Podcasts about Georg Trakl

April 8, 2025 - "In the Marshy Pastures" by Georg Trakl, read by Ada Caccamise by The Desmond-Fish Public Library & The Highlands Current, hosted by Ryan Biracree

durée : 00:05:31 - L'Instant poésie - Dans une langue onirique et crépusculaire, Georg Trakl peint un monde au bord de la dissolution, peuplé de figures malades et fantomatiques. - invités : Wajdi Mouawad Auteur, metteur en scène, comédien et directeur du théâtre national de la Colline

Letters from Elon; The Life and Poetry of Georg Trakl, Travels with Chewbacchus

Innen- und Außenansichten von Kirchen. In der aktuellen Folge des Lyrik-Podcast Seelenfutter stellen Susanne Garsoffky und Friedemann Magaard Annäherungen an Kirchenräume vor, und an das, was sie bedeuten können. Andreas Reimanns Sonett "gespräch über kirchen" bewegt sich in Leipzig nach der "Wende": Von Vertrautem und Fremden, von der Scheu und Geprahle bei einem Bier. Dagegen hält "Die Kirche" von Georg Trakl viel Erschütterndes bereit, wenn jemand das Kircheninventar betrachtet und nichts, rein gar nichts Heiles erkennen kann. Dazu gibt es Bibelworte von Paulus und vom Propheten Amos. Kein Abendmahl zum Seelenfutter...

Für SWR Literaturchef Frank Hertweck ist GeorgTrakl neben Rainer Maria Rilke sozusagen DER Herbstdichter. Er schafft es, Farben und Dinge so zu kombinieren, dass einem die Wirklichkeit entgleitet.

Gruber, Georg www.deutschlandfunkkultur.de, Lesart

Gruber, Georg www.deutschlandfunkkultur.de, Lesart

Gruber, Georg www.deutschlandfunkkultur.de, Lesart

James Arlington Wright was born on December 13, 1927, in Martins Ferry, Ohio. His father worked for fifty years at a glass factory, and his mother left school at fourteen to work in a laundry; neither attended school beyond the eighth grade. While in high school in 1943, Wright suffered a nervous breakdown and missed a year of school. When he graduated in 1946, a year late, he joined the U.S. Army and was stationed in Japan during the American occupation. He then attended Kenyon College on the G.I. Bill, and studied under John Crowe Ransom. While there, he also befriended future fellow poet Robert Mezey. Wright graduated cum laude and Phi Beta Kappa in 1952. Wright traveled to Austria, where, on a Fulbright Fellowship, he studied the works of Theodor Storm and Georg Trakl at the University of Vienna. He returned to the U.S. and earned master's and doctoral degrees at the University of Washington, studying with Theodore Roethke and Stanley Kunitz. He went on to teach at The University of Minnesota, Macalester College, and New York City's Hunter College.The poverty and human suffering Wright witnessed as a child profoundly influenced his writing and he used his poetry as a mode to discuss his political and social concerns. He modeled his work after that of Thomas Hardy and Robert Frost, whose engagement with profound human issues and emotions he admired. The subjects of Wright's earlier books, The Green Wall (Yale University Press, 1957), winner of the Yale Series of Younger Poets Award, and Saint Judas (Wesleyan University Press, 1959), include men and women who have lost love or have been marginalized from society and they invite the reader to step in and experience the pain of their isolation. Wright possessed the ability to reinvent his writing style at will, moving easily from stage to stage. His earlier work adheres to conventional systems of meter and stanza, while his later work exhibits more open, looser forms, as with The Branch Will Not Break (Wesleyan University Press, 1963).Wright was elected a fellow of the Academy of American Poets in 1971, and, the following year, his Collected Poems (Wesleyan University Press) received the Pulitzer Prize in Poetry.Wright died in New York City on March 25, 1980. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Daily QuoteDo not wait to strike till the iron is hot, but make it hot by striking. (William Butler Yeats)Poem of the DaySummerby Georg TraklBeauty of Words赤壁赋苏轼

Sonniger Nachmittag - von Georg Trakl

durée : 00:33:46 - Les Nuits de France Culture - par : Albane Penaranda - En 2016, Claude Régy était au micro de Joëlle Gayot pour évoquer sa dernière mise en scène, "Rêve et folie" adaptée du poète autrichien Georg Trakl. Un entretien dans "Une saison au théâtre" diffusé pour la première fois le 18 septembre 2016.

Teodora Coman, George State și Radu Vancu sînt cei trei poeți nominalizați la premiul Radio România Cultural pentru poezie. Am stat de vorbă cu ei despre cărțile lor publicate în 2023 și despre cum au primit vestea nominalizării.Teodora Coman a publicat anul trecut volumul „piesă de rezistență”, la Editura Nemira, în colecția Vorpal, o carte care pune în centru corpul în sala de fitness, în căutarea validării de către ceilalți, și totodată chestionează tăios presiunile care vin asupra lui în lumea contemporană. Un volum muncit ca un corp la sala de sport, un corp de cuvinte.Teodora Coman: „Am tot revenit, am tot șlefuit. Așa se face munca asta. Iei distanță, revii, corectezi. E metoda clasică, nu e nici un secret. Dar, într-adevăr am revenit pe text aproape cu duritate, așa cum se procedează la sport: nu te menajezi, cînd ridici greutatea, o ridici, nu te prefaci c-o ridici.” George State este nominalizat la premiul Radio România Cultural pentru poezie cu volumul „Sarx”, apărut la Editura Nemira, în colecția Vorpal. George State e și traducător, a transpus în română opera poetică integrală a lui Paul Celan și a tradus o selecție din poezia lui Georg Trakl. În „Sarx” îl vedem în ambele ipostaze. A avut ideea de a revizita cîțiva poeți din canonul universal și de a-i aduce într-o formulă poetică actuală, formulă ce se bazează pe vocile și temele lor. Totodată, poetul-traducător chestionează prin acest volum noțiunea de originalitate.George State: „Ideea acestei cărți, Sarx, a fost să-mi inhib vocea. E o întrebare: e important ca un scriitor, ca un poet să aibă o voce, să fie recognoscibil imediat pe pagină, sau să fie la răspîntia și să fie depozitarul și cutia de rezonanță a unor voci străine? Nu știu. Pariul pentru mine în ceea ce privește această carte a fost tocmai de a nu avea o voce, de a împrumuta mai multe voci și de a nu fi original.”Radu Vancu este nominalizat la premiul Radio România Cultural pentru poezie cu volumul „Kaddish”, apărut la Casa de Editură Max Blecher. Radu Vancu pornește de la o poveste reală și cutremurătoare. Poetul Radnóti Miklós a fost ucis de naziști și aruncat într-o groapă comună. Soția lui, Fanni Gyarmati, îl recuperează din groapa comună și-i găsește în buzunarul de la piept carnetul cu ultimele poezii. „Kaddish” e un lung poem despre memorie, despre credința în puterea poeziei de a recupera totul și despre puterea poeziei de a învinge moartea.Radu Vancu: „Cam asta am cerut poeziei, să fie un fel de înger pronominal, un fel de îmbrățișare, care să adune la un loc oameni, de-o parte și de cealaltă a morții și să facă din moarte un detaliu. Și, oricît de patetic sună, cred că așa se întîmplă lucrurile, cred că poezia chiar are forța asta.” Apasă butonul PLAY! pentru a asculta întreaga emisiune.O emisiune de Adela Greceanu  Un produs Radio România Cultural  

Ein Winterabend - von Georg Trakl

ÖVERSÄTTNING: Camilla Hammarström UPPLÄSNING: Amanda Ooms Lyssna på alla avsnitt i Sveriges Radio Play. DIKT: ”Andlig skymning” av Georg TraklDIKTSAMLING: Bävande under höstliga stjärnor (Lejd, 2022)MUSIK: Fikret Amirov: NocturneEXEKUTÖR: Rovsjan Mamedkulijev, gitarr

Die Salzburger Kulturvereinigung im Porträt

Die Creepypasta "Kokain" von Walter Rheiner – zum Gruseln, Ablenken und Einschlafen. Vertont von Dr. Zargota.

durée : 00:05:21 - Les Nuits de France Culture - par : Albane Penaranda - "Claude Régy, l'état d'incertitude", une sélection d'archives avec Claude Régy (1923-2019), homme de théâtre qui a marqué de son influence la scène contemporaine avec des mises en scène de textes de Sarah Kane, Edward Bond ou Georg Trakl et une approche nouvelle du jeu de l'acteur.

durée : 00:33:46 - Les Nuits de France Culture - par : Albane Penaranda - En 2016, Claude Régy était au micro de Joëlle Gayot pour évoquer sa dernière mise en scène, "Rêve et folie" adaptée du poète autrichien Georg Trakl. Un entretien dans "Une saison au théâtre" diffusé pour la première fois le 18 septembre 2016.

