GOLDA SCHULTZ, SOPRANO AND PHOTO OF GOLDA SCHULTZ BY DARIO ACOSTA DARIO BY SCHULTZ GOLDA OF PHOTO JONATHAN WARE, KIKKAS KAUPO BY WARE JONATHAN OF PHOTO PIANO OCTOBER 30 7:30 PM WEDNESDAY STUDENT TICKET ANGEL FUND BENEFACTORS HILL HALL JAMES AND SUSAN MOESER MOESER AUDITORIUM

APPROXIMATELY 80 MINUTES, INCLUDING INTERMISSION

36 TICKET SERVICES 919.843.3333 GOLDA SCHULTZ was a journalism major at Rhodes University in Grahamstown, South PROGRAM Africa when she took her first music elective. In the school’s music library, she happened SCHUBERT Lieder with texts written by women upon a recording of Die Fledermaus featuring (1797–1828) Der Morgenkuss, D.264 soprano Kiri Te Kanawa and an album Heimliches Lieben, D.922 featuring the legendary Maria Callas. Inspired “Romanze” aus Rosamunde, D.797 by these recordings, Schultz began singing Suleika I, D.720 Suleika II, D.717 and hasn’t stopped since. In the intervening decade, she has graduated from the Juilliard STRAUSS Vier Lieder, Op. 27 School, participated in the Opera Studio at the (1864–1949) Morgen! Bayerische Staatsoper in Munich, and begun Heimliche Aufforderung singing major roles in leading opera houses Ruhe, meine Seele around the world. Cäcilie

INTERMISSION The Financial Times raves that Schultz “sings with strength and assurance, her voice with SIBELIUS Luonnotar, Op. 70 its own distinctively thrilling radiance; she (1865–1957) is a newcomer who simply has everything.” She has also found a place on the concert BEACH Three Browning Songs, Op. 44 stage, singing with the National Symphony, (1867–1944) The Year’s at the Spring Ah, Love, But a Day Cleveland Orchestra, Iceland Symphony I send my Heart up to Thee Orchestra, Mahler Chamber Orchestra, and Finnish Radio Symphony Orchestra, among CARTER Cantata others. She has collaborated with pianist (1932–1981) Prelude Jonathan Ware on a wide range of recital Rondo programs over the past few years—this Recitative Air is the pair’s first performance at Carolina Toccata Performing Arts.

Lauded by New York Musical Daily for his “vigorous clarity” and “emphatic, purposeful long festival devoted to the performance of drive,” JONATHAN WARE is a highly the complete Schubert Lieder in New York sought-after song accompanist and chamber during the 12/13 season and won the Pianist musician. He has given recitals at Wigmore Prize at both the Das Lied Competition and Hall, the Aldeburgh Festival, the Boulez-Saal, the Wigmore Hall/Kohn Foundation Song Alice Tully Hall, and Heidelberger-Frühling Competition. Recently, he has collaborated Festival. Passionate about the song repertory, with the Vogler Quartet in Europe and with he served as co-artistic director of a year- oboist Olivier Stankiewicz in the US, appearing at the Morgan Library in New York to critical acclaim. He studied at the Eastman School of Music, Juilliard School, and the Hochschule ‘Hanns Eisler.’

