Lisa MacIntosh the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Simon Lepper Measha Brueggergosman Amor Toothbrush time;Songof Black Max; George; Surprise; Thetotal stranger inthegarden; Montsalvatge Cage interval La vieantérieure Duparc Debussy Ravel Milton CourtConcertHall Wednesday 8May 2019 7.30pm, Lepper & Simon Brueggergosman Measha online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by TheWonderful Widow of Eighteen Springs Shéhérazade Chansontriste; L’invitation auvoyage; Phidylé; 20minutes Chansons deBilitis piano Cincocancionesnegras Cabaret Songs:

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2 Shéhérazade tastes, from theexotic beautyof Ravel’s As arecitalist shehaswide-ranging Walking UK premiere of Jake Heggie’s on is why sheisequallyathomeasamentor barriers between different genres, which She’s anartistwhodoesn’tbelieve in complete recital. delighted thatsheistonight givinga Denk’s residency lastseasonsowe’re impact whensheparticipated inJeremy Measha Brueggergosman made abig expectation. TheCanadian soprano given by anartistwhodelightsindefying A warm welcome to tonight’s recital Welcome Canada’s Got Talent attheBarbicanlastyear. andthesenseof erotic and singing in the and singinginthe Dead Man Huw Humphreys, Head of Music,Barbican I hopeyou enjoy it. It promises to bearemarkable evening; even surreal. Songs Bolcom’s brilliantlyobserved before endingwithasequenceof William Joyce in Cage’s strikinglyoriginalsettingof James We alsotravel to America,withJohn Montsalvatge andhis From here we move to thepiquancyof Duparc, wholeftonlyahandfulof songs. to theextraordinarily distilledworld of longing inDebussy’s –by turnsacerbic, poignantand The Widow of Eighteen Springs Chansons deBilitis Five Negro Songs Cabaret ,

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Les Apaches, andwhenthepoetread thegroup a group of young artistswhocalledthemselves 1,001 Nights Rimsky-Korsakov’s musicandstories from the published acollectionof 100 poemsinspired by In 1903 thepoetTristan Klingsor(LéonLeclère) Rimsky-Korsakov’s concertsuite been recently translated into French, andfrom Eastern folk-tales, its immediate cuefrom thecollectionof Middle Both flowed into Ravel’s song-cycle, which took Egyptian expedition attheendof the18th century. Russes andcultural memoriesof Napoleon’s subsequently fed by both Diaghilev’s Ballets that beganinthelate 19th centuryandwas in theFrench obsessionwithallthingsoriental Ravel’s songcycle Rise andFallof theCityof Mahagonny , Strauss’s Barbican lastseason–assheisinVerdi’s Heggie’s singing contemporary works suchasJake that Brueggergosman isasmuchathome ought to be.It’snosurprise,though,given precisely whatacarefully chosenprogramme Brueggergosman’s talents asanartistand Maurice Ravel, isboth ameasure of Measha tonight, orthecombinationof JohnCage and exquisite miniature masterpieces, aswe shall in thesameprogramme asHenriDuparc’s So to hearWilliamBolcom’scabaret songs choices from singersandtheirpianistpartners. old favourites surrounded by unexpected hearing afamiliar repertoire inanew context, very different kindsof song.Above all,it’sabout about how asingernegotiates whatare often are abouttherepertoire asmuchthevoice, be disappointed. Themostsatisfyingconcerts particular singer’svocal artistrythenwe should If recitals were onlydesignedto show off a For texts, seepage7 widows: of song art the Toothbrushes wonderful and Dead ManWalking . Ravel andKlingsorbelongedto 1,001 Nights Shéhérazade Elektra andBrecht/Weill’s –here atthe , which had , whichhad hasitsroots Scheherazade. .

Shéhérazade is theboy’s evening admirer maleorfemale? imagined world slumpsback into theeveryday tells us,thisisarmchairtravelling. Soas thisrichly phrase ‘Jevoudrais voir…’ (‘Iwould like to see…’) the traveller to theOrient.Butasrepeated charged catalogue of thedelightsthatawait awake-half-dreaming openingisanerotically Nevertheless, ‘Asie’withitslanguorous half- to Sinbad raising anoldArab cupto hislips! so Klingsorwas persuaded to changetheline in Parisian slang,‘pipe’had aphallicmeaning, between my lipsfrom timeto time’).However, lèvres’ (‘Like Sinbad, puttingmy oldArab pipe vieille pipearabe detemps entemps entre mes reads, ‘Enconservant commeSindbad ma In theoriginalpoemalineinfinal section notably inthefirst of thethree songs,‘Asie’. et Mélisande Debussy had setMaterlinck’s text for were admirers of thescrupulousway inwhich the linesaloudto himrepeatedly. (Both men patterns, insisted thatthepoetshouldre-read hoping to capture therhythms of French speech- He decidedto setthree of thepoemsand, by them. some of hispoemsRavel was atonceseduced piano andeitherasoprano ortenor; however, underlined by hintsof Debussy’s There’s thefeeling of twilightaround the song, persuade himto visithishome to drinkwine. charms of anandrogynous youth, but fails to of thethree songs.Thepoetisenticedby the ‘L’indifférent’ isthe mosterotically ambiguous but are separated by theircircumstances. unites thetwo lovers whoyearn for each other outside, seeminglysendingakiss.Itismusicthat sleeping master hearsherlover playing aflute In ‘Laflûte enchantée’ a slave watching over a the musicgentlystrokes thecushionsof thechair. .) Ravel alsoasked for changes, was originally composedfor Nocturnes Pelléas , but , but