Der Frühling, der Frühling. Das ist nicht nur pralle Blütenkraft. Das Frühlingsgefühl der beiden Seelenfutter-Gedichte ist deutlich ambivalenter. "Im Frühling" von Georg Trakl fühlt noch den Schnee und kann sich vom Winterverfall noch nicht lösen. Dagegen erlebt Wilhelm Bruchmüller in "Der alte Johannisfriedhof" das Neue vor dem Hintergrund des Alten: "...rings junges Leben über längst vergessnem Leid". Susanne Garsoffky und Friedemann Magaard können dem Frühling auch noch nicht recht über den Weg trauen und halten daher am Zögerlichen einen Moment fest. Dazu gibt es kraftvolle Bibelworte vom Propheten Jesaja und aus den Psalmen.

Hörspielklassiker - Kurz vor seiner Hochzeit 1677 verschwindet Bergmann Fet Matts Israelsson spurlos im Kupferbergwerk von Falun. Erst über 40 Jahre später wird sein Leichnam in einem Stollen aufgefunden - seine ehemalige Braut identifiziert den durch Kupfervitriol vollständig konservierten Körper. Diese "goldene Hochzeit" wurde von zahlreichen Autoren (Johann Peter Hebel, E.T.A. Hoffmann, Georg Trakl, Franz Fühmann) literarisch bearbeitet. Bei Hofmannsthal wird sie zu einer Einfahrt in die letzten Gründe menschlicher Existenz. // Mit Hans Cossy, Arthur Mentz, Maria Wimmer, Ursula Bahrlehri, Otto Wernicke, Margrit Ensinger, Anne Kersten, Helga Zwick, Justin Lauterbach, Horst Raspe/ Komposition: Hans Werner Henze/ Bearbeitung und Regie: Heinz Hilpert/ BR 1949 //

Der große österreichische Dichter Georg Trakl wurde am 3. Februar 1887 in Salzburg geboren. In seinen Gedichten begegnet man der Düsternis der Vergänglichkeit: “Alle Straßen münden in schwarze Verwesung”, heißt es in seinem letzten Gedicht „Grodek“ (1914). Die Schönheit seiner Sprache und oft auch seine religiöse Tiefe sprechen viele heutige Menschen an. Die Gedichte enthalten “manche Wahrheiten, die man vielleicht sonst nicht zur Kenntnis nehmen will”, sagt Hans Weichselbaum, Trakl-Experte und Herausgeber der neuen Gesamtausgabe “Georg Trakl. Dichtungen und Briefe” (Otto Müller Verlag). Auch einige bis vor kurzem unbekannte Texte finden sich darin. Stefanie Jeller hat Hans Weichselbaum im Trakl-Geburtshaus in Salzburg getroffen, dort ist die Trakl-Forschungs- und Gedenkstätte eingerichtet. Für radio klassik erzählt Hans Weichselbaum über Georg Trakls Leben und Dichtung – und rückt manche Klischees zurecht: etwa zu Trakls problematischem Drogenkonsum und der wohl unerfüllten Liebe zu seiner Schwester. Mittwoch, 3. Februar 2021, 17.30-17.55 Uhr. Gestaltung: Stefanie Jeller Die Zitate liest Jan Nikolaus Cerha Musikausschnitte u.a. aus: „Re:meber“ von Olafur Arnalds BUCHTIPP Hans Weichselbaum Georg Trakl. Dichtungen und Briefe. Otto Müller Verlag Salzburg 620 Seiten ISBN: 978-3-7013-1282-5

Un día como hoy, 3 de febrero. Nace: 1807: Jenaro Pérez Villaamil, pintor español. 1809: Félix Mendelssohn, compositor alemán. 1874: Gertrude Stein, escritora estadounidense. 1887: Georg Trakl, poeta austriaco. 1894: Norman Rockwell, fotógrafo y pintor estadounidense. 1899: Lao She, escritor chino. 1904: Luigi Dallapiccola, compositor y pianista italiano. 1910: Blas Galindo, compositor mexicano. 1947: Paul Auster, poeta y novelista estadounidense.. Fallece: 1847: Marie Duplessis, cortesana francesa, modelo de La dama de las camelias. 2020: George Steiner, filósofo y escritor francés. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

Gino Zaccaria"Meditazioni scismatiche"Il nulla e il tempo, l'infinito e l'arteOlschki Editorehttps://www.olschki.it/Il libro si articola in dodici meditazioni (inaugurate da un breve Preludio) che muovono i propri passi in quella primigenia dimensione – denominata «scisma» – grazie alla quale il pensiero può dedicarsi a uno fra i compiti che la tradizione filosofica, nell'epoca della sua fine, gli assegna: concepire il nulla in modo che il tempo, l'infinito e l'arte siano fondati e istituiti nei loro rispettivi tratti originari, e perciò stesso futuri. Tutto allora si tramuta, divenendo “scismatico”: il nulla si libera di ogni metafisica vuotezza e inizia a risuonare come l'ineludibile richiamo a prestare ascolto alla voce del dio scomparso nell'annichilimento dell'essere; il tempo si scinde sia dall'attimo che scade (“tempo-scadenza”) sia dall'eternità (“tempo-estensione”) per assumere la tempra dell'istante che, nella misura in cui genera lo spazio e i suoi luoghi, restituisce all'uomo l'attesa di un genuino abitare terrestre; l'infinito si ritrae dalla sua avvilente sterminatezza e si configura come il celeste invito all'assunzione di una retta finitudine. Così l'arte può affrancarsi dal suo odierno destino tecnico-cibernetico, che la costringe ad apparire innanzitutto come “espressione” e “creatività”, per riaversi nella sua provenienza e infine nella sua genuina aspirazione.Gino Zaccaria è professore di Filosofia e di Estetica all'Università Bocconi (Milano). Ha pubblicato varie monografie e saggi nei campi dell'ontologia fondamentale e dell'ermeneutica della poesia e dell'arte. Ha curato vari volumi, e condotto traduzioni da Martin Heidegger, Friedrich Hölderlin e Georg Trakl.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