CAROLINAPERFORMINGARTS.ORG 37 PROGRAM NOTES & entirely. In 1809, Batsányi’s pro- with Schubert for a decidedly TRANSLATIONS Napoleon agitation resulted in unsuccessful production of her Notes for this program were the two of them being exiled to play Rosamunde. The “Romanze” written by Dan Ruccia. Linz (a process which apparently was the only aria from Schubert’s involved the intervention of both incidental music, alongside three Emperor Francis I and Klemens choruses. FRANZ SCHUBERT von Metternich), where they lived DER MORGENKUSS, D.264 in misery for the next 30 years. Marianne von Willemer (Suleika HEIMLICHES LIEBEN, D.922 Baumberg was an important figure I and II) is best known for her “ROMANZE” AUS ROSAMUNDE, to the young Schubert; his first relationship with Goethe. Her D.797 attempt at lieder was a roughly husband introduced the two in SULEIKA I, D.720 300-measure sketch on one of her 1814, and Goethe apparently fell SULEIKA II, D.717 poems. Der Morgenkuss was one of for her immediately. In 1815, Of the hundred-plus poets whose five Baumberg settings he wrote in Goethe visited the Willemers poetry Schubert set to music, only a flurry in 1815 again for a few weeks, and then five were women: Gabriele von he and Marianne privately wrote Baumberg (1768–1839), Helmina Caroline von Klencke (Heimliches each other a series of love poems. von Chézy (1783–1856), Caroline Lieben) seems to have had a fairly Though they never saw each other von Klencke (1759–1802), Caroline wretched life. As a child, she again, they would continue to Pichler (1769–1843), and Marianne was (briefl ) abandoned by her correspond until Goethe’s death. von Willemer (1784–1860). For poet mother, and then went on In 1819, Goethe published a few of such a voracious consumer of to have two unhappy marriages, her poems under his name in West- poetry as Schubert, this number ultimately dying poor and östlicher Divan. Shortly before her seems vanishingly small. With that alone. She did, however, receive death in 1860, Marianne revealed in mind, instead of discussing the some contemporary acclaim that she was their true author. songs themselves, which represent as a poet, appearing in a few When Schubert set these poems in a broad cross-section of Schubert’s anthologies during her lifetime. 1821, he probably thought he was style, these notes will focus on the Caroline Pichler gave Schubert a adding to his voluminous collection four poets included on the program misattributed copy of “Heimliches of Goethe settings. (only Pichler is absent). Lieben” in 1827, which he promptly turned into a song. Gabriele von Baumberg (Der VIER LIEDER, OP. 27 Morgenkuss) was possibly the Helmina von Chézy (“Romanze” best-known of these poets. At the aus Rosamunde), daughter of von In March 1894, while rehearsing peak of her fame, she was dubbed Klencke, lived a full, adventurous his first opera, in Weimar, the “Sappho of Vienna,” and a life. She started writing at age Richard Strauss was appointed collection of 155 of her poems 14, working as a journalist, poet, Kapellmeister (conductor) in was published in 1800. In 1805, and playwright while bouncing Munich. The new job may have she married the Hungarian poet between major cities in France given him the confidence to János Batsányi, who sought to and Germany. She is probably best propose to the soprano who sang temper and contain her creative known for her libretto to Carl Maria the lead role, , and output, interference that ultimately von Weber’s opera Euryanthe. they were married that September. prompted her to stop writing In 1823, she collaborated To call de Ahna Strauss’s muse