3 Programme note 4 heart andover thelandscape: thisistheseason the endof theaffair. Winter hasfallen onBilitis’s like adream’. ‘Letombeau desnaïades’ tells of reaches aclimax ontheline‘entering into me consummated. Thetempo grows faster untilit hair isametaphor for theirrelationship, now has becomeBilitis’slover, andhisdream of her flute signifies! Bythetimeof ‘Lachevelure’ Lykas curriculum, andnoprizesfor guessingwhatthe clearly there are more thanmusiclessonsonthe is strongly attracted to herflute teacher Lykas: Cyprus. In‘Laflûte dePan’ anadolescent Bilitis awakening andlife asacelebrated courtesan in adolescence, growing upon Lesbos, to hersexual heard asashortened biography of Bilitisfrom her The three poemsthatDebussy chosecanbe their subtleblendingof ancientandmodern. and profane love, were greatly admired for poems, whichcircled thesubjectsof sacred Sappho. No-onewas fooled for long,butthe Greek priestess whowas afriendof thepoet the ancientworld, composedby afictional the collectionastranslations of verses from by hisfriendPierre Louÿs.Hehad passedoff Bilitis time to setthree poemsfrom While working ontheopera, Debussy found intitial runof every oneof the14 performances of the of Debussy. Itwas saidthatthey attended Klingsor were both cheerleaders for themusic As membersof LesApaches Ravel and Cortot conductingandJeanneHatto assoloist. for orchestra andmezzo-soprano withAlfred at aSociété NationaleconcertinParis was performance of thecycle given inMay 1904 of works first written for piano.)Sothefirst frequent practice to create orchestral versions which was plannedto follow it.(Itwas Ravel’s we heartonight ortheorchestral version in thefirst version for pianoandsoloistwhich it isalmostalways sungby awoman, either , acollectionof 143 poemsandepigraphs Pelléas et Mélisande Chansons de Chansons de in 1902. by HenriCazalis,known asJeanLahor, was songs! ‘Chansontriste’, asettingof apoem although hewould live onuntil1933. Butwhat songs, thelastof whichwas composedin1884, 16 years anditsharvest iseffectively just17 Duparc’s career ascomposerlasted for just containing thelate master’s silkunderwear! disposed of anunwanted prunetart inadrawer her late husband’sgreatness, andapparently widow Cosimaafter shegave alonglecture on Chabrier, whotook against thecomposer’s pilgrimage to theFestspielhaus withEmmanuel the French Wagnerians, andin1887 went ona it. Hewas apupilof CésarFranck, leader of his work, thenHenriDuparc willinglyembraced to banishtheinfluence of from If Debussy spenthislater years endeavouring which usesaversion of theancientLydianmode. with hintsof theclassicalworld inthepianopart, latter aspires to theconditionof spoken French part asinthevocal lineand,throughout, the The drama inthesesongsisasmuchthepiano awinter harsh so been not has there years ans iln’apasfait unhiver aussiterrible’ ( naught for ourcomfort intheline‘Depuistrente of ice,atomb for thewater nymphs. There is geography to create asongthatissimultaneously Holland butDuparc shakes thetext free from its poet may seekto evoke thewatery landscapeof generation of 19th-century French composers. The by Baudelaire thatproved irresistible to awhole is possiblyDuparc’s masterpiece. Itsetsapoem ‘L’invitation auvoyage’, dedicated to hiswife Ellen, heal. Life may besad butthere canbehope. poem thatlove ispossibleandthatsuchlove will lightest of arpeggiosto bearthepromise of the and Duparc setsanexquisite melody above the thoughts beingcradled inhisbeloved’s arms in 1902. Thepoetdreams of hisheartand 1869, withfour other songs, andthenrevised the composer’sfirst mélodie and published in andpublishedin For thirty thirty For ). ). a kindof narrative onJoyce’s fragments. abandoning itsoriginalpunctuation andimposing in in JamesJoyce, thoughhe underminesthetext marked thebeginningof Cage’s lifelong interest surely onthefar frontier of Modernism.Italso professional soprano JanetFairbank itwas in 1942 whenitwas commissionedby the non- – hasearneditselfthestatus of aclassic,but Cage oncedescribedas‘endlessandattractive’ James Joyce’s for voice andclosedpianowithatext from Wonderful Widow of Eighteen Springs a radical aesthetic intheirmusic.Cage’s John Cage, yet heandDuparc both embraced that greatly troubled theAmericancomposer Melody in any traditional sense was not something there were to benomore new magnificent word. Onecanonly regret that in theextended postlude.ThisisDuparc’s last nostalgia dripsthrough every phrase, particularly heartsore yearning for whatcannot be.Honeyed reached. SoDuparc suffuseshissettingwitha me languish’.Here isaplace thatcannot be in thefinal line,‘thesecret griefwhichmade fulfilment, butthere isaworm inthebud,there laced withhappinessthatproffers liberation and poem by Baudelaire evokes anidealexistence ‘La vieantérieure’ was composedin1884. The fades inapostlude,therest issilence. a kiss.Andasthepianopartimperceptibly Phidylé willawake andgreet herlover with climax. Asleepinthegrass theshepherdess poem, withitssensualyearning andecstatic esque feel to thissettingof Leconte deLisle’s composer ErnestChausson.There’s a which Duparc dedicated to hisfriendandfellow Wagnerian chromaticism stalks through ‘Phidylé’, ambiguous harmoniesandunstable rhythms. Nothing isquite whatitseems,underlinedby melodic lineyearns for whathasbeenlost. mysterious andnostalgic, thatwithinitslilting TheWonderful Widow of Eighteen Springs Finnegans Wake mélodies –anovel that , a song , asong Tristan- . The The by by all of whichare given asubtleSpanish accent. Cuban dancerhythms andCaribbeanpercussion, Indies. Montsalvatge delightsinjazzchords, insistent rhythms andboldcoloursof theWest Written in1945–6 thesefive songs relish the his best-known work, inspiration whenbebeganwhathasbecome Montsalvatge looked across theAtlanticfor period, theBarcelona-trained composerXavier on composinginCatalonia duringtheFranco Possibly wishingto escapetheconstraints imposed of individualtaste andself-expression’. desire to release artfrom theconstraints “voice”, anearlyintimationperhapsof Cage’s ‘is adepersonalisationof Joyce’s literary the result, asonecommentator hasobserved word inhisprepared text incapital letters, the ‘author’?And,given thatCage putsevery between thesingerandthatsong?Whois What isasong?therelationship This isawork thatconfronts itsaudience. the instrumentwithfingers, knucklesandsoon. pianist produces asoundby hittingtheoutsideof his radical approach. The pianoisclosed,andthe pitches, butit’sthepianopartwhere Cage reveals kind of hypnotic chantbasedonthree separate The ‘melody’thatCage writes for hissoloistisa hint atagrimendfor thewoman. ‘Canciónde a subtledissonanceattheendof thesongto at hiswoman. Again Montsalvatge deploys and themoonlightbefore returning to slash waving cut-throat whoslashesattheshadows ‘Chévere’, afrightening encounter withaknife- she isdoing.ThencomesNicolásGuillén’s piano parttell usthatsheknows exactly what watched by sailors.Gentledissonances inthe Luján. Apretty Creole girlinahoopedskirtis Habanera’ setsateasing poemby Néstor Cuba before theCastro Revolution. ‘Punto de sharp thingsto say abouthow theUSA treated by thesurrealist poet Rafael Alberti,whichhas ‘Cuba dentro deunpiano’isasettingof atext Cinco cancionesnegras .