Melancholie des Abends - von Georg Trakl

Sommer - von Georg Trakl

Langley Vale Wood is a really special place. Created as part of the Trust's First World War Centenary Woods project, it's a natural living legacy for the fallen that symbolises peace and hope. Memorials offer space to remember in an evocative and moving tribute. As well as these important reflections on the past, the site has a bright future. Previously an arable farm that became non-viable, nature is now thriving, with butterfly, bird and rare plant numbers all up. Join site manager Guy Kent and volunteer David Hatcher to explore the ‘Regiment of Trees', the ‘Witness' memorial and Jutland Wood. Discover too how the site is being transformed into a peaceful oasis for people and nature and why some of these fields are internationally important. Don't forget to rate us and subscribe! Learn more about the Woodland Trust at woodlandtrust.org.uk Transcript Voiceover: You are listening to Woodland Walks, a podcast for the Woodland Trust, presented by Adam Shaw. We protect and plant trees for people to enjoy, to fight climate change and to help wildlife thrive. Adam: Hello! I've got to start by telling you this. I have driven to Langley Vale today and I've been driving through suburban London, really not very much aware of my surroundings, and you come up this hill and suddenly everything falls away and you burst out onto the top of the hill and it's all sky and Epsom Downs. And the racecourse is just ahead of you! And it dramatically changes. So, it's quite, it's quite an entrance into the Langley Vale forest area. I've come to meet, well, a couple of people here. I've drawn up next to a farm, I don't really know where they are, but it gives me a moment to tell you a little bit about the Langley Vale project which is amazing. It's a lovely thought behind it, because it is about honouring those who died in the First World War, and of course, there are many ways in which we honour and remember the people whose lives were changed forever during that global conflict. There are war memorials, headstones, poetry and paintings – and those man-made accolades – they capture all the names, the dates, the emotions and the places. And of course, they are vital in recording and recounting the difficult and very harrowing experiences from that conflict. But, what this venture, I think, wanted to achieve with its First World War Centenary Woods Project was a natural, living legacy for the fallen. Flourishing places that symbolise peace and hope, as well as remembering and marking the dreadful events of war, but doing that in the shape of nature and hope for the future. Both now and for many, many generations to come, providing havens for wildlife and for people – and I'm one of those people – and so it's a great project, it's in its very early stages, but it's a great opportunity, I think, to have a look around today. So, oh! There's two people wandering down the road there in shorts, I think they're hikers, I don't think they are who I am seeing. [Pause] Adam: So, Guy you're the site manager here, just tell me a little bit about the site. Guy: So, we are on the North Downs here in Surrey. It's a huge ridge of chalk that runs along southern England and down through Kent, it pops under the channel and pops up again in France. And this chalk ridge has got very special habitats on it in terms of woodland, chalk grassland, and we're very thrilled here that we've been able to buy, in 2014, a formerly intensively managed arable farm that was actually not very productive. The soils are very thin here on the hills the chalk with flints, so, pretty poor for growing crops, and we were very lucky to buy it as part of our First World War Centenary Woods project as England's Centenary Wood. Adam: So, tell me a bit about the Centenary Woods part of this. Guy: So, the idea of the project was to put a new woodland in each country of the United Kingdom, that being Northern Ireland, Wales, Scotland and England. This is the England site, and it is the largest of the four sites. We've actually planted 170,000 trees here. We did go through a full Environmental Impact Assessment and this enabled us to find out where we could plant trees because there are some special habitats here, and there is a national character to the North Downs – national character being that much of the woodland is planted on the high ground and much of the lower land is actually open space, be that for arable use or pasture. Adam: This is a Centenary Wood, so, is this just an ordinary woodland planted in the name of those who died during the First World War? Guy: Yes. The difference is… one of the reasons this site was selected was because we do actually have history here from the First World War. We've got a number of memorials that I hope to show you today. One of which commemorates a day in January 1915. Lord Kitchener inspected 20,000 troops here that had gathered and recently joined, taking up the call to join his new army. So, there were many sorts of civilians here in civilian clothing. They got up at 4am in the morning, I'm told, to all assemble here for him arriving at 10am with his equivalent French minister, and they inspected the troops for a very short period of time because they had other troops to go and inspect nearby. But many of those 20,000 actually then ended up going over, obviously, over to the frontline and many were not to return. Adam: Shall we have a walk down? And what is there then to commemorate that? Are there, are these just trees planted in memory of that occasion, or have you got a sort of statue or something? Guy: Yeah, well, the Regiment of Trees as we're just about to see, as you go around the corner… An artist, we commissioned an artist called Patrick Walls who has actually created some statues for us replicating that event. So, we have men standing to attention carved out of sandstone… Adam: Wow, yes. Just turning around the corner here and you can see this, yes, individual soldiers standing proud of a field of, actually, white daisies just emerging made from that sandstone you say? Guy: Yes sandstone. Adam: Sandstone soldiers. We are just walking up to them now, but behind that is all, I mean, I'm assuming this is a statue, but a statue made of trees. Guy: Indeed, what you're looking at there Adam is a memorial that we've called Witness. It's actually created by an artist called John Merrill and it is made up of parts of oak trees that have been assembled and it's inspired by the World War One painter Paul Nash, who was a cubist artist, and a particular painting of his called ‘Trees on the Downs' and that's inspired by that. And we're very lucky to have included within the memorial part of an oak out of Wilfred Owen's garden. Adam: Wow! Guy: Yeah so it's constructed to look like trees that have been obliterated, effectively, on the frontline, very evocative. Adam: Yes, you get very evocative pictures of a single tree either, you know, scarred black or sometimes actually still alive in a field of chaos. Guy: That's right yeah. And that's kind of trying to illustrate that in our memorial here, and what you can do, the public can actually walk through it. We've got a couple of benches within it, actually, where people can sit and contemplate, and actually written on the inside of some of these beams that go up are actually excerpts from poems from First World War poets. Adam: So, this first statue we're actually standing by it's sort of transformed in the flow of the statue – so it comes out of the ground as a sort of textured rock and as you go up 5 foot, 6 foot the statue also transforms into a man, but this man is wearing a suit and flat cap, so is a civilian. Guy: Indeed, and that's kind of trying to illustrate the fact that many of them are just joined up and a number of them haven't even got their uniform yet. Adam: So, let's move on, ahead of us, there's this sort of city gent on the left but looks a bit grander, but on the right, there are obviously… these look like officers. Guy: Yeah, the best, how I can best describe this is, that we've actually got 12 statues here and they're actually sitting among standard trees that were planted. So, we've got birch here, we've got beech, we've got whitebeam and we've got maple. But, these statues, the twelve of them, are in four lines. The guys at the back have only just joined up and they haven't had their uniform yet. And what the artist wanted to illustrate was the fact that all classes joined up at the same time. So, we have a working-class guy with his flat cap down the end there, we have our middle-class guy here with his hat on, and then we have the upper classes as well – it's meant to illustrate that everybody was in it together and joined in. Adam: I thought this was an officer, but I can see from his insignia he's a corporal. Guy: Indeed, and if you look at the statues Adam, as we go nearer the front to where Kitchener would have inspected, they all put the guys at the front who had all their webbing, all their uniform already, and as we move back through the lines it was less and less uniform and equipment. Adam: It's very evocative, I have to say, it's much more emotional than I thought it would be. Shall we go over to the sculpture? Guy: Yes let's. Adam: So, this is called ‘Witness'. Guy: So, this is ‘Witness' yes, and this is… John Merrill created this, he's got a yard in Wales where he works wood of this size. As you can see, it's quite a structure. Adam: So, yes as you say this size… So, I'm very bad at judging, six… I am trying to think, how many six-foot men could you fit under here? Six, twelve, I dunno thirty foot high? Was that fair? Guy: I tend to work in metres, I don't know about you, but I'm going to say about six metres at its highest point. Adam: So, it's made of, sort of, coming into it… it's… actually, it's quite cathedral-like inside. Small but is that a fair description? Guy: Yeah, I think so. Adam: *inaudible* Now, every second tree here has a line of First World War poetry etched into it rather beautifully. Do you want to read just a couple out for us? Guy: Yes… so here we have one saying: “And lying in sheer I look round at the corpses of the larches. Whom they slew to make pit-props.” [editor: Afterwards by Margaret Postgate Cole]. “At evening the autumn woodlands ring with deadly weapons. Over the golden plains and lakes…” [editor: Grodek by Georg Trakl]. Adam: Amazing, it's an amazing place. There are a couple of benches here and these are… Guy: These are the names of the poets. So, we have W Owen here, we have E Thomas, J W Streets, M P Cole, amongst others. Adam: Very moving, very moving. Okay, well it's a big site isn't it, a big site. So, where are we going to go to next? Guy: Well, we can walk through now Adam, we can see a new community orchard that we planted in 2017. Adam: So, we've come into, well a big part of, well there are a huge number of trees here. So, is this the main planting area? Guy: Yes, this is the main planting area. There are approximately 40,000 trees in here. Adam: We're quite near a lot of urban areas, but here they've all disappeared, and well, the field goes down and dips up again. Is that all Woodland Trust forest? Guy: That's right, what you can see ahead of us there is actually the first planting that we did on this site in 2014, on that hillside beyond. Adam: 2014? So, eight, eight… Guy: Eight years old. Adam: [laughs] Thank you, yes mental maths took me a moment. So, the reason I was doing that, is that they look like proper trees for only eight years old. Guy: It just shows you that obviously, you think that when we're planting all these trees now – that none of us will perhaps be here long enough to enjoy them when they're mature trees, but I think you can see from just by looking over there that that woodland is eight years old and it's very much started to look like a woodland. Adam: Very much so, well, brilliant. Well, very aptly I can see, starting to see poppies emerging in the fields amongst the trees. They do have this sort of sense of gravestones, in a way, don't they? They're sort of standing there in regimented rows amongst the poppy fields. So, where to now? Guy: So, we'll go to Jutland Wood, which is our memorial to the Battle of Jutland. Adam: The famous sea battle Guy: Yes, it was the largest battle of the First World War which raged over two days, the 31st of May to the 1st of June 1916. We're going to meet our volunteer, lead volunteer, David Hatcher now, who's been working with us on the site for a number of years, and he's going to tell you about this memorial that we've got to the Battle of Jutland. Adam: Right, I mean, here it's, it's different because there are these rather nice, actually, sculpted wooden stands. What are these? Guy: Yeah, these are… actually commemorate… we've got what we call naval oaks. So, we've got a standard oak planted for each of the ships that were lost in that particular battle and we've also, between them, we've got these port holes that have been made by an artist called Andrew Lapthorn, and if I can describe those to you, they are sort of a nice piece, monolith of wood with a porthole in the middle of…, a glass porthole, that indicates how many lives were lost and it has the name of the ship. Adam: So, this is HMS Sparrowhawk where six lives were lost, 84 survivors, but HMS Fortune next door, 67 lives lost, only ten survivors, and it just goes on all the way through. Guy: As you walk through the feature Adam, the actual lives lost gets a bit more, bigger and bigger, and by the end it's… there were very few survivors on some of the ships that went down, and they are illustrated on these nice portholes that commemorate that. Adam: And this is all from the Battle of Jutland? Guy: Battle of Jutland this is yeah. Adam: And just at the end here HMS Queen Mary, 1,266 lives lost, only 20 survivors from 1913. Very, very difficult. [Walking] Guy: This memorial, actually illustrates…, is by a lady called Christine Charlesworth, and what we have here is a metal representation of a sailor from 1916 in his uniform. And that faces the woodland here, where you can see ancient semi natural woodland that would have been here in 1916. So, this sailor is looking to the past and our ancient woodland. If we look to the other side of the sailor, we have a sailor from 2016 in his uniform and he's looking in the opposite direction, and he's looking at our newly planted trees – looking to the future. Adam: Let's walk through here, and at the end of this rather… I mean it is very elegantly done but obviously sombre. But, at the end here we're going to meet David who's your lead volunteer. So, David, so you're the lead volunteer for this site? And, I know that's, must be quite a responsibility because