38 TICKET SERVICES 919.843.3333 would be an understatement. Even “Morgen,” arguably one of the most though she retired from singing in breathtaking depictions of pure “MORGEN” [IS] 1906, she was the inspiration for contentment ever. One need not large swaths of Strauss’s music understand the German to get what ARGUABLY ONE OF all the way through the Four Last Strauss is saying. THE MOST Songs of 1948. BREATHTAKING DEPICTIONS OF PURE The four songs of Opus 27 could, LUONNOTAR, OP. 70 perhaps, be thought of as the CONTENTMENT EVER. “Four First Songs” (even though After completing his fourth they were not the first he wrote). symphony in 1911, Sibelius began Three of them (“Ruhe, meine a gradual process of retreat: from god Ukko only to discover a duck Seele,” “Heimliche Aufforderung,” urban cosmopolitanism, and from looking for shelter. She lifts her and “Morgen”) were all written in the dissonance and chromaticism knee above the water, and the duck May 1894, shortly after the public that were coming to dominate the builds a nest. When the eggs hatch, announcement of the couple’s European avant-garde. Firmly Luonnotar is startled, flinging engagement. Stauss wrote the final ensconced in the stillness of his them into the sky, where the song (“Cäcilie”) the day before the home in , Sibelius began yolk becomes the sun, the white wedding and gave the entire opus to contemplate a new kind of becomes the moon, and to de Ahna as a wedding present. musical utterance, based on a the fragments of shell become kind of transcription of the sounds the stars. The four songs each present of the natural world. Written in dramatically different visions of 1913 for soprano and orchestra, In setting the myth to music, love. “Ruhe, meine Seele” is dark Luonnotar marks the first step in Sibelius steps decisively towards and disorienting, talking about that direction. Sibelius had made his new sound world. The tone some unnamed toil and labor that two previous attempts to set the poem follows no obvious form. will soon be over. The soprano story of Luonnotar: first in the Musical ideas undulate and cycle, wanders aimlessly through early 1890s as part of the never- constantly evolving in organic ways oblique, static harmonies with completed opera , so that each change in texture occasional outbursts. Perhaps then in 1905 in early sketches feels like an inevitable progression Strauss is referencing their lives of what would become Pohjola’s from what came before. Drones before finding each other? The Daughter. of various sorts abound, evoking labor of performing Guntram? Luonnotar’s static existence in Something else entirely? “Cäcilie” The song loosely recounts the the ocean, and melodies fold and is the exact opposite, overflowing opening creation myth of the twist in unexpected ways. Sibelius with excitement and longing for an , the Finnish national epic makes huge demands of the singer, absent lover. Its exuberant, sighing and a frequent source of inspiration who must voice a complicated melodies are practically operatic. for Sibelius. In Sibelius’s telling, Finnish text as it swoops and leaps In “Heimliche Aufforderung,” the the goddess Luonnotar descends through a massive range. The narrator exhorts his lover to sneak into the sea, where she swims singer’s declamations feel almost out from a party for a furtive for centuries in solitude. When a trance-like at times, as she evokes kiss in the garden, as the piano storm strikes, she comes to the both Karelian singing techniques flutters with anticipation. Finall , surface seeking help from the and Luonnotar’s primordial world.

CAROLINAPERFORMINGARTS.ORG 39 AMY BEACH me. By the time I reached Boston, discussing the origins of his 1959 the song was ready.” The rest of Cantata. “They’ve been arranged, THREE BROWNING SONGS, OP. 44 the cycle deals with the Janus- but Black composers have not These three brief songs, faced nature of love. On one side, cared for their folk music as have commissioned in 1900 by the “Ah, Love, but a day!” ponders the Chopin or Bartók, for xample. Boston Browning Society for a moment that love stops and its Even the arrangements seem celebration of Robert Browning’s tragic implications. On the other, timid, and have always been brief. birthday, are probably Beach’s “I send my heart up to thee!” lilts This is not the way you hear them most famous compositions. This with the intoxicating fragrance of when the choruses sing them; the is particularly true of the fleet burgeoning affection. arrangement may look as if the footed first song, “The Year’s at the performance would last only two Spring.” Beach told the story that minutes, but the chorus sings for JOHN CARTER she was behind on the commission five. This is what I decided to do CANTATA and stuck on a train from New York with this material.” to Boston: “I simply sat still in the “I was always curious that Black train, thinking of Browning’s poem, composers rarely concerned Carter was certainly not the and allowing it and the rhythm of themselves with spirituals,” first African-American composer the wheels to take possession of John Carter posited in 1969 while to consider spirituals—William

ANNOUNCING THE 19 FUND

CELEBRATING THE CREATIVE LEADERSHIP OF WOMEN, THE 19 FUND IS NAMED IN RECOGNITION OF THE APPROACHING CENTENNIAL OF THE 19TH AMENDMENT’S RATIFICATION.

A gift to the 19 Fund will support commissions of new works by women artists, underwrite artist residencies, and fund engagement events and masterclasses.