5 Programme note 6 24 songs’fascinating blendof sophisticated one Americancommentator observes, ‘These and hiswife, mezzo-soprano JoanMorris.As have often beenperformed by thecomposer Bolcom produced sometwo dozensongswhich The collaboration between Weinstein and The sceneisthepiano,castsinger.’ values to worry about[unlike intheoperas]. songs asacabaret inthemselves, noproduction the texts for thesesongsandsaid:‘We wrote these and thelibrettist for two of Bolcom’soperas, wrote all wrote cabaret songs.ArnoldWeinstein, apoet company: Poulenc, Britten andSchoenberg also cluster of songsfor cabaret. Andheisingood houseandlessformal venues, writinga has happilycommuted between theconcerthall, tastes asCharlesIves, hisyouthful hero, Bolcom Milhaud, MessaienandBoulez.Aseclecticinhis first attheUniversity of Washington andthenwith his musiconboth sidesof theAtlanticstudying The AmericancomposerWilliamBolcomlearnt with jubilantcriesof ‘Yambambó, yambambé’. by Guillén,there’s drunken dancingandsinging song, ‘Canto negro’, asettingof another poem this cannot beanall-is-well lullaby. Inthe final child to sleepbutthepianopartreminds usthat be aslave. Themother may caressingly singher child andpromises thatinsleephewillnolonger Ildefonso Pereda Valdés. Amother rocks her cuna para dormiraunnegrito’ isalullaby by chromaticism, springsasurprisepartyon ‘Surprise’, wrapped aboutanunsettling balance between pathosandbathos.’ always pleasing,thesongstread amostdelicate and theatricalrevues. Rarely predictable but to theirfrequent inclusioninboth vocal recitals rhetoric andseemingunrefinement have led William Bolcom’s cabaret songs surprise and William Bolcom’scabaret songssurpriseand a young woman turnsevery head intown. around adistinctlyLatinbeatfrom Chileas familiar songswithatender melodywrapped hour.’ ‘Amor’isperhapsoneof Bolcom’smost ragtime before they buryhim‘atthecocktail There’s Pucciniinthepianopartandlilting part of town’ andisknifed by acasualtrick. a drink,’–who‘sangthebestsoprano inour scream –‘OhcallmeGeorgia, hon,getyourself way through anurbandystopia. ‘George’ isa Messer. It’saknowing ballad thatsnakes its American cousinof Brecht andWeill’s Mackie broad black hat,sometimesacape’.Here’s an ‘always dressed inblack, longblack jacket, desperate, would want to mixwith Black Max, her life. Ontheother handno-one,however unwanted lover from thenightbefore to exit number aboutawoman desperate for an her garden table. ‘Toothbrush time’isajazzy a stranger finds agenuinestranger across aged woman whosehusbandhasbecome ‘The total stranger inthegarden’. Amiddle- Allen Poe’s in thisbleaklittletale, it’sacousinof Edgar party. Ifthere are hintsof EmilyDickinson the company, would rather killherself than an office worker who,after 25years with Programme note ©Christopher Cook begin to programme agoodsongrecital. ‘anything goes’.Andthatperhapsishow you decide.’ Inother words, asColePorter tells us, Others take itallinandlettheirinnerorganism things thatare goodandthingsthatare bad. John Cage: ‘somepeopledividetheworld into that Bolcomparticularlylikes aremark made by together thepopularandserious.It’ssaid delight, butwithconsummate skillthey weave doppelgänger whomwe meetin Je voudrais voir des assassins souriant assassins des voir voudrais Je d’un verger; milieu au personnage un Avec sapin de cadres des en étoffes des Sur peints paysages des àloisir Contempler étranger voyageur un comme Et enchanté palais m’attarder au voudrais Je beauté; la sur et poésie la Sur querellent se qui lettrés les Et fines, mains aux princesses les Et ombrelles, les sous ventrus mandarins Les Chine, la puis et l’Inde, et Perse, la voir voudrais Je désir. leur de gré au mort ou vie Accorde penche se qui doigt leur de mouvement seul du Qui vizirs des et cadis, des Et louches, regards aux marchands d’âpres voir voudrais Je blanche; barbe de Tout entourées bouches des entre calumets des voir voudrais Je desEt habits à longues franges. velours de vêtements des voir voudrais Je En des peaux jaunes comme des oranges; joie de brillantes prunelles des Et d’amour sombres yeux des voir voudrais Je claires; dents aux noirs visages des Sur soie de turbans beaux de voir voudrais Je l’air; dans légers minarets les Avec Perse de villes les et Damas voir voudrais Je ensorceleur. rythme vieux un Sur perverse mer la chanter écoutant En fleurs, de îles m’en les vers voudrais Je aller d’or. ciel le dans nuit de oiseau immense un Comme violettes voiles ses enfin déploie qui Et Mystérieuse et solitaire, port, le dans soir ce berce se Qui goëlette m’en la avec voudrais Je aller mystère. de emplie tout forêt sa En impératrice une comme fantaisie la dort Où nourrice, de contes des merveilleux pays Vieux Asie, Asie, Asie, 1 Shéhérazade Maurice Ravel (1875–1937) Avec son grand sabre courbé d’Orient. courbé sabre grand son Avec d’innocent cou un coupe qui bourreau Du Asie