this is quite a site! David: That's very flattering - I'm a lead volunteer - I have lots of brilliant colleagues. Adam: Really? So, how many of you are there here? David: About seven lead volunteers, there are about one hundred volunteers on the list. Adam: And what do you actually do here? David: Ah well it's a whole range of different things. As you know this was an intensively farmed arable site. And there were lots of things like old fences and other debris. It was also used as a shooting estate, so there were things left over from feeding pheasants and what have you. Adam: Right. David: A lot of rubbish that all had to be cleared because it's open access land from the Woodland Trust, and we don't want dogs running into barbed wire fences and things like that. Adam: And it's different from, well I think, almost any other wood. It has this reflection of World War One in it. What does that mean to you? David: Well, it actually means a lot to me personally, because I was the first chairman of the Veteran's Gateway. So, I had a connection with the military, and it was brilliant for me to be able to come and do something practical, rather than just sitting at a desk, to honour our veterans. Adam: And do you notice that people bring their families here who have had grandfathers or great grandfathers who died in World War One? David: Yes, they do and in particular we have a memorial trail in November, every year, and there's a wreath where you can pick up a little tag and write a name on it and pin it to this wreath, and that honours one of your relatives or a friend, or somebody like that, and families come, and children love writing the names of their grandpa on and sticking it to the wreath. Adam: And do you have a family connection here at all? David: My father actually served in the, sorry, actually my grandfather served at the Battle of Jutland. Adam: Wow and what did he do there? David: He was a chief petty officer on a battleship, and he survived I am happy to say, and perhaps I would never have been here had he not, and all of my family – my father, my mother, both my grandfathers were all in the military. Adam: And do you remember him talking to you about the Battle of Jutland? David: He didn't, but what he did have was, he had a ceremonial sword which I loved, I loved playing with his ceremonial sword. Adam: Gotcha. And you are still here to tell the tale! [Laughter] David: And so are all my relatives! [Laughter] Adam: Yes, please don't play with ceremonial swords! [Laughter] That's amazing. Of course, a lot of people don't talk about those times. David: No. Adam: Because it's too traumatic, you know… as we've seen how many people died here. David: Yes. Adam: Well look, it's a relatively new woodland and we're just amongst, here in this bit, which commemorates Jutland, the trees are really only, some of them, poking above their really protective tubes. But what sort of changes have you seen in the last seven, eight odd years or so since it's been planted? David: It's changed enormously. It's quite extraordinary to see how some trees have really come on very well indeed, but also a lot of wildflowers have been sown. We have to be very careful about which we sow and where because it's also a very valuable natural wildflower site, so we don't want them getting mixed up. Adam: So, what's your favourite part of the site then? David: Ah well my favourite part…, I'm an amateur naturalist, so there's the sort of dark and gloomy things that are very like ancient woodland. We call them ancient semi-natural woodland. So there is Great Hurst Wood which is one of the ancient woodlands. Adam: Here on this site? David: Yes, on this site. It's just over there, but we have another couple of areas that are really ancient semi-natural woodland, but actually, I love it all. There's something for everybody: there's the skylarks that we can hear at the moment; the arable fields with very rare plants in; the very rare fungi in the woods. Actually, that line of trees that you can see behind you is something called the Sheep Walk, and the Sheep Walk is so-called because they used to drive sheep from all the way from Kent to markets in the west of the county, and they've always had that shelterbelt there – it's very narrow – so they've always had it there to protect the sheep from the sun, or the weather, or whatever. And it's the most natural bit of ancient woodland that there is, even though it's so narrow and it's fascinating what you can find under there. Adam: And I saw you brought some binoculars with you today. So, I mean, what about sort of the birds and other animals that presumably have flourished since this was planted? David: It's getting a lot better. The Woodland Trust has a general no chemicals and fertiliser policy and so as the soil returns to its natural state then other things that were here before, sometimes resting in the soil, are beginning to come up. We, I think, we surveyed maybe 20 species of butterflies in the first year… there are now over… 32! And there are only 56 different species over the country, so we have a jolly good proportion! We have two Red List birds at least here – skylarks and lapwings nesting. It's all getting better; it's getting a lot better under new management. Adam: [chuckle] Fantastic! Well, it's a real, a real joy to be here today. Er so, we're here in the Jutland woodland. Where, where are we going to next do you think? Where's the best place…? David: We're going to have a look at one of the wonderful poppy fields. Adam: Right. David: Because the poppies come up just as they did in Flanders every summer and it's, it really is a sight to behold. Adam: And is this peak poppy season? David: It's just passed… Adam: Just passed. David: So, we hope they are still there and haven't been blown away. Adam: It would be typical if I have got here and all the poppies have gone. Forget it, alright, let's go up there. So, well this is quite something! So, we've turned into this other field, and it is a field, well never in my life have I seen so many poppies! Mainly red poppies, but then there are…, what are these amongst them? Guy: Yeah. So, what you can see is a number of species of poppies here. The main one you can see, it's the red Flanders poppy. Adam: And is this natural or planted because of the First World War reference? Guy: No, it's mostly…, we did supplement this with some…, we've actually planted some of these poppy seeds, but most of them are natural and it's a direct result of the fact that we continue to cultivate the land. One of the most important conservation features we have here on site is rare arable plants. Bizarrely, these plants were once called arable weeds, but when intensification of farming began in the mid-20th century, the timing of ploughing was changed, the introduction of herbicides, all these things meant that these so-called arable weeds actually became quite rare and they were just hanging on to the edges of fields. What we've been able to do here is to continue to cultivate the land sympathetically for these plants and we now have much, much better arable plant assemblages here. We have rare arable plants here now, that mean that some of these fields are of national importance and a couple of them are of international importance, but a by-product of cultivating the land every year for these is that we get displays of poppies like this every year. Adam: And when you cultivate, you're talking about cultivating the land, you're planting these poppies, or what does that mean? Guy: No, it's almost like replicating the fact…, it's as if we're going to plant a crop, so we actually plough the field and then we roll it as if we're going to prepare a crop. Adam: But you don't actually plant a crop. Guy: No, no exactly. And then we leave it fallow and then naturally these arable plants tend to actually populate these fields. Poppies are incredibly nectar-rich, they're actually quite short-lived… Some of you may know poppies that grow in your garden, and they could be out in bloom one day and completely blown off their petals the next day. They don't, like, last very long, but they do pack a powerful punch for nectar, so definitely invertebrates… Because we don't use chemicals here anymore which would have been used constantly on this farm – and what that means is that many of these arable plants, they require low fertility otherwise they get out-competed by all the things you'd expect like nettles, docks and thistles. So as the land improves so will hopefully arable plant assemblages making them even more impressive than they already are. Adam: But actually, as the, as the soil improves isn't that a problem for things like poppies ‘cause they'll get out-competed by other plants which thrive better? Guy: It's a fair point, but what is actually crucial – is that to actually increase biodiversity in these fields it actually requires low nutrients. In terms of a lot of these fields, as well, we have, from years of chemical application, we have a lot of potassium, we have a lot of magnesium in them, and they have a lot of phosphorus too now. Magnesium and potassium tend to leach out of the soil so they will improve naturally, phosphorus tends to bind the soil and sticks around for a long time. So, we're trying to get these chemicals down to acceptable levels to make them more attractive for rare plants and therefore increasing biodiversity. Adam: Well, it is, it is like a painting and I'm going to take a photo and put it on my Twitter feed. I just, [gasp] so if anyone wants to see that, head over there. But it is beautiful, properly beautiful. I mean, so we were walking by this extraordinary painting of a poppy field to our right. It's a site which has been revolutionised because it was all arable farming less than a decade ago. What has that done for biodiversity here? Guy: Well, as we can imagine these fields, it's quite difficult to imagine them as we walk through them now, but these would have all been bare fields that were basically in crop production and there's clearly been an explosion of invertebrate activity here. We've got increasing butterfly species every year, our bird numbers are starting to go up, but also importantly we've got certain areas where habitats are being allowed to develop. So, we have a former arable field here that is now developing, it has been planted up with hazel coppice in a system we call ‘coppice with standards', where we plant… Adam: Coppice with standards? Guy: Coppice with standards yeah. Adam: Oo, well very grand! Guy: It is! It's an old forestry practice where they planted lots of hazel trees that would have been worked and then periodically in amongst them, there will be oak trees that would be allowed to grow longer and then harvested at a later date. What this has meant is that we've got long grass now that is growing between these trees and that's making it much more attractive for small mammals on site. Adam: Like what? What sort of small mammals? Guy: Things like voles, wood mice, field voles, these sort of things that make sort of tracks and sort of tunnels within the grass. And what that has meant is, as we go up the food chain is, that that's become more attractive now on the site for raptors. A nice story from two years ago - we have a volunteer that works with us who is a BTO bird ringer, and he sort of approached us to say “you've got barn owls nearby and your site is starting to develop nicely. How do you fancy putting up some raptor boxes to see if we can attract them in?” So, which was great, and we managed…, the local bird club donated some barn owl boxes, we put the barn owl boxes up in this field we have just talked about – the hazel coppice field – and the expert said “well they probably won't nest in it this year. They'll come and have a look…” Anyway, we put it up…, two months later… it was being used and we were able to ring those three chicks that came from that and they've been breeding ever since. Adam: Wow, how amazing! Must be very heartening to be working on the site which is growing like that so quickly. Guy: It is, it's amazing and when you consider that we're within the M25, we're very close to London, but we've got this site that is growing and it's only going to get better as we manage it sympathetically for the wildlife that it hosts. Adam: We're just coming round the bend and back to almost where we started into this field of standing soldiers amongst the growing trees, and the cathedral-like tree sculpture there which will take us back to the beginning. So we've just done a little tour… Guy: Yeah, Adam: So, I dunno half an hour, 40 minutes or so. Presumably, we skirted the edges of this… Guy: You certainly have Adam! It's a fraction of the site. We are 640 acres in size and we're just at the top part of it. This area that we've largely walked around today is very much focused on World War One and our memorials, but much of the rest of the site is, actually, is quite a bit quieter, there are fewer people around and the focus is definitely more on wildlife. Adam: Yes, well, it has been an amazing trip, I have to say, I've been to lots of different Woodland Trust woods all the way up the country, to the far stretches of Scotland. I have to say I think this is my favourite. It's quite, quite a site! And the memorial is done really tastefully and fits in with the landscape. I think this is quite, quite a site for you to manage, it's quite a thing. Guy: It's incredible and we are just so proud of it and we just can't wait to be able to open our car park and invite people from further afield, and not just locals who get to enjoy it as is the case at the moment. Adam: Absolutely. Well look, thank you! It started this morning, bright sun, it looked like I shouldn't need to bring a coat then all of a sudden, I thought “Oh my goodness”, we're standing under a completely black cloud but it has not rained, it is not raining, we're in running distance of the car so… Guy: Somebody's looking down on us Adam, at least for a couple of hours. Adam: They are indeed, well thank you very much! Voiceover: Thank you for listening to the Woodland Trust Woodland Walks. Join us next month when Adam will be taking another walk in the company of Woodland Trust staff, partners and volunteers and don't forget to subscribe to the series on iTunes, or wherever you're listening to us, and do give us a review and a rating. And why not send us a recording of your favourite woodland walk to be included in a future podcast? Keep it to a maximum of five minutes and please tell us what makes your woodland walk special. Or send an email with details of your favourite walk and what makes it special to you. Send any audio files to podcast@woodlandtrust.org.uk and we look forward to hearing from you.