TO LEARN MORE, CONTACT BETSY BUSALD: 919.843.5680 | [email protected] Grant Still, Florence Price, and R. the changes all feel natural, the are closer to jazz voicings, Nathaniel Dett, among others, had way a blues singer might tweak rife with upper-voice harmonies written expansive works based the melody as a song goes on. and blue-note alterations, than on spirituals decades earlier—but As Carter said in that same 1969 the 12-tone approach popular at his treatment of them in Cantata conversation, “A lot of spirituals the time (this isn’t, say, Bernd is certainly exemplary. After a are pentatonic, and twelve minutes Zimermann’s 1954 short piano prelude (that has of five-note melodies might not be concerto on “Nobody knows been said to faintly resemble too interesting.” de trouble I see”). But Carter’s the spiritual “Were you there?”), harmonies are full enough that each movement is based on a Given the piano accompaniment they can completely recolor different spiritual: “Peter go ring he wrote, Carter need not have a melody at will—perhaps his dem bells,” “Sometimes I feel like worried about the piece being way of evoking the “nuances a motherless child,” “Let us break boring. If the vocal lines are simple and subtleties [that] arise bread together,” and “Ride on King and luminous, the piano’s part is a spontaneously from choral Jesus.” Carter keeps the melodies driving thicket of edgy harmonies, groups.” • largely intact, though he’s not enticing counter-melodies (often afraid to embellish or alter them as sneaking in via the left hand), and Dan Ruccia is a Durham-based the songs progress. Interestingly, complex rhythms. His harmonies composer, writer, and graphic designer.

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Job #3148.CED • Job Title: Cedars_Supports The Arts Publication: Carolina Performing Arts • Colors (include spots if used): CMYK Trim: 7.25 x 4.85 TRANSLATIONS GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO

DER MORGENKUSS THE MORNING KISS By Gabriele von Baumberg English Translation © Richard Wigmore

Durch eine ganze Nacht sich nah zu sein, To be close the whole night long, So Hand in Hand, so Arm im Arme weilen, to linger hand in hand, arm in arm, So viel empfinden, ohne mitzuteilen, to feel so much, without revealing it in words, Ist eine wonnevolle Pein. is blissful torment. So immer Seelenblick im Seelenblick To gaze constantly into each other’s soul, Auch den geheimsten Wunsch des Herzens sehen, to see into the heart’s most secret desire, So wenig sprechen, und sich doch verstehen — to speak so little, and yet to understand each other, Ist hohes martervolles Glück! is sublime, anguished happiness.

HEIMLICHES LIEBEN SECRET LOVE By Karoline von Klenke English Translation © Richard Wigmore ‡

O du, wenn deine Lippen mich berühren, When your lips touch me, So will die Lust die Seele mir entführen; desire all but bears away my soul; Ich fühle tief ein namenloses Beben I feel a nameless trembling Den Busen heben. deep within my breast. Mein Auge flammt, Glut schwebt auf meinen angen; My eyes flame, a glow tinges my cheeks Es schlägt mein Herz çein unbekannt Verlangen; my heart beats with a strange longing; Mein Geist, verirrt in trunkner Lippen Stammeln, my mind, lost in the stammering Kann kaum sich sammeln. of my drunken lips, can scarcely compose itself. Mein Leben hängt in einer solchen Stunde At such a time my life hangs An deinem süssen, rosenweichen Munde, on your sweet lips, soft as roses, Und will, bei deinem trauten Armumfassen, and, in your beloved embrace, Mich fast verlassen. life almost deserts me. O! dass es doch nicht ausser sich kann fliehen Oh that my life cannot escape from itself, Die Seele ganz in deiner Seele glühen! with my soul aflame in yours Dass doch die Lippen, die voll brennen, Oh that lips ardent with longing Sich müssen trennen! must part! Dass doch im Kuss’ mein Wesen nicht zerfliesset Oh that my being may not dissolve in kisses Wenn es so fest an deinen Mund sich schliesset, when my lips are pressed so tightly to yours, Und an dein Herz, das niemals laut darf wagen, and to your heart, which may never dare Für mich zu schlagen! to beat aloud for me!

