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Werkenntwen (English: "Whoknowswhom"), often abbreviated in German as wkw, was a German social networking site. TechCrunch once compared it to Myspace. [2] According to Alexa Internet in July 2011, werkenntwen's traffic was ranked 959 worldwide [3] and was one of the most successful websites in Germany. [4]
Anajo's debut album, Nah bei mir (Close to me), was released in October 2004. [1] Consisting of songs from the band's demo CDs, the album was positively received by Rainer Henze of music magazine laut.de, who described the band's sound as fresh, breezy, absolutely contemporary guitar pop with subtly playful electronic elements. [2]
The same stanzas (1, 2 and 7) are number 451 in the Swiss Katholisches Gesangbuch der deutschsprachigen Schweiz . In the Gotteslob of 2013, stanzas 1–3, 6 and 7 appear as GL 424. The tune of "Wer nur den lieben Gott" has also been used for a variety of other texts. [12]
Nur wer die Sehnsucht kennt (Only Those Who Know Longing) is the fifteenth studio album released by German Schlager group Die Flippers. The album was a huge success, being certified gold in Germany within a year. [ 1 ]
Nur wer die Sehnsucht kennt" ("Only he who knows yearning") is a poem by Johann Wolfgang von Goethe. The poem appears in the 11th chapter of Book Four of Goethe's novel Wilhelm Meister's Apprenticeship. In the novel, it is sung as a duet by Mignon and the harpist (Augustin) the latter being revealed as her father at the end of the novel. [1] [2]
Pyotr Ilyich Tchaikovsky composed a set of six romances for voice and piano, Op. 6, in late 1869; the last of these songs is the melancholy "None but the Lonely Heart" (Russian: Нет, только тот, кто знал, romanized: Net, tol'ko tot, kto znal), a setting of Lev Mei's poem "The Harpist's Song" which in turn was a translation of "Nur wer die Sehnsucht kennt" from Goethe's ...
1. Mignon (Kennst du das Land) 2. Ballade des Harfners 3. Nur wer die Sehnsucht kennt 4. Wie nie sein Brot mit Tränen aß 5. Heiss' mich nicht reden 6. Wer sich der Einsamkeit ergibt 7. Singet nicht in Trauertönen 8. An die Thüren will ich schleichen 9. So lasst mich scheinen, bis ich werde. Op. 104, 7 Lieder (1851) Texts by Elisabeth ...
The words of the chorale remain unchanged in movements 1, 4 and 7 in a symmetric arrangement. The changes in the other movements are the work of an unknown poet. In movements 2 and 5 he kept the original words but expanded them by recitatives, in movements 3 and 6 he transformed the ideas of the chorale to arias. [2]