La saison des fleurs: Songs of the 18th & 19th Centuries for Voice and Fortepiano
Louise Toppin
John O’Brien
1 Liner Notes
Although the philosopher Voltaire dismissed offered a wider range of pitches and, most it as a “a tinker’s kettle” in 1774, fit merely importantly, the ability to vary the volume to accompany songs of mediocre quality, the of each note. Here, at last, was a keyboard fortepiano revolutionized Western European instrument capable of complementing the music of the late eighteenth and nineteenth human voice in its expressivity and power. centuries. This revolution unfolded slowly. Italian instrument maker Bartolomeo The fortepiano in the first four sets of songs Cristofori invented the fortepiano around on this recording is a 1976 reproduction 1700, but more than half a century passed by John Lyon of an instrument by Gabriel before the instrument began to supplant Anton Walter (1752–1826), the most famous its predecessors. Austro-German builders Viennese piano maker of his time. Walter’s such as Johann Stein, Anton Walter, and prestige was such that in 1790 the court of Conrad Graf improved on Cristofori’s work, Emperor Leopold II granted him the title and by the 1770s their instruments were “Imperial Royal Chamber Organ Builder commonplace in Vienna, then the musical and Instrument Maker.” Mozart himself capital of Europe. Their fortepianos, along acquired one of Walter’s instruments in 1782, with those of local manufacturers, could be and most of the composer’s piano concertos heard across Europe’s cities by the turn of were written with this fortepiano in mind. the century. Compared to the harpsichord Compared to other Viennese fortepianos, and clavichord, the fortepiano—which in the Walters offered a more robust sound, time would evolve into the modern piano— which Mozart—who at times performed his 2 concerti outdoors—would have appreciated. teacher, composed specifically for voice The five-octave replica here is based primarily and fortepiano. Righini composed over on Mozart’s fortepiano, which is housed in the 150 songs in various languages, reflecting a Mozarteum in Salzburg. cosmopolitan career in opera that led him through Prague, Mainz, Vienna, Berlin, and Like Walter, Conrad Graf (1782–1851) made other major European cities. His songs in his a distinguished career in Vienna, becoming native tongue, however, are among his most the “Imperial Royal Court Fortepiano Maker” popular. Between 1788 and 1802, Righini in 1824 under Francis II. As the last of the published dozens of Italian songs on texts Classical-era Viennese fortepiano builders, by various poets, though primarily those Graf produced instruments that represent the of the poet and opera seria librettist Pietro culmination of this period. They were prized Metastasio (1698–1782). Whereas the songs particularly for their durability, no small feat in his earlier collections are strophic, in opus 7 considering their all-wooden frame (modern (1802) Righini began approaching his poems pianos use iron). A savvy businessman, Graf more flexibly, employing both da capo and adopted the methods of mass production, through-composed musical forms. ensuring that his instruments (which numbered over 3,000 in his lifetime) were The fortepiano also gave wealthy amateur heard throughout Europe. Beethoven, musicians—such as the landed gentry of Jane Chopin, Liszt, Clara and Robert Schumann, Austen’s novels—increasing opportunities to Brahms, Camille Pleyel, and even Mahler all bring songs from the stage into their parlors. owned and played on Grafs. The 6 ½-octave In London in the 1770s and 1780s, Thomas Graf replica on this recording (heard with the Linley (1733-1795) the elder arranged and Beethoven, Kreutzer, Schubert, and Hensel) composed music for plays and ballad operas dates from 1995, from the shop of R. J. Regier. at Covent Garden and Drury Lane Theatre. His staged works represented on this CD Given the fortepiano’s advantages over are Selima and Azor (1776), The Spanish its predecessors, it comes as no surprise Rivals (1784), and The Duema (1775). The that Vincenzo Righini (1756-1812), a simplicity, tenderness, and delicacy of respected Italian composer and singing Linley’s airs—which departed from the more 3 florid Italian style then in vogue—endeared of German Romantic poetry after Goethe them to the English public. In their original and Schiller, however, came more cohesive contexts, of course, his songs would have poetic collections that offered the potential been accompanied by orchestra. After Linley’s for a more contemplative musical experience. death, however, his widow published them Friedrich Heinrich Himmel (1765-1814)— for keyboard accompaniment, ensuring the who from 1795 onward served with Righini continued popularity of his works for voice. as co-Kappellmeister of the Italian Opera in Around the same time Linley was composing Berlin—was one of the first composers to in