Er war voll unbändiger Energie, voll Lust aufs Leben und voll Angst, er traute sich selbst nicht über den Weg und niemand anderem: Egon Schiele ist sicherlich eine der wichtigsten und schillerndsten Künstlerfiguren am Anfang unserer Moderne. Worin liegt seine Außergewöhnlichkeit, was machte er mit dem Bleistift und dem Pinsel sichtbar, was anderen verborgen blieb? Das diskutieren Florian Illies und Giovanni di Lorenzo in der neuesten Folge des Podcasts "Augen zu". Es war ein kurzes Leben, aber eines im Geschwindigkeitsrausch. Von 1890 bis 1918 lebte Egon Schiele nur – aber in den zwölf Lebensjahren, die ihm ab seinem Wechsel auf die Wiener Kunstakademie 1906 blieben, schuf er über 3.000 Werke auf Papier und über 300 Gemälde. Schiele war von einer ungeheuren Rastlosigkeit, er konnte nicht still sitzen, er zog Grimassen, wenn er sich selbst malte, verdrehte sich, als sei das Leben ein einziges Schleudertrauma. Erst als er 1911 Wally Neuzil im Atelier seines Förderers Gustav Klimt kennenlernt und sie zu ihm überwechselt, erst als Modell, dann als Geliebte, kommt eine gewisse Ruhe in seine furiose Kunst. Er lässt sich Zeit, ihren Körper nachzuzeichnen und er schaut auf sich selbst in seinen zahllosen Selbstbildnissen nicht immer nur mit den aufgerissenen Augen des Entsetzens. Wien um 1900 – das war ein singulärer Zeitpunkt, an dem die Welt neu durchschaut wurde: Sigmund Freud blickte in die Seelen, Ludwig Wittgenstein ins Gehirn, Karl Kraus bis zu den Sprachwurzeln, Arthur Schnitzler in die Herzkammern, Georg Trakl hörte das Gras wachsen und Arnold Schönberg die Tonlagen der Zukunft. Und zwischen dem malenden Berserker Oskar Kokoschka und dem elegischen Frauenausschmücker Gustav Klimt betrat plötzlich dieser Egon Schiele die Bühne und entdeckte in seiner Kunst Mann und Frau neu als Körper. Die Zeitgenossen waren verschreckt von seiner Drastik und Sexualisierung – doch Schiele antwortete mit seiner Privatmythologie: "Auch das erotische Kunstwerk hat Heiligkeit". Wie blicken wir heute auf diese Darstellungen der Frau? Silke Hohmann, Kunstkritikerin des Magazins "Monopol", äußert sich im Podcast zu der Frage, wie Schieles Zeichnungen und Gemälde innerhalb der Geschlechterdiskurse unserer Gegenwart bestehen können. Mit Schiele wird die erotische Aktzeichnung zu einem autonomen Kunstwerk – und das Selbstbildnis zu einem Schlachtfeld, zu einem ewigen, zweifelnden "Ecce Homo". Aus den Ruinen des Subjekts baute er ein neues Weltbild und lehrte, dass Leben eben Lust und Leiden heißt – auch deshalb ist Egon Schieles Faszinationskraft bis heute ungebrochen. Es geht um tiefe Traurigkeit in seinem Werk, um Ernst und Würde – und er kann all das eben nicht nur in den Körpern finden, sondern auch in einem Buchenwald und in den Häuserlandschaften Böhmens, in die er sich zurückzog, um sich von sich selbst zu erholen. Er stirbt an der Spanischen Grippe, als der Erste Weltkrieg endete. Doch seinen Kampf für einen Platz im ewigen Kanon der Kunstgeschichte des 20. Jahrhunderts hat er gewonnen. Lob, Kritik, Anmerkungen? Schreiben Sie uns gern an augenzu@zeit.de