scheming eyes, scheming with merchants greedy see to like I would beards; by white encircled mouths in pipes see to like I would dresses. fringed and clothes velvet see to like I would oranges; as colourful skins against joy with bright pupils and love with dark eyes see to like I would teeth; gleaming with faces black above silk of turbans fine see to like I would air; the in tall minarets dainty their Persia, of towns the and Damascus see to like I would beat. spell-like ancient an to sea brutal the of song the to listening flowers, of isles the for sail set to like I would sky. golden the in night-bird ahuge like sails purple its last at unfurls it alone, and Mysterious night. this harbour the in rocking lies that schooner the with sail set to like I would mystery. of full forest her in sleeps empress, an fantasy, like where tales, nursery of land magic Asia, Asia, Asia, O Asia with the great curved sabre of the East. the of sabre curved great the with head innocent’s an off slices executioner the as smiling assassins see to like I would midst; orchard’s an in person a lone pine, of frames in canvases on daubed landscapes my ease at contemplate wayfarer aforeign like and palace enchanted the in linger to like I would and beauty; poetry and scholars debating with slender handsprincesses parasols, beneath mandarins pot-bellied too, China and India Persia, see to like I would death. or life will at dispense fingers their of asnap with who cadis and viziers

7 Texts 8 Paris/United Music Publishers Ltd reproduced by of permission 1874–1966), Leclère, (Léon Klingsor Tristan … lasse et féminine Par démarche ta ployée légèrement hanche la Et grâce, avec geste dernier un faisant Me t’éloigner vois te je seuil mon de Et passes tu non, Mais … réconforte te vin mon que Et Entre! uneComme musique … fausse Une langue inconnue et charmante porte ma de pas le sur Ta chante lèvre ligne. de encor séduisante plus Est ombragé duvet de visage beau ton De fine courbe la Et étranger, Jeune d’une fille, ceux comme doux Tes sont yeux 3 L’indifférent Comme un mystérieux baiser. joue ma vers flûte la De s’envole note chaque que semble me Il croisée m’approche la je de quand Et joue, chéri amoureux mon Que frivole, ou langoureux àtour tour air Un joie, la ou Tour tristesse la àtour s’épanche où flûte de chanson Une dehors au j’écoute Et encor éveillée suis je moi, Mais blanche. barbe sa en jaune nez long son Et soie de conique d’un bonnet Coiffé dort, maître L’ombre mon et douce est enchantée flûte 2 La … art avec conte le Pour interrompre lèvres mes jusqu’à temps en temps De arabe tasse vieille ma Sindbad comme élevant En rêves de curieux aux aventure mon Narrer m’en tard puis plus Et revenir haine. de bien d’amour ou mourir voir voudrais Je sang; du et roses des voir voudrais Je reines; des et pauvres des voir voudrais Je Editions Durand SA, Editions Durand SA,

and the soft curve soft the and youth, O unknown agirl’s, as gentle Your as are eyes The indifferent one kiss. amysterious like my to cheek flute the from fly to seems note each casement the Inear when and plays, love my dear that shallow, now languorous, now a tune, joy, and sadness turn in spreading song a flute afar from hear more, once awoken I, But beard. white his in thrust nose yellow long his head, his upon silk of cap a cone-shaped sleeps, my master and cool is shade The flute enchanted The … my tale of interruption adroit an in then and now myto lips cup Arab my old Sinbad like raising dreams, on thrive who those to narrate my tale bound, later, homeward then And hate. of or love of die men see to like I would blood; and roses see to like I would queens; and paupers see to like I would Classics Translations reproduced of by Virgin kindpermission … gait feminine languid, your in swaying slightly hips your my direction, in wave graceful a last leave, you Iwatch my threshold from and go, no, you But … you refresh my wine Let Enter! … tune of out music like tongue, beguiling yet astrange in sing lips your my doorstep On still. seductive more contours its in is down with shaded face exquisite your of que jebaissailesyeux avec unfrisson. tendre, mes épaules,etilmeregarda d’unregard si sur Quand ileutachevé, ilmitdoucementsesmains tu entrais enmoicommemonsonge.’ que étaient confondus, quejedevenais toi-même ou ‘Et peuàpeu,ilm’asemblé,tant nosmembres souvent qu’uneracine. n’ont la bouchesurbouche,ainsiquedeuxlauriers chevelure étions liéspourtoujours ainsi,parlamême ‘Je lescaressais, etc’étaient lesmiens;etnous collier noirautour demanuqueetsurpoitrine. autour demoncou.J’avais tes cheveux commeun Il m’adit:‘Cette nuit,j’airêvé. J’avais ta chevelure 2 Lachevelure perdue. je suisrestée silongtemps àchercher maceinture que commence avec lanuit.Mamère necroira jamais Il esttard; voici lechantdesgrenouilles vertes qui laflûte. répondre, ettour àtour nosbouchess’unissentsur près l’undel’autre; maisnoschansonsveulent se Nous n’avons rienànousdire, tant noussommes doucement quejel’entends àpeine. suis unpeutremblante. Ilenjoueaprès moi,si je Il m’apprend àjouer, assisesursesgenoux;mais qui estdouceàmeslèvres commelemiel. cire faite deroseaux bientaillés, unisavec lablanche syrinx Pour lejourdesHyacinthies, ilm’adonnéune 1 Laflûte dePan Chansons deBilitis (1862–1918)

were united thus for ever by the same tresses, same by the ever for thus united were we and mine; was it and it caressed ‘I my breast. over and my nape round all necklace black a like hair your Ihad my neck. around tresses your Ihad Idreamed. night ‘Last me: to said He The tresses of hair sash. my lost for look to long so out I stayed believe never will mother My night. the with begins that frogs green the of song the is here late; is It flute. the on turn in join mouths our and other, each answer to try songs our another, but to one we are say, to close so We nothing have him. hear scarcely I that gently so me, after it plays He fearful. a little Iam but lap; his on play, Isit to as me teaches He honey. like my to lips sweet tastes which wax white with bonded reeds, cut carefully of made asyrinx me gave he day Hyacinthus For The flute of Pan my eyes with ashiver. with my eyes lowered I that tenderly so me at gazed and my shoulders When he had finished, he gently set his hands on adream.’ like me into entering were you you, or becoming Iwas that limbs, our were intertwined so me, to seemed it ‘And gradually root. one share often laurels two as just mouth, on mouth