London, Wolfgang Amadeus Mozart pursue this compositional avenue. His song (1756-1791) wrote two of his earliest songs, cycle Die Blumen und der Schmetterling “Dans un bois” and “Oiseaux, si tous les ans.” (1803), on poems by Karl Friedrich Müchler Among his contemporaries, Mozart was (1763–1857), predates Beethoven’s and one of the most enthusiastic adopters of the Schubert’s more famous cycles by over a fortepiano; in an October 1777 letter to his decade. Although they lack the compositional father, Mozart detailed how impressed he unity of later Romantic cycles, the songs was with Stein’s instruments. He wrote these were praised nonetheless in the Allgemeine two through-composed ariettes just a few musikalische Zeitung in May 1808 for their months later, during his stay in Mannheim musical coherence. The most unifying feature, in the winter of 1777/78. Soprano Elisabeth though, is topical. The opening dedication August Wendling supplied the composer with to Germany’s daughters (“Zeuignung an the poems by Antoine Houdar de La Motte Deutschlands Töchter”) sets up the rest of (1672–1731) and Antoine Ferrand (1678– the cycle, which presents—in approximately 1719). The ariette, a genre initially derived seasonal order—the flowers of the Fatherland. from the French opéra comique tradition, was More than simple Romantic effusions about especially appropriate for the self-contained Nature, these poems offer less-than-subtle mini-drama of “Dans un bois,” given Mozart’s instruction on maidenly virtue. For the early and abiding love of opera. solo singer, the cycle poses a challenge in its variety, as it would have been performed with In its infancy, song repertoire for the a different female vocalist representing each fortepiano tended toward self-contained, particular flower. Highly strophic in nature, individual pieces. With the explosive growth a performance of every verse of these songs songs appealed across social class boundaries, would have made for a nearly full evening of finding a home in the concert hall and entertainment. countryside alike. His settings of poems by the Swabian poet Ludwig Uhland (1787– Ludwig van Beethoven (1770-1827) remains 1862) were particularly successful; Uhland best-known for his instrumental and was celebrated as a “singer of the people,” orchestral works, despite the fact that nearly and the volkstümlich qualities inherent in his half of his compositions require the voice. poetry found a natural musical outlet with “La partenza” and “O care selve” are two of Kreutzer. The composer set two cycles of his earliest songs, composed between 1794 Uhland’s poems to music: Frühlingslieder and and 1796. Both are settings of Metastasio’s Wanderlieder, both published in 1818. The lyrics, which served as a compositional former was singled out for particular praise proving ground for any composer interested in the Allgemeine musikalische Zeitung, in Italian opera, and likely owe some debt which effused that the text and music are “of to Beethoven’s intermittent tutelage under one piece, as if they had sprung at the same Antonio Salieri. Franz Schubert (1797-1828) time from one and the same mind.” Like the also studied under Salieri; like Beethoven, he Himmel cycle, Kreutzer’s Frühlingslieder had could not resist setting Metastasio’s writings, the option of being sung with different voices albeit some two decades later. Composed in on each song—a nod to the sociability that January 1820 for Franziska Roner, a musical typified most German middle-class music amateur and friend, Schubert’s canzonets gatherings. attest to the continued Viennese enthusiasm for Italian opera. Whereas the songs of Himmel and Kreutzer were popular in their time and have Although Italian remained the predominant since fallen into relative obscurity, the language of opera in Vienna, the Viennese— Lieder of Fanny Hensel (1805-1847), née along with the rest of Germany and Austria— Mendelssohn Bartholdy, have followed the increasingly preferred songs in the vernacular. opposite trajectory. Limited professionally by Few songs were more German than those of nineteenth-century social norms, the majority Conradin Kreutzer (1780-1849). Cherished of Hensel’s some 460 compositions were for their idyllic, folk-like melodies, Kreutzer’s 5 either unpublished or published under her brother Felix’s name during her lifetime. Today, however, her works are gaining recognition. Her early French songs are a case in point; only in the last decade has a printed edition of the music become readily available. Between the ages of 15 and 17, Hensel composed a total of 18 French songs with texts by various French poets and novelists. Most prominent among them was Jean Pierre Claris de Florian (1755–1794), whose works remained popular in nineteenth-century Berlin. In these early songs, the lyricism and colorful harmonic shifts that suffuse Hensel’s better-known and later keyboard pieces are already present.