In der Blauen Stunde gibt es heute wieder mal ein Hörstück. In "Kreutzners Traum" improvisiert und assoziiert Serdar nach Motiven von H.P.Lovecraft, Daniel Defoe, Georg Trakl und Edgar Allan Poe über das Thema Einsamkeit und Hoffnung. Dabei wird sein Text wieder untermalt und begleitet von Geräuschen und Musik die Jürgen König zusammengestellt hat. Ein Hörerlebnis der besonderen Art.

by Georg Trakl

Georg Trakl's poem 'Plaint.'

Georg Trakl's poem

Georg Trakl poem translated by Robert Firmage

Im Frühling von Georg Trakl

Georg Trakl, majster expresionizmu, vytvoril vo svojej poézii vlastný symbolický svet, ktorý sa vymyká racionálnemu chápaniu. Snové básne plné vízií a melanchólie. Obrazy sa doslova chvejú v priestore a niekto jeho tvorbu výstižne nazval panoramatickou maľbou. Nazývali ho i básnikom nočného videnia sveta. Vo všetkej tej temnote a rozklade je ale krása, ktorá fascinuje dodnes. V cykle Fenomény sa o Traklovej tvorbe sa Mariana Jaremková rozpráva s poetkou Milou Haugovou, ktorá prebásnila Traklove verše do slovenčiny.

Im Winter von Georg Trakl

Översättning Johannes Edfeldt Uppläsning Johan Gry Diktsamling: Helian och andra dikter (FIB:s lyrikklubb, 1956) MUSIK Franz Liszt: Vid Wallenstadtsjön ur Pilgrimsår EXEKUTÖR Francesco Piemontesi, piano

Leise und freundlich klingt der Herbst im aktuellen Lyrik-Podcast, nur ein Hauch Melancholie lässt das "vorbei" erahnen. Richard Dehmels "Stiller Gang" hat Susanne Garsoffky und Friedemann Magaard verzaubert mit seinem zarten Ton. Georg Trakls "Verklärter Herbst" steht wie ein Ölgemälde daneben, satte Farben, kraftvoll, getrost. Das trägt durch den grauen Spätherbst, allemal in Verbindung mit Psalmworten: Eine Sonderportion Seelentrost im November.

Winkel am Wald von Georg Trakl

Read by Terry CasburnProduction and Sound Design by Kevin Seaman

In this episode Ciarán chats to his former lecturer and Professor of Modern Languages Dr. Arnd Witte. We first hear about Arnd's origins in Hiddigwardermoor where the one-teacher school had no running water. The conversation turns to the origin of Arnd's love of the English language coming not from literature but from Jim Morrison and the Rolling Stones. Arnd lectured in Nigeria, where he met his wife. He saw a play there by Wole Soyinka, the first black African Nobel prize winner, and Soyinka himself was there. He is interested that some African commentators believe that the English language is a cultural time bomb in Africa, with it marginalising local languages and even pushing them to extinction. Arnd talks about his children being part Nigerian, part German, and part Irish and having a fluid cultural identity. The importance that language plays in cultural understanding and identity is a key theme in Arnd's research. Ciarán and Arnd chat about the Catholic Church's influence in Saint Patrick's College, Maynooth when they were there together in the early 1990s, how Arnd replaced a lecturer from the DDR. Reflecting on his many years working at 3rd level he laments changes that have brought about a type of commodification of education. Arnt reads from Hugo Hamilton and Georg Trakl.

Wolfgang Hilbig zählt zu den bedeutendsten Autoren der zweiten Hälfte des 20. Jahrhunderts. Als Lyriker ist er mit Georg Trakl verglichen worden, seine Prosa erinnert an Kleist. Nun kann man auch den Essayisten Wolfgang Hilbig kennenlernen. Von Michael Opitz www.deutschlandfunk.de, Büchermarkt Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Austriaco (1887- 1914)

Es ist Sommer, aber Sommer ist nicht immer "schön". Die dunkle, die schwere Seite der heißen Jahreszeit offenbaren zwei Gedichte, die jeweils mit "Sommer" betitelt sind und von Paul Verlaine und Georg Trakl stammen. Susanne Garsoffky und Friedemann Magaard blicken in heißsommerliche Abgründe und tiefschöne poetische Bilder und verbinden die Gedichte mit Psalm-Worten. Seelenfutter zum Nachkauen.

Hay gente que aunque sea muy escéptica, tiene el don de ver y de escuchar, como en el caso de nuestra amiga, la conductora y Morra Maldita Alexia Ávila, quien nos comparte varias historias sobrenaturales que les prometemos, les van a poner los pelos de punta como a nosotras, como 'eso' a lo que llamó en el bosque una noche y sin querer. Maldo nos comparte la historia de una de nuestras suscriptoras, Lucy in the Sky, sobre un muy particular duende. Jannis nos cuenta una historia compartida por Álvaro Solís, sobre un hombre misterioso que auxilió a un herido en la carretera. En Terror en Corto, Alexia nos cuenta de una de sus experiencias paranormales más impactantes (aunque nosotras creemos que todas lo sonnn), en el SUEÑO MACABRO compartimos el sueño de Mikhail y en el ARTERROR Maldo nos habla de Georg Trakl, poeta tristísimo obsesionado con temas como el MAL y el desarraigo. Mándanos tus sueños macabros o experiencias sobrenaturales a morrasmalditas@gmail.com Síguenos en SPOTIFY Y NUESTRAS REDES SOCIALESFACEBOOK: https://www.facebook.com/Morras-Maldi... INSTAGRAM: https://www.instagram.com/morrasmaldi...--- Send in a voice message: https://anchor.fm/morras-malditas/message See acast.com/privacy for privacy and opt-out information.