ROMANZE „DER VOLLMOND STRAHLT“ ROMANCE ‘THE FULL MOON BEAMS’ By Wilhelmina von Chézy English Translation © Richard Wigmore‡‡

Der Vollmond strahlt auf Bergeshöhn — The full moon beams on the mountain tops; Wie hab ich dich vermisst! how I have missed you! Du süsses Herz! es ist so schön, Sweetheart, it is so beautiful Wenn treu die Treue küsst. when true love truly kisses. Was frommt des Maien holde Zier? What are May’s fair adorments to me? Du warst mein Frühlingsstrahl! You were my ray of spring. Licht meiner Nacht, o lächle mir Light of my night, O smile upon me Im Tode noch einmal! once more in death. Sie trat hinein beim Vollmondschein, She entered in the light of the full moon, Sie blickte himmelwärts: and gazed heavenwards. „Im Leben fern, im Tode dein!“ ‘In life far away, yet in death yours!’ Und sanft brach Herz an Herz. And gently heart broke upon heart.

42 TICKET SERVICES 919.843.3333 SULEIKA I SULEIKA I Marianne von Willemer English Translation © Richard Wigmore‡

Was bedeutet die Bewegung? What does this stirring portend? Bringt der Ost mir frohe Kunde? Is the east wind bringing me joyful tidings? Seiner Schwingen frische Regung The refreshing motion of its wings Kühlt des Herzens tiefe Wunde. cools the heart’s deep wound. Kosend spielt er mit dem Staube, It plays caressingly with the dust, Jagt ihn auf in leichten Wölkchen, throwing it up in light clouds, Treibt zur sichern Rebenlaube and drives the happy swarm of insects Der Insekten frohes Völkchen. to the safety of the vine-leaves. Lindert sanft der Sonne Glühen, It gently tempers the burning heat of the sun, Kühlt auch mir die heissen Wangen, and cools my hot cheeks; Küsst die Reben noch im Fliehen, even as it flies it kisses the vine Die auf Feld und Hügel prangen. that adorn the fields and hillsides. Und mir bringt sein leises Flüstern And its soft whispering brings me Von dem Freunde tausend Grüsse; a thousand greetings from my beloved; Eh’ noch diese Hügel düstern, before these hills grow dark Grüssen mich wohl tausend Küsse. I shall be greeted by a thousand kisses. Und so kannst du weiter ziehen! Now you may pass on, Diene Freunden und Betrübten. and serve the happy and the sad; Dort wo hohe Mauern glühen, there, where high walls glow, Dort find’ ich bald den Vielgeliebten. I shall soon find my dearly beloved. Ach, die wahre Herzenskunde, Ah, the true message of the heart, Liebeshauch, erfrischtes Leben the breath of love, renewed life Wird mir nur aus seinem Munde, will come to me only from his lips, Kann mir nur sein Atem geben. can be given to me only by his breath.

SULEIKA II SULEIKA II Marianne von Willemer English Translation © Richard Wigmore‡

Ach, um deine feuchten Schwingen Ah, West Wind, how I envy you West, wie sehr ich dich beneide: your moist wings; Denn du kannst ihm Kunde bringen for you can bring him word Was ich in der Trennung leide! of what I suffer separated from him. Die Bewegung deiner Flügel The motion of your wings Weckt im Busen stilles Sehnen; awakens a silent longing within my breast. Blumen, Auen, Wald und Hügel Flowers, meadows, woods and hills Stehn bei deinem Hauch in Tränen. grow tearful at your breath. Doch dein mildes sanftes Wehen But your mild, gentle breeze Kühlt die wunden Augenlider; cools my sore eyelids; Ach, für Leid müsst’ ich vergehen, ah, I should die of grief Hofft’ ich nicht zu sehn ihn wieder. if I had no hope of seeing him again. Eile denn zu meinem Lieben, Hasten then to my beloved Spreche sanft zu seinem Herzen; speak softly to his heart —

Doch vermeid’ ihn zu betrüben but be careful not to distress him, ‡Translations by Richard Wigmore first Und verbirg ihm meine Schmerzen. and conceal my suffering from him. published by Gollancz and reprinted in Sag ihm, aber sag’s bescheiden: Tell him, but tell him humbly, the Hyperion Schubert Song Edition ‡‡Translations by Richard Stokes, author Seine Liebe sei mein Leben, that his love is my life, of The Book of Lieder (Faber, 2005) Freudiges Gefühl von beiden and that his presence will bring me Wird mir seine Nähe geben. a joyous sense of both.