9 Texts 10 Jean Lahor(HenriCazalis, 1840–1909) Que peut-être jeguérirai. Tant debaisersettendresses Dans tes yeux alorsjeboirai Et danstes yeux pleinsdetristesses Qui semblera parlerdenous, Et luidiras uneballade Oh! quelquefois surtes genoux, Tu prendras matête malade, Dans lecalmeaimantdetes bras. Mon triste cœuretmespensées Mon amour, quandtuberceras J’oublierai lesdouleurspassées, Je menoierai dansta clarté. Et pourfuirlavieimportune Un douxclairdeluned’été, Dans ton cœurdortunclairdelune, Chanson triste Henri Duparc (1848–1933) Pierre Louÿs(1870–1925) il regardait autravers. morceaux froids, etlessoulevant vers lecielpâle, où jadis riaientlesnaïades. Ilprenait degrands source Et avec lefer desahoueilcassalaglace dela tombeau.’ celle d’unbouc.Maisrestons ici,oùestleur vois est n’a pasfait unhiver aussiterrible. Latrace que tu ansil ‘Les satyres etlesnymphes aussi.Depuistrente morts. un manteau blanc.’Ilmedit:‘Lessatyres sont dans Ses petitspasfourchus alternent commedestrous satyre. Il medit:‘Quecherches-tu?’ –’Jesuislatrace du ettassée. mes sandalesétaient lourdes deneigefangeuse glaçons, et devant mabouchesefleurissaient depetits cheveux Le longduboiscouvert degivre, jemarchais; mes 3 Letombeau desnaïades

Song of sadness Translations ©Richard Stokes gazed through them. sky, pale the to them raising and, fragments, cold huge some picked up He laugh. to used naiads the where spring, the of ice the broke he hoe his of head iron the with And is.’ tomb their where here, stay us let But agoat. of see are those you tracks awinter. The harsh so been not has there years thirty For too. nymphs the and satyrs ‘The dead. are satyrs ‘The me: to said He cloak.’ a white in holes like alternate hoof-marks cloven little His track. satyr’s the follow ‘I seek?’ you do ‘What me: to said He snow. muddy, packed with heavy were sandals my and icicles, tiny with blossomed my mouth, across my hair Iwalked; wood frost-bound the Along The tomb of theNaiads that perhapsIshall behealed. so many kissesandsomuchlove from your eyes Ishallthendrink And from your eyes fullof sorrow, that willseemto speakof us; and recite to itaballad ah! sometimesonyour lap, You willrest my poorhead, in theloving calmof your arms. my sad heartandmy thoughts my sweet, whenyou cradle I shallforget past sorrows, I shalldrown myself inyour light. and to escapethecares of life a gentlesummermoonlight, Moonlight slumbersinyour heart,

Et lesoiseaux,rasant del’ailelacolline, La rouge fleur desbléss’incline, Un chaudparfumcircule audétour des sentiers, Chantent lesabeillesvolages. Par letrèfle etlethym, seules,enplein soleil, Rayonne, ett’invite ausommeil. Repose, ôPhidylé.Midisurlesfeuillages Se perdent souslesnoirshalliers. issues, Qui danslesprés enfleurs germantparmille Aux pentes dessources moussues peupliers, L’herbe estmolleausommeilsouslesfrais Phidylé Charles Baudelaire (1821–67) Luxe, calmeetvolupté! Là, tout n’estqu’ordre etbeauté, Dans unechaudelumière Le mondes’endort D’hyacinthe etd’or; Les canaux,lavilleentière, Revêtent leschamps, Les soleilscouchants Qu’ils viennentduboutmonde. Ton moindre désir C’est pourassouvir Dont l’humeurestvagabonde; Dormir cesvaisseaux Vois surcescanaux Luxe, calmeetvolupté! Là, tout n’estqu’ordre etbeauté, Brillant àtravers leurslarmes. De tes traîtres yeux, Si mystérieux Pour monespritontlescharmes De cescielsbrouillés Les soleilsmouillés Au pays quite ressemble! Aimer etmourir Aimer àloisir, D’aller là-basvivre ensemble. Songe àladouceur Mon enfant, masœur, L’invitation auvoyage Cherchent l’ombre deséglantiers.

comfort, peace andpleasure. There, allisnaughtbutorder andbeauty, in awarm light. the world falls asleep in hyacinth andgold; the waters, allthetown, clothe thefields, The settingsuns that they comefrom theendsof theearth. your smallestdesire it isto satisfy though wanderers by nature; how theshipsslumber, See, onthosewaterways, comfort, peace andpleasure. There, allisnaughtbutorder andbeauty, shining through theirtears. of your treacherous eyes so mysterious, have, for me,thecharms, of thosehazyskies The watery suns in thelandwhichresembles you. to love andto die To love atleisure; of goingto live there together. think of thesweetness My child,my sister, Invitation to journey Seek theshade of theeglantine. wings, And thebirds, skimmingthehillsidewiththeir The red flowers of thecornfield droop; A warm fragrance floats aboutthewindingpaths, The fickle beesare humming. sunlight, By theclover andthyme, alone,inthebright is gleaming,inviting you to sleep. Rest, OPhidylé!Noonontheleaves And vanish beneathdarkthickets. sources, That flow inflowering meadows from athousand On thebanks of themossy springs poplars The grass issoft for sleepbeneath thecool Phidylé