Welcome to another installment of our N&SH series - Notes & Strokes in History!    This episode will center around the timeline of World War I, also known as "The Great War." This period of only a few years took a great toll on many nations across the globe, but that did not stop the arts. During this dark period of history, artists and composers of all styles and regions created works that showcase so many facets of the human spirit. But because World War I created such a shift in the arts, Notes & Strokes has decided to split it into 2 episodes. Pt. 1 - during the war, and pt. 2 - after the war. We hope you enjoy the art and music that was created during this historical landmark!   Art:  James Montgomery Flagg (1877-1960): I Want You for U.S. Army (1917)  Max Beckmann (1884-1950): Happy New Year 1917 (1917, published 1919)  Paul Nash (1889-1946): We Are Making a New World (1918)    Music:  Henry Thacker "Harry" Burleigh (1866-1949): Southland Sketches (1916)  Gustav Holst (1874-1934): The Planets (1914-16)  Anton Webern (1883-1945): 6 Lieder nach Gedichten von Georg Trakl (1917-21)  Alban Berg (1885-1935): Wozzeck (1914-22)    Email us any time! notesandstrokespodcast@gmail.com   No playlist this week, but the links to Spotify albums and tracks of the works discussed are in the Music section!   Find us on:  Instagram Facebook Patreon

11. února 1869 se narodila německy píšící židovská básnířka a dramatička Else Lasker-Schüler. Byla jednou z nejvýznamnějších básnířek expresionistického hnutí. Všechny tři básně přeložila Hana Žantovská. Vyšlo v knize Klaviatura srdce v roce 1970, vydalo nakladatelství Mladá Fronta. Německý originál čte Angela Rogner. Podcast "Báseň na každý den" poslouchejte na Anchor, Spotify, Apple Podcasts, Google Podcasts a na dalších platformách. Domovská stránka podcastu je na www.rogner.cz/basen-na-kazdy-den. --- Send in a voice message: https://anchor.fm/basennakazdyden/message

3. února 1887 se narodil rakouský expresionistický lyrický básník Georg Trakl. Vydal čtyři básnické sbírky a napsal dvě komedie, v roce 1914 spáchal sebevraždu, kdy se nedokázal vyrovnat s důsledky 1. světové války. Německý originál čte Angela Rogner. Podcast "Báseň na každý den" poslouchejte na Anchor, Spotify, Apple Podcasts, Google Podcasts a na dalších platformách. Domovská stránka podcastu je na www.rogner.cz/basen-na-kazdy-den. --- Send in a voice message: https://anchor.fm/basennakazdyden/message

Un día como hoy, 3 de febrero. Nace: 1807: Jenaro Pérez Villaamil, pintor español. 1809: Félix Mendelssohn, compositor alemán. 1874: Gertrude Stein, escritora estadounidense. 1887: Georg Trakl, poeta austriaco. 1894: Norman Rockwell, fotógrafo y pintor estadounidense. 1899: Lao She, escritor chino. 1904: Luigi Dallapiccola, compositor y pianista italiano. 1910: Blas Galindo, compositor mexicano. 1947: Paul Auster, poeta y novelista estadounidense.. Fallece: 1847: Marie Duplessis, cortesana francesa, modelo de La dama de las camelias. 2020: George Steiner, filósofo y escritor francés. Una producción de Sala Prisma Podcast. 2021

Autor: Metz, Christian Sendung: Büchermarkt Hören bis: 19.01.2038 04:14

Guillermo Saccomanno nació en Mataderos en 1948. Su trabajo con la palabra comprende diversos escenarios: la publicidad, la historieta, el periodismo cultural, la narrativa y el ensayo. Es colaborador habitual del diario Página/12. Es autor entre otros libros de El buen dolor, la trilogía sobre la violencia compuesta por La lengua del malón, El amor argentino y 77, Antonio y Cámara Gesell, novela por la cual recibió el prestigioso premio Dashiell Hammett. Con su novela El oficinista (2010) obtuvo el Premio Biblioteca Breve Seix Barral. Recientemente acaban de publicarse tres libros suyos: la novela Soy la peste (Planeta), una suerte de novela de iniciación en un Buenos Aires apocalíptico y hostil arrasado por una epidemia, Mis citas con Lao, un ensayo autobiográfico sobre sus lecturas y la relación amorosa, que se desprende de los mails que le envía a su pareja, la escritora Fernanda García Lao (Edulp) y Los días Trakl (Las Cuarenta), otro ensayo en el que el escritor repasa sus impresiones de lectura del poeta expresionista de vanguardia austrohúngaro Georg Trakl (1887-1914). En Vidas Prestadas conversamos con el escritor, que hace años reparte sus días entre Buenos Aires y Villa Gesell, a propósito de estas publicaciones y de su formación como lector y escritor, además de la influencia constante de la literatura y el pensamiento de los grandes escritores rusos en su obra. En la sección Libros que sí Hinde recomendó “La verdad increíble”, de Tove Jansson (Cia. Naviera) y “Una tierra prometida”, por Barack Obama (Debate) y en La Escondida contó la historia de la  escritora estadounidense Nella Larsen En La sección Mesita de Luz la escritora Andrea Stefanoni contó que está Leyendo” La estepa infinita” de Esther  Hautzig y En Voz Alta, Pedro Mairal leyó el poema Unas macetas de amarillo” de Héctor Viel Temperley. Ph: Fernanda Garcia Lao.    

"Verklärter Herbst" von Georg Trakl

In einer historisch-kritischen Werkausgabe wird Georg Trakl neu zugänglich gemacht. Die Edition enthält einige Überraschungen und unveröffentlichte Briefe und zeigt den expressionistischen Dichter als Meister der Melancholie. Von André Hatting www.deutschlandfunkkultur.de, Lesart Hören bis: 19.01.2038 04:14 Direkter Link zur Audiodatei

Con el austríaco Georg Trakl (1887-1914) nos situamos ante uno de los pioneros de las vanguardias artísticas del siglo XX en general, y del expresionismo en lengua alemana en particular. Su errática y corta vida estuvo dominada por episodios de fuerte depresión que trataba de combatir con el alcohol y las drogas (sus estudios de farmacia le pusieron en contacto con ellas). En 1914 fue reclutado para participar en la Primera Guerra Mundial como oficial médico: la brutal experiencia de la batalla de Grodek (actual Horodok, en Ucrania) le ocasionó una aguda y profunda crisis nerviosa que lo llevaría a un primer intento de suicidio. Ingresado en un manicomio de Cracovia, allí escribió uno de sus poemas más famosos, “Grodek” y redactó su testamento. Y allí acabará con su vida, a los veintisiete años, con una sobredosis de cocaína. CRÉDITOS (Poema/voz/música): 1. Presentación – Manuel Alcaine – Arnold Schoenberg 2. Al niño Elis – María José Sampietro - Arnold Schoenberg 3. Alma de noche – Lola Orti - Arnold Schoenberg 4. Canto del solitario – Elena Parra - Arnold Schoenberg 5. Crepúsculo en el alma – Néstor Barreto - Arnold Schoenberg 6. Grodek – Chus Sanjuán – Arnold Schoenberg 7. En el este – María José Sampietro - Arnold Schoenberg

Con el austríaco Georg Trakl (1887-1914) nos situamos ante uno de los pioneros de las vanguardias artísticas del siglo XX en general, y del expresionismo en lengua alemana en particular. Su errática y corta vida estuvo dominada por episodios de fuerte depresión que trataba de combatir con el alcohol y las drogas (sus estudios de farmacia le pusieron en contacto con ellas). En 1914 fue reclutado para participar en la Primera Guerra Mundial como oficial médico: la brutal experiencia de la batalla de Grodek (actual Horodok, en Ucrania) le ocasionó una aguda y profunda crisis nerviosa que lo llevaría a un primer intento de suicidio. Ingresado en un manicomio de Cracovia, allí escribió uno de sus poemas más famosos, “Grodek” y redactó su testamento. Y allí acabará con su vida, a los veintisiete años, con una sobredosis de cocaína. CRÉDITOS (Poema/voz/música): 1. Presentación – Manuel Alcaine – Arnold Schoenberg 2. Al niño Elis – María José Sampietro - Arnold Schoenberg 3. Alma de noche – Lola Orti - Arnold Schoenberg 4. Canto del solitario – Elena Parra - Arnold Schoenberg 5. Crepúsculo en el alma – Néstor Barreto - Arnold Schoenberg 6. Grodek – Chus Sanjuán – Arnold Schoenberg 7. En el este – María José Sampietro - Arnold Schoenberg

Production and Sound Design by Kevin Seaman De Profundisby Georg Trakl It is a stubble-field where black rain falls.It is a dark-brown tree that stands alone.It is a soughing wind that swirls round empty huts –How dismal this evening. Passing the hamletThe gentle orphan girl still gathers scanty ears of corn.Round and golden her eyes feast on the gathering dusk,Her lap yearning for the heavenly bridegroom. On their way homeThe shepherds found the darling bodyRotting in the briers. I am a shadow far from desolate villages.God’s silenceI drank from the springs of the grove. Cold metal meets my temples.Spiders seek out my heart.There is a light that guts in my mouth. At night I found myself on a heath,Stiffening with dirt and dust from the stars.In the thicket of hazelsCrystal angels once more sounded. 