CAROLINAPERFORMINGARTS.ORG 43 TRANSLATIONS GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO

MORGEN! TOMORROW! Und morgen wird die Sonne wieder scheinen And tomorrow the sun will shine again und auf dem Wege, den ich gehen werde, And on the way which I shall follow wird uns, die Glücklichen sie wieder einen She will again unite us lucky ones inmitten dieser sonnenatmenden Erde... As all around us the earth breathes in the sun und zu dem Strand, dem weiten, wogenblauen, Slowly, silently, we will climb down werden wir still und langsam niedersteigen, To the wide beach and the blue waves stumm werden wir uns in die Augen schauen, In silence, we will look in each other’s eyes und auf uns sinkt des Glückes stummes Schweigen... And the mute stillness of happiness will sink upon us

HEIMLICHE AUFFORDERUNG THE LOVER’S PLEDGE By John Henry Mackay (1864—1933) Translation by John Bernhoff (1912)

Auf, hebe die funkelnde Schale empor zum Mund, Up, raise the sparkling cup to your lips, Und trinke beim Freudenmahle dein Herz gesund. And drink your heart’s fill at the joyous feast. Und wenn du sie hebst, so winke mir heimlich zu, And when you raise it, so wink secretly at me, Dann lächle ich und dann trinke ich still wie du... Then I’ll smile and drink quietly, as you...

Und still gleich mir betrachte um uns das Heer And quietly as I look around at the crowd Der trunknen Zecher [Schwätzer] — Of drunken revelers — verachte sie nicht zu sehr. don’t think too ill of them. Nein, hebe die blinkende Schale, gefüllt mit Wein, No, lift the twinkling cup, filled with wine, Und laß beim lärmenden Mahle sie glücklich sein. And let them be happy at the noisy meal.

Doch hast du das Mahl genossen, den Durst gestillt, But when you’ve savored the meal, your thirst quenched, Dann verlasse der lauten Genossen festfreudiges Bild, Then quit the loud gathering’s joyful fest, Und wandle hinaus in den Garten zum Rosenstrauch, And wander out into the garden, to the rosebush, Dort will ich dich dann erwarten nach altem Brauch, There shall I await you, as often of old.

Und will an die Brust dir sinken, eh du’s gehofft And ere you know it shall I sink upon your breast, [erhofft], And drink your kisses, as so often before, Und deine Küsse trinken, wie ehmals oft, And twine the rose’s splendour into your hair. Und flechten in deine Haare der ose Pracht. Oh, come, you wondrous, longed-for night! O komm [komme], du wunderbare, ersehnte Nacht!

44 TICKET SERVICES 919.843.3333 GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO

RUHE, MEINE SEELE! REST THEE, MY SOUL Nicht ein Lüftchen Sind gewaltig, Not a breath of wind are momentous, Regt sich leise, Bringen Herz is stirring, head and heart Sanft entschlummert Und Hirn in Not — Hill and Dale must trouble bear — Ruht der Hain; Ruhe, ruhe, are wrapped in slumber; Rest thee, rest thee Durch der Blätter Meine Seele, Golden through the troubled spirit Dunkle Hülle Und vergiß, sheltering foliage and forget Stiehlt sich lichter Und vergiß, Summer’s Midday all thy sufferings Sonnenschein. Was dich bedroht! sunbeams peep. will soon be over!