11 Texts 12 interval Charles Baudelaire Le secret douloureux quimefaisait languir. Et dontl’uniquesoinétait d’approfondir Qui merafraîchissaient lefront avec despalmes, Et desesclaves nus,tout imprégnés d’odeurs, Au milieudel’azur, desvagues, dessplendeurs, C’est làquej’aivécu danslesvoluptés calmes Aux couleursducouchantreflété parmesyeux. Les tout-puissants accords deleurrichemusique Mêlaient d’unefaçon solennelleetmystique Les houles,enroulant lesimages descieux, Rendaient pareils, lesoir, auxgrottes basaltiques. Et queleursgrands piliers,droits etmajestueux, Que lessoleilsmarinsteignaient demillefeux, J’ai longtemps habité sousdevastes portiques La vieantérieure Charles-Marie-René Leconte de Lisle(1818–94) Me récompensent del’attente! Que ton plusbeausourire etton meilleurbaiser Verra sesardeurs s’apaiser, Mais quandl’Astre, inclinésursacourbeéclatante, 20minutes Translations ©Richard Stokes the secret griefwhichmade melanguish. and whoseonlycare was to fathom Who fanned my brow withfronds of palm, and naked slaves, alldrenched inperfume. with blueskyaboutmeandbrightnesswaves It isthere thatIhave lived insensuousrepose, with thecoloursof sunsetreflected inmy eyes. the mightychords of theirmellow music solemnly andmystically interwove The sea-swells, minglingthemirrored skies, made themlook,atevening, like basaltcaves. whose giantpillars,straight andmajestic, tinged withathousandfires by oceansuns, For longIlived beneathvast colonnades A previous life reward mefor my waiting! let your loveliest smileandfinest kiss sees itsbrilliancewane, But whenthesun,low onitsdazzlingcurve, Un cañonero huidollegócantándoloenguajira. no era mentira. Era verdad, Cuba sehabíaperdido yahora era verdad. Me encontré conlabellaTrinidad … Ya seapagó, senoshamuerto.) (Ya nobrillalaPerla azuldelmardelasAntillas. delPuerto. La CabañayelPríncipesonabanporlospatios Mi tíoAntonio volvía consuaire de insurrecto. que elhombre tanto venera. … dimedóndeestálaflor y unlorito alpianoqueríahacer detenor. habaneras Cádiz seadormecía entre fandangos y Mulata vuelta bajera … habanero. y elhumodelosbarcos aúnera humode porsombrero Cuando mimadre llevaba unsorbete de fresa 1 Cubadentro deunpiano Cinco canciones negras (1912–2002) Copyright ©1939 by JamesJoyce. Adapted from JamesJoyce’s ‘FinnegansWake’ VEUVE LABELLE MADAME ISA SAINTETTE ISOBEL SISTER ISOBEL ISOBEL NOW EVENCALMLAY SLEEPING;NIGHT DEEPLY, AH WEARY ME! WIN ME,WOO ME,WED FOR SOONAGAIN ’TWILBE, AS FAIN WOULD SHEANON, LIKE BLOWING FLOWER STILLED, LIKE SOME LOSTHAPPY LEAF, WHITETHORN, CHILDOFTREE, HOW ALLSOSTILL SHELAY NEATH OFTHE MOSS ANDDAPHNEDEWS, ALL THEWOODS SOWILD,INMAUVES OF QUIETLY, WILDWOODS’ EYESANDPRIMAROSE HAIR, ISOBEL … NIGHT BY SILENTSAILING NIGHT… The Wonderful Widow of Eighteen Springs John Cage(1912–92) Tuvo la culpaeldinero … La Habanaya se perdió.

smoke. and thesmoke from theboatswas still Havana When my mother wore astrawberry icefor ahat Cuba inapiano Five Negro Songs and money was to blame… Havana was lost aboutitall. A gunnerontherunarrived, sangCubansongs and not alie. True Cuba was lost,thistimeitwas true. I met beautifulTrinidad … Extinguished. For usnomore.) more. (But thebluepearlof theCaribbeanshinesno patiosof theport. The CabañaandElPrínciperesounded inthe inhisrebellious way. My uncleAnthony would comehome that amancanreally respect. … tell me,where istheflower and alittleparrot atthepianotriedto singtenor. habanera Cadiz was falling asleepto fandango and Mulato from Vuelta Abajo…

13 Texts 14 el negrito el negrito tan chiquito, Ninghe, ninghe, 4 Cancióndecuna para dormiraunnegrito Nicolás Guillén(1902–89) carne desunegra mala. y entonces picaque mas lasombra seleacaba, pica tajadas desombra, mas elcanto seleacaba; pica tajadas decanto, mas lalunaseleacaba; Pica tajadas deluna, se vuelve élmismonavaja: Chévere delnavajazo, 3 Chévere Néstor Luján(1922–95) ¡Qué blanco! La niñacriollapasaconsumiriñaque blanco. y sete quedanmirando. Los marineros te miran a limonalynaranjo. toda tupielhuelealegre con lanoblezadeunlátigo, Tu cintura vibra fina dormido enfresco brocado. tu cuerpodefruta está Niña, note quejes, rumor deabrirsedalia. Tu cuerpoencierra esta tarde de lacárcel detufalda. que noseescapedepronto Quisiera mandaralagua tan sóloporesta tarde. Niña note quejes, que lehacen supielmulata. Va mojadita delunas ¡Marineros, contempladla! ¡Hola! Crespón detuespuma; ¡Qué blanco! La niñacriollapasaconsumiriñaque blanco. 2 Punto deHabanera Rafael Alberti(1902–99) lo hicieron YES. fue cuandoalSí Pero después,pero ¡ah!después cayó elcañonero. Calló, How white! The Creole girlgoesby inherwhite crinoline. and feast theireyes onyou. The sailorslookatyou with orange andlemontrees. every inchof your skinisgloriouslyfragrant as proud asawhip, your waist quivers sleeps infresh brocade, your ripebody Young girl,donot complain, dwells thesoundof openingdahlias. In your bodythisevening the prisonof your skirt. not to suddenlyescape do Iwishthewater only for tonight Young girl,donot complain, which darkens herskin. She passesgleaminginthemoonslight Sailors, lookather! The billowing spray of your crepe skirt! How white! The Creole girlgoesby inherwhite crinoline. Habanera rhythm to YES. they changedSí But later, ah,later fell. The gunnerwent silent, little black boy tiny littlechild, Lullay, lullay, lullay, Lullaby for alittleblack boy the flesh of hisevil black woman! and thenhecutsup,up but theshadow isfading onhim, he cutsslicesof shadow, but thesongisfading onhim; he cutsslicesof song, but themoonisfading onhim; he cutsslicesof themoon, himself becomesaknife: The dandyof theknife thrust The dandy ¡Yambá, yambó, yambambé! caramba, queelnegro tumba, tamba delnegro, caramba, tamba delnegro quetumba, Tamba, tamba, tamba, tamba, aé. yambó aé, Acuememe serembó el negro canta yseva. el negro seajumaycanta. El negro canta yseajuma. serembé cuserembá. Mamatomba, baila yambó sobre unpie. Congo solongodelSongo repica elnegro biennegro. Repica elcongosolongo, ¡Yambambó, yambambé! 5 Canto negro Ildefonso Pereda Valdés (1899–1996) grano decafé. cabeza decoco, duérmete, negrito, Ninghe, ninghe, para serun‘groom’. traje conbotones promete comprar el señordecasa Y siduermesmucho, ¡Ya noeres esclavo! te puedecomer. el mandingablanco negrito asustado; Cierra tusojitos, que miran almar como dosventanas con ojosgrandotes con lindasmotitas, grano decafé, Cabeza decoco, que noquiere dormir. Nicolás Guillén is dancingtheyambó ononefoot. congo solongofrom theSongo the black man,thereal black manisringing; The congosolongoisringing, Yambambó, yambambé! Negro song head like acoffee bean. head like acoconut, sleep, littleblack boy, Lullay, lullay, lullay, to make you a‘groom’. a suitwithbuttons promises to buy the master of thehouse And ifyou sleepsoundly, You’re nolongeraslave! will eatyou up. or thewhite devil frightened littleboy, Close your tiny eyes, looking outto sea. like two windows and wideeyes with pretty freckles head like acoffee bean, Head like acoconut, who won’t goto sleep. (Gollancz) Stokes from ‘The SpanishSongCompanion’ Translations ©Jacqueline Cockburnand Richard Yambá, yambó, yambambé! wow, how theblack man’stumbling! drum of theblack man, wow, bam of theblack manwhotumbles; Bam, bam,bam aé. yambó aé, Acuememe serembó the black mansingsandgoesaway. the black mangetsdrunkandsings, The black mansingsandgetsdrunk, serembé cuserembá. Mamatomba,