Guillame Apollinaire - pásmo a kubofuturismus, Fillipo Tommaso Marinetti - futurismus, Tristan Tzara - Voltairův kabinet a dadaismus, Velimir Chlebnikov -zaumnyj jazyk, Alexander Blok - symbolista 2. generace, Georg Trakl - expresionismus, Christian Morgenstern - nonsense literatura

Edição de 28 Maio 2019

Knut Hoem har lest poeten Georg Trakl i Jon Fosses nye oversettelse

Production and Sound Design by Kevin Seaman

Hartmut Merkt ist Schriftsteller und Literaturhistoriker. Schon früh beschäftigte er sich intensiv mit Georg Trakl und Paul Celan sowie mit Franz Kafka. Er gab die Zeitschrift „Bisbala“ heraus und gründete die Gruppe Literateam. Seine Literatur stellt eine Symbiose aus Magie und Realismus dar und weist ihn auch dem sogenannten magischen Realismus zu. Hören Sie seine kurze Geschichte „Augenrollen zum Beispiel“ Ein etwas verstörendes Stück „Realismus“ Es liest Uwe Kullnick

On the 100th anniversary of Georg Trakl’s death - a monument-project by Alexander Steinwendtner. Portrait by CastYourArt.

Vor hundert Jahren starb der Dichter Georg Trakl. Alexander Steinwendtner hat ihm ein Denkmal verwirklicht. Ein Portrait.

Subjected to Justin Curfman Episode 002: Georg Trakl (1887 - 1914) May 20, 2013 - In this, the second episode of "Subjected", host Justin Curfman discusses the life and work of Austrian poet and dramatist, Georg Trakl. A .pdf transcript of this program is available here: http://www.justincurfman.com/subjected.to.justin.curfman.ep.002.georg.trakl.transcript.pdf Please keep this program freely available and regularly produced by making a PayPal donation in any amount to the following email address: bitchintat@msn.com

Author Paul Griffiths singles out this early work for ensemble by Danish composer Hans Abrahamsen, a sonic evocation of nature which takes its name from a poem by Georg Trakl; Gillian Moore highlights some of the other influences at work, including the pictures of M.C. Escher, one of the piece’s dedicatees.

Heute: Gedicht "Ein Winterabend" von Georg TraklJeden Tag bis Weihnachten liest Annegret Kronenberg von gedichte-garten.de für Euch eine Auswahl der schönsten Weihnachtsgedichte.Wir wünschen eine schöne Adventszeit und frohe Weihnachten!

1 Vom Schatten eines Hauchs geboren Wir wandeln in Verlassenheit Und sind im Ewigen verloren, Gleich Opfern unwissend, wozu sie geweiht. Gleich Bettlern ist uns nichts zu eigen, Uns Toren am verschloßnen Tor. Wie Blinde lauschen wir ins Schweigen, In dem sich unser Flüstern verlor. Wir sind die Wandrer ohne Ziele, Die Wolken, die der Wind verweht, Die Blumen, zitternd in Todeskühle, Die warten, bis man sie niedermäht. 2 Daß sich die letzte Qual an mir erfülle, Ich wehr' euch nicht, ihr feindlich dunklen Mächte. Ihr seid die Straße hin zur großen Stille, Darauf wir schreiten in die kühlsten Nächte. Es macht mich euer Atem lauter brennen, Geduld! Der Stern verglüht, die Träume gleiten In jene Reiche, die sich uns nicht nennen, Und die wir traumlos dürfen nur beschreiten. 3 Du dunkle Nacht, du dunkles Herz, Wer spiegelt eure heiligsten Gründe, Und eurer Bosheit letzte Schlünde? Die Maske starrt vor unserm Schmerz - Vor unserm Schmerz, vor unsrer Lust Der leeren Maske steinern Lachen, Daran die irdnen Dinge brachen, Und das uns selber nicht bewußt. Und steht vor uns ein fremder Feind, Der höhnt, worum wir sterbend ringen, Daß trüber unsre Lieder klingen Und dunkel bleibt, was in uns weint. 4 Du bist der Wein, der trunken macht, Nun blut ich hin in süßen Tänzen Und muß mein Leid mit Blumen kränzen! So will's dein tiefster Sinn, o Nacht! Ich bin die Harfe in deinem Schoß, Nun ringt um meine letzten Schmerzen Dein dunkles Lied in meinem Herzen Und macht mich ewig, wesenlos. 5 Tiefe Ruh - o tiefe Ruh! Keine fromme Glocke läutet, Süße Schmerzensmutter du - Deinen Frieden todgeweitet. Schließ mit deinen kühlen, guten Händen alle Wunden zu - Daß nach innen sie verbluten - Süße Schmerzensmutter - du! 6 O laß mein Schweigen sein dein Lied! Was soll des Armen Flüstern dir, Der aus des Lebens Gärten schied? Laß namenlos dich sein in mir - Die traumlos in mir aufgebaut, Wie eine Glocke ohne Ton, Wie meiner Schmerzen süße Braut Und meiner Schlafe trunkner Mohn. 7 Blumen hörte ich sterben im Grund Und der Bronnen trunkne Klage Und ein Lied aus Glockenmund, Nacht, und eine geflüsterte Frage; Und ein Herz - o todeswund, Jenseits seiner armen Tage. 8 Das Dunkel löschte mich schweigend aus, Ich ward ein toter Schatten im Tag - Da trat ich aus der Freude Haus In die Nacht hinaus. Nun wohnt ein Schweigen im Herzen mir, Das fühlt nicht nach den öden Tag - Und lächelt wie Dornen auf zu dir, Nacht - für und für! 9 O Nacht, du stummes Tor vor meinem Leid, Verbluten sieh dies dunkle Wundenrnal Und ganz geneigt den Taumelkelch der Qual! O Nacht, ich bin bereit! O Nacht, du Garten der Vergessenheit Um meiner Armut weltverschloss'nen Glanz, Das Weinlaub welkt, es welkt der Dornenkranz. O komm, du hohe Zeit! 10 Es hat mein Dämon einst gelacht, Da war ich ein Licht in schimmernden Gärten, Und hatte Spiel und Tanz zu Gefährten Und der Liebe Wein, der trunken macht. Es hat mein Dämon einst geweint. Da war ich ein Licht in schmerzlichen Gärten Und hatte die Demut zum Gefährten, Deren Glanz der Armut Haus bescheint. Doch nun mein Dämon nicht weint noch lacht, Bin ich ein Schatten verlorener Gärten Und habe zum todesdunklen Gefährten Das Schweigen der leeren Mitternacht. 11 Mein armes Lächeln, das um dich rang, Mein schluchzendes Lied im Dunkel verklang. Nun will mein Weg zu Ende gehn. Laß treten mich in deinen Dom Wie einst, ein Tor, einfältig, fromm, Und stumm anbetend vor dir stehn. 12 Du bist in tiefer Mitternacht Ein totes Gestade an schweigendem Meer, Ein totes Gestade: Nimmermehr! Du bist in tiefer Mitternacht. Du bist in tiefer Mitternacht Der Himmel, in dem du als Stern geglüht, Ein Himmel, aus dem kein Gott mehr blüht. Du bist in tiefer Mitternacht. Du bist in tiefer Mitternacht Ein Unempfangner in süßem Schoß, Und nie gewesen, wesenlos! Du bist in tiefer Mitternacht. Lesung & Sound: Elisa Demonkí

Über den schwarzen Winkel hasten Am Mittag die Raben mit hartem Schrei. Ihr Schatten streift an der Hirschkuh vorbei Und manchmal sieht man sie mürrisch rasten. O wie sie die braune Stille stören, In der ein Acker sich verzückt, Wie ein Weib, das schwere Ahnung berückt, Und manchmal kann man sie keifen hören Um ein Aas, das sie irgendwo wittern, Und plötzlich richten nach Nord sie den Flug Und schwinden wie ein Leichenzug In Lüften, die von Wollust zittern. Bild: Arthur Rackham Klavier: Elisa Demonkí