Ruhe, ruhe, Rest thee, rest thee Meine Seele, troubled spirit, Deine Stürme Thou hast suffered Gingen wild, laboured, toiled, Hast getobt und Thou hast fought Hast gezittert, and thou has trembled, Wie die Brandung, like the stormbeat, Wenn sie schwillt. ocean wild. Diese Zeiten These times

CÄCILIE CECILIA Wenn du es wüßtest, If you but knew, sweet, Was träumen heißt von brennenden Küsse, what ‘tis to dream of fond, burning kisses, Von wandern und ruhen mit der Geliebten, of wand’ring and resting with the belov’d one; Aug in Auge, gazing fondly Und kosend und plaudernd, caressing and chatting, Wenn du es wüßtest, could I but tell you, Du neigtest dein Herz! your heart would assent.

Wenn du es wüßtest, If you but knew, sweet, Was bangen heißt in einsamen Nächten, the anguish of waking thro’ nights long and lonely Umschauert vom Sturm, da niemand tröstet and rocked by the storm when no-one is near Milden Mundes die kampfmüde Seele, to soothe and comfort the strife weary spirit. Wenn du es wüßtest, Could I but tell you, Du kämest zu mir. you’d come, sweet, to me.

Wenn du es wüßtest, If you but knew, sweet, Was leben heißt, umhaucht von der Gottheit what living is, in the creative breath of weltschaffendem Atem, God, Lord and Maker Zu schweben empor, lichtgetragen, to hover, upborne on dove-like pinions Zu seligen Höhn, to regions of light, Wenn du es wüßtest, wenn du es wüßtest, if you but knew it, could I but tell you, Du lebtest mit mir you’d dwell, sweet, with me.

CAROLINAPERFORMINGARTS.ORG 45 GOLDA SCHULTZ, SOPRANO AND JONATHAN WARE, PIANO

LUONNOTAR LUONNOTAR © Breitkopf & Härtel 1913 English Translation Pietari Tamminen & Richard Stanley © Kroma 2010

Olipa impi Ilman tyttö, Once a beauteous maid, kave, Luonnotar korea. virgin Daughter of the Ether. Ouostui elämätään Forlorn and burdened, aina yksin ollessansa dwelling ever alone avaroilla autioilla. in the vastness of space. Laskeusi lainehille, Descending on the swell, aalto impeä ajeli, waves bore the virgin onward, vuotta seitsemänsataa. seven hundred years. Vieri impi, veen emona. Being mother of the waters. Uipi luotehet, etelät. Swam nor’west, south. Uipi kaikki ilman rannat. Swam the air’s every shore. Tuli suuri tuulen puuska. Came mighty gusts, Meren kuohuille kohotti. Foaming the sea. ”Voi poloinen päiviäni. “Oh my wretched days. Parempi olisi ollut Better had I been Ilman impenä elää. maid of the Ether. Oi, Ukko Ylijumala, Oh Ukko, God on high, käy tänne kutsuttaissa.” hasten here I call.” STUDIO Tuli Sotka suora lintu, A seabird beauteous fl w, + lenti kaikki ilman rannat, straight o’er all air’s shores, lenti luotehet etelät. fl w nor’west, south. Ei löyä pesän sioa. No nest she found. ”Ei, ei, ei. “No, no, no. CURRENT ARTSPACE Teenkö tuulehen tupani, Shall I nest upon the wind, aalloille asuinsijani. dwelling on the waves. Tuuli kaatavi, The wind shall overturn, aalto viepi asuinsijani.” The waves taking my dwelling.” COMING SOON TO Niin silloin veen emonen Then the mother of the waters nosti polvea lainehesta. Did lift her knee from the billows. Siihen sorsa laativi pesänsä. The seabird on it set her nest, Alkoi hautoa. her eggs to hatch. Impi tuntevi tulistuvaksi. The maid felt burning, Järkytti jäsenensä. Her limbs were quaking. Pesä vierähti vetehen. The nest slipped waterward, Katkieli kappaleiksi. and fell splintered. Muuttuivat munat kaunoisiksi. Wondrous things the egg became. Munasen yläinen puoli The shell’s top dome ylhäiseksi taivahaksi. became the vault of heaven. The upper albumen, the bright shining Moon. The motley parts, the firmament. Heavenly starlight

46 TICKET SERVICES 919.843.3333