15 Texts 16 The face.’ The maskbehind The maskbehind The maskbehind Trying to find amaskto erase ‘I amakindof hoboof space A total stranger whosaidto me: But atotal stranger And Isaw itwas not my husband Then helowered thepaper You stranger, you! You total stranger Must Iasktillmy mouthfills upwithfoam? home Stop reading, stop reading meoutof houseand Behind thatprinted mask. Hiding there Sitting there Always willbe Always have been A total stranger You’re astranger And Isaidto him: I stared atthepapermy husbandwas reading In thegarden of ourgarden apartment Sitting across thetable The total stranger inthegarden spring water. of cool at thewater cooler from thepapercup iodine when shetriedto drink And they were surprised Surprise! They threw herasurpriseparty! Her twenty-fifth year attheoffice! Surprise! Surprise Cabaret Songs William Bolcom(born1938)

It’s sobad to bealone, I know it’ssad to bealone And toothbrush time. Ten a.m.again Toothbrush time At toothbrush time, Moment of hisleaving Waiting for thewonderful I wouldn’t sithere grieving, If I’dstood outof bed! Oh, how I’dbeahead Emerges three eggsallfor himself. And puddlesanddebris Till from thepots andpans Now heraids every shelf Now headvances onmy kitchen, And hecomesoutsmellinglike me. Reviewing allmy ills Perusing allmy pills Now he’sreading my degree, Now he’scrashing round my bathroom, At toothbrush time. Not sofine But inthelightof day It seemedOK. Last nightathalf-pastnine And toothbrush time. Ten a.m.again It’s toothbrush time, Toothbrush time Toothbrush time! (piano slamsdoor) See you then. Nine tonight again? Did you say, And by theway, So glad you undersand. Oh, you gotta go too? Uh, I’ve got to, uh, (trying to remember hisname) Hey –uh,listen, uhm, And calledhim. Never should’ve picked upthephone I should’ve known, Ishould’ve known! That I’dbeglad to bealone. Still Ishould’ve known To thegood oldUSA One day goingfar away I was climbing onthetrain Black Max! Who raised Before they closedthelid, And atthecoffin And hedid. You went crazy anddied You didn’ttake theterrible cure thosedays Ah, poorMarco had thesyph, andif He mustbestillalive! And Carlo,whowas five (Was hestrong! Thoughhewalked like awoman) Marco, Vito, Benno With allhersonsbehindher, From alady organ-grinder There was knitting-needle music Men of mathematics,acrobatics andcivilians). Artists, charlatans, vaudevillians (Only certain peoplewalked thatmystery mile: The artof thesmile– And there were looks for sale Black Max! Who was liftinguphisbrimto them? With thebedsupontheirbacks When thewomen walked thestreet In littledollhousejails. Dressed incurlslike littlegirls With bodiesfor sale There were women inthewindows Black Max. In thenightneighborhoodof Would find whatthey could When therightnightpeopleof allthetown I’m talking aboutnightinRotterdam Black Max. Never knew they were bowing to Who raised theirhatsrightback, To thebigshots of thetown He would raise thatbigblack hat Black Max. And asthin,andthinrubbertape: Sometimes acape, Long black jacket, broad black hat, He was always dressed inblack, (As told by thedeKooning Boys) Song of Black Max Standing there beneath thebridge, Underneath thetracks. When Iheard somemusic his lid? George had placed With aknife Took George’s life Of navy blue A stranger inasuit One fine day And callmeGeorgia.’ And thenaminute after, While Ising But you gotta keep quiet George said,‘Stay, When strangers happenedthrough hisopendoor And onthebeads, brocade andpins. And inthechocolate milkandgin Till tears fell inthecognac And sangoutloud And said,‘Getyourselves adrink’. Through thedoorhenever locked He sangifyou happenedin In beads, brocade andpins In ourpartof town. And sangthebestsoprano Get yourselves adrink.’ Used to say ‘Oh,callmeGeorgia, hon, My friendGeorge George Black Max, Black Max, Black Max. To liftthathatto me: Playing theharmonica,onehandfree, Long black jacket, broad black hat, Get yourself adrink!’ ‘You cancallmeGeorgia, hon, Get yourself adrink. Oh, callhimGeorgia, hon, Because George was avirgin. Which was white In thecoffin Tears fell onthebeads, brocade andpins We knew George would like itlike that. The funeral was at thecocktail hour. Who was intheUnited States Navy. For thisparticularstranger Which hesang Of And stabbed himinthemiddle Beside anapplepiehe’dbaked Un beldìvedremo

