great pieces in Western music. Haydn was so charmed by London and the friends he made there that he returned two years later, preparing six more symphonies for his return – all twelve, numbers 93 – 104, are now known as the “London Symphonies” and are among the pinnacles of the Classical Symphonic genre.
As for his friends, one in particular was Mrs. Anne Hunter, wife of a famous surgeon John Hunter. She was a gifted poet in her own right and a wonderfully popular salon host. There is some conjecture that Haydn was smitten with her charms (although it is certain that he was with
[. . .]The result is a set of immensely charming and tuneful songs, somewhat in the popular vein meant for intimate parlor entertainment, but created so well as to now stand as some of the most significant art songs that Haydn composed.
The “canzonetta” as a song form originated in Renaissance Italy,
[. . .]The Mermaid’s Song (the song was numbered No. 25 by Haydn’s cataloger, Anthony van Hoboken) – employing an instantly memorable melody and filled with lighthearted charms.
One particular masterstroke by Haydn makes The Mermaid the delight that it is – “tone-painting,” also called “word-painting.” Haydn could be said to use the term in both of its implied ways. First, with tones, as he begins with a rocking figure in the piano introduction, using a rising melodic figure in the right hand over an unchanging pitch in the bass hand,
[. . .]beckoning us into the deep to find treasures untold.
Secondly, Haydn employs word-painting, as the Mermaid convinces us to join her. One excellent example occurs on the words “Come with me and we will go”
[. . .]“pearly.”
[. . .]Haydn’s skill for melodic beauty outshines all else, as we are seduced by his own siren song.
The Mermaid’s Song
– Anne Hunter (1741 – 1821)
Now the dancing sunbeams play
On the green and glassy sea,
Come, and I will lead the way
Where the pearly treasures be.
Come with me, and we will go
Where the rocks of coral grow.
Follow, follow, follow me.
Come, behold what treasures lie
Far below the rolling waves,
Riches, hid from human eye,
Dimly shine in ocean’s caves.
Ebbing tides bear no delay,
Stormy winds are far away.
Come with me, and we will go
Where the rocks of coral grow.
Follow, follow, follow me.
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