The works of Schubert, Mozart, and Beethoven often overshadow songs by Hensel, Kreutzer, Himmel, and others. This recording dusts the long years of history off these latter pieces and gives them new life, placing them side by side with the former. From its beginnings in September 2011 when Louise Toppin asked me to help identify such pieces, this project has been dedicated to the idea of giving listeners the opportunity to hear songs— by lesser-known and canonic composers alike— as they might have sounded with their original fortepiano accompaniment. La saison des fleurs lets us experience the many-shaded efflorescence of the art song genre anew, when poetry, voice, and piano joined together to create a higher artistic whole. - Ryan Ebright, PhD Biographies
Louise Toppin has received critical acclaim for her operatic, orchestral, and oratorio performances throughout the United States, Europe, Asia, New Zealand, and the Caribbean. She has appeared in recital on many concert series including Carnegie Recital Hall, Merkin Hall, Kennedy Center, and Lincoln Center. Represented by Joanne Rile Artist Management, she tours in “Gershwin on Broadway” with pianist Leon Bates and baritone Robert Sims. She sang the role of Silvia in Haydn’s opera L’Isola disabitata with period orchestra in Connecticut and New York and was the winner of the New Jersey Bach and Handel vocal competition. She has recorded more than sixteen compact disks of American music including: Songs of Illumination, (Centaur Records), Ah love, but a day with pianist John O’Brien and baritone Jay Pierson (Albany Records), He’ll Bring it to Pass, the spirituals of Hall Johnson with pianist Joseph Joubert (Albany Records), Witness with the Czech National Symphony (Albany Records), and Heart on the Wall with the Prague Radio Symphony. In addition to her performance career, she serves as Chair of the Department of Music at the University of North Carolina at Chapel Hill. For more information: www.louisetoppin.com. John O’Brien has been on the faculty of East Carolina University since 1985 as the Professor of Accompanying, Chairperson of the Department of Vocal Studies and Director of the ECU Opera Theatre. In addition to his work at ECU, he is Organist/Choirmaster at First Presbyterian Church in Kinston NC and the conductor of the Eastern Youth Orchestra. Dr. O’Brien has collaborated with such artists as Metropolitan Opera stars Hilda Harris and Victoria Livengood, violinist Eliot Chapo, tenor Bill Brown, flautist Carol Wincence, and clarinetist Deborah Chodacki. He has performed in New York’s Merkin Recital Hall, Weill Recital Hall, and at the Istanbul Festival with cellist Selma Gokcen. He performs regularly as keyboardist with Atlanta Baroque, Clarino Consort and with baroque dance soloist Paige Whitley-Bauguess. He has performed recitals with soprano Julianne Baird and baroque violinist Julie Andrijeski (Apollo’s Fire).
Toppin and O’Brien began their collaboration as colleagues at East Carolina University and have performed throughout the country on concert series and on university campuses. The duo has premiered many works –those written expressly for Toppin and those commissioned by the duo. Although Toppin and O’Brien present works by multicultural composers, they have had the opportunity to perform many works by African American and women composers. In addition to recitals of standard repertoire, Toppin and O’Brien have a particular affinity for 17th and 18th century repertoire and both regularly perform operas, oratorios and recitals with period ensembles. Eugene Galvin, Bass-Baritone, praised in Opera News for his “rich voice and superb musicianship,” has sung with the Washington, Wolf Trap, Cleveland, Cincinnati, Sarasota, New York Grand and National Operas, Opera New England, Washington Concert Opera and the National Symphony. His varied stage repertoire includes the roles of Figaro, Basilio, Bartolo, Colline, Debeque, Alidoro, Pandolfe, Schicchi, specialization in the operas of Donizetti, and creations of roles in John Musto’s Volpone and The Inspector. In concert, he has sung many oratorio roles, and has been soloist at the Kennedy Center’s Messiah Sing-along and Opera Lafayette’s revival of Monsigny’s Le Deserteur at Lincoln Center, later recorded on Naxos records. He has appeared with artists as diverse as Victor Borge, Julius Rudel, Ute Lemper, and Patti Lupone.
As a director and teacher, Mr. Galvin has staged his own translations of Donizetti’s Rita and Viardot’s Cendrillon, university and professional productions of other complete operas, and scenes programs for the Amalfi Coast Music and Arts Festival in Maiori, Italy. He is currently Opera Director and Voice Instructor at The University of North Carolina at Chapel Hill.
Timothy W. Sparks, tenor, enjoys a versatile performing career that includes opera, oratorio, concert work, and cabaret, with appearances in Europe and throughout the United States. Given a strong commitment to contemporary music, he has participated in the premiere of several new stage works by noted American composers. In January 2011, his recording of the Arnold Schönberg chamber orchestra transcription of Mahler’s Das Lied von der Erde was released by Centaur Records. Mr. Sparks currently serves as a Lecturer in Voice and Diction at UNC-Chapel Hill and is an active adjudicator. As a member of N.A.T.S., Inc., he served on the executive board for both the NC district and the Mid-Atlantic region, and is a member of Pi Kappa Lambda. Mr. Sparks received his BM in Vocal Performance from the University of North Carolina at Chapel Hill and MM with the Performer’s Certificate in Voice from the Eastman School of Music. 9 Texts Aure amiche, ah! non spirate Friendly breezes, ah! do not sigh Anonymous Anonymous
Aure amiche, ah! non spirate Friendly breezes, ah! do not sigh, per pietà d’Irene amante: for pity on Irene in love; care piante, ah! non tornate dear plants, ah! do not start così presto a germogliar! so quickly to germinate