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The song was released in Europe in 1985 in its original, German-language version. For the international markets (United States, UK, Japan, etc.), several different single and extended mixes were produced by Rob Bolland; none of them were solely an English-language version, but the international single versions reduced the German lyrics.
Stock's 1789 miniature of Mozart " Liebes Manndel, wo ist's Bandel?" ("Dearest husband, where's my hatband?"), otherwise known as "Das Bandel" is a terzet (song for three voices) with string accompaniment composed by Wolfgang Amadeus Mozart, K. 441, with lyrics in the Viennese dialect.
Wolfgang Amadeus Mozart The song's lyrics repeatedly invoke the help of Mozart in regaining the singer's lost love. In the refrain, the singer expresses her wish to have the "magic flute's magic" ("trollflöjtens magi"), a reference to Mozart's opera The Magic Flute (The opera's title in Swedish is Trollflöjten .)
Lyric Essay is a literary hybrid that combines elements of poetry, essay, and memoir. [1] The lyric essay is a relatively new form of creative nonfiction. John D’Agata and Deborah Tall published a definition of the lyric essay in the Seneca Review in 1997: "The lyric essay takes from the prose poem in its density and shapeliness, its distillation of ideas and musicality of language."
" Leck mich im Arsch" (German for "Lick me in the arse") is a canon in B-flat major composed by Wolfgang Amadeus Mozart, K. 231 (K. 382c), with lyrics in German. It was one of a set of at least six canons probably written in Vienna in 1782. [ 1 ]
A Wikipedia article on lyrics or poetry should have an analytical framework that describes the song and its cultural impact. This page discusses how they should be written. For how lyrics and poetry should be displayed, see: Wikipedia:WikiProject Poetry#Style for quoting from poems. Foremost, copyrights should be respected.
One early published English-language edition eliminated the lyrics entirely, substituting a poem entitled "The Maiden and the Faun". Subsequent recordings and publications have omitted certain verses in a way that "minimiz[es] the song's bellicosity". [ 10 ]
The song is written in the time signature of common time and in the key signature of C minor; it is 20 bars long. As was usual in that period, Mozart wrote the piece using the soprano clef. [N 4] The song contains almost no melismata, [N 5] and several passages provide a considerable element of operatic drama.