17 Texts 18 Arnold Weinstein (1927–2005) The choirwas singingAmor. Instead of singingAmen But asIpassedthechurch-house door Never seethattown again. I walked aloneaway Night was turninginto day And whispered Amor. Took my hand Judgie cameto thestand And instead of DesistandCease The judgeraised hishand And thejurygave himwhatfor! The judgesaidIdisturbedthepeace I was dragged to court My stay intown was cutshort Both lookingatmeshouted Amor. Instead of saying noandyes The richstopped needingmore The poorstopped taking less How goodwas thegood‘cuzIlooked sogood! Even philosophersunderstood Everybody took off theday All over town itwent thatway He shouted Amor. One lookatme Instead of shoutingButter Pecan (free icecreams by thescore!) Even theice-cream man When hesaw me,heshouted Amor. Instead of shoutinghalt In allthetraffic roar It wasn’t thepoliceman’sfault Amor Lisa MacIntosh ( the opera stage includeGiulietta andAntonia a widerange of repertoire. Recent highlightson renowned for hermusicalityandversatility across Canadian soprano MeashaBrueggergosman is Measha Brueggergosman About the performers an appearance atCarnegieHallwiththeNew tonight’s return to Milton CourtConcertHall, debut atFinnishNationalOpera asGiulietta, Highlights thisseasonincludeheroperatic Thomas andFranz Welser-Möst. Dudamel, DanielHarding, Michael Tilson Daniel Barenboim, SirAndrew Davis, Gustavo orchestras, working withconductors suchas and New World andSanFrancisco Symphony the Orchestre deParis, Philadelphia Orchestra, On theconcertplatform, shehasappeared with Dead ManWalking Make NoNoise Makropulos Affair Jenny (Weill’s Measha Brueggergosman Les contes d’Hoffmann Mahagonny ) andSister Rose (Jake Heggie’s ), Hannah(Miroslav Srnka’s ). ), Elettra ( ), EmiliaMarty( soprano Idomeneo

The The ), ), regularly onprimetimetelevision, most recently (published by HarperCollins),andsheappears released hermemoir Off stage, sheisjustasactive: sherecently Orchestra earnedheraGrammy nomination. Lieder while herrecording of Wagner’s Duparc andFauré, andwon several awards, Brahms, , Schubert,Debussy, Night andDreams widely criticallyacclaimed. Hersubsequentdisc, by Schoenberg, SatieandWilliamBolcom,was Her first recording for DG, Julius Drake andSimonLepper. worked includeJustusZeyen, Roger Vignoles, and Bergen festivals. Pianistswithwhomshehas as attheSchwarzenberg, Edinburgh, Verbier Musikverein andMadrid’s Teatro Real, aswell the ,theViennaKonzerthaus and at CarnegieHall,Washington’s Kennedy Center, recital andshehasgiven innovative programmes Her earliercareer was focused onthesong Angeles PhilharmonicunderTilsonThomas. Elettra atOpera Atelier andconcertswiththeLos World Symphony Orchestras, performances as audiences andholdsseveral honorary doctorates. educational projects andthepromotion of new Measha Brueggergosman champions campaign for musiceducation. country insong,celebration of thenationwide She hasalsoledCanadian children across the advocating contemporary Canadian literature. withWelser-Möst andtheCleveland , featured songsby Mozart, Something IsAlways OnFire Surprise Wesendonck , of works

19 About the performers 20 Matt Madison Clark the Schubertsong-cycles withMarkPadmore, Frick Collection,New York; performances of Cargill; arecital withChristopher Purves atthe at CarnegieHallwithmezzo-soprano Karen the Ravinia andEdinburgh festivals; hisdebut with baritone Stéphane Degoutwhichincluded exploring thesongsof JosephMarx;arecital tour from theWigmore Hallto present three concerts Performance highlightsincludeaninvitation BBC Cardiff Singerof theWorld Competition. 2003 hehasbeenanofficial accompanist for the charge of thecollaborative pianocourse.Since College of MusicinLondon,where heisalsoin piano andavocal repertoire coach attheRoyal Cambridge. Heisaprofessor of collaborative Simon Lepperread MusicatKing’sCollege, Simon Lepper Simon Lepper piano Mahler songswithKaren Cargill (LinnRecords), Keith (Deux-Elles),adiscof Gustav andAlma songs andRichard Strauss discwithGillian His discography includestwo volumes of Debussy Stéphane Degout. Matthews andtherelease of aCDof ballads with include areturn to CarnegieHallwithSally recitals inMumbaiandChennai.Future highlights toured to IndiawithBenjaminAppl,including Palmer, Karen Cargill andMarkPadmore. He appearances includedrecitals withDameFelicity Francisco andattheWigmore Hall,where further Arcayürek inBarcelona, Zurich,New York, San presented anall-Schubertprogramme withIlker and Lyon aswell asattheWigmore Hall.He opera housesof Dijon, LaMonnaie,Lausanne Stéphane Degout,includingperformances atthe Last seasonhegave aEuropean tour with and Lawrence Zazzo. recitals withChristopher Maltman,SallyMatthews and attheWigmore Hallwhere hehasalsogiven recitals withAngelika Kirchschlager inVerbier including attheSchubertiade, Hohenhems;and recital discwithStéphane Degout. with Ilker Arcayürek (ChampsHill)and alive Palmer (Resonus Classics), a CD of Schubert Lieder include asongrecital discwithDameFelicity received a violin works withCarolin Widmann,which Whately (ChampsHill)andaCDof contemporary the complete songsof JonathanDove with Kitty Diapason d’Or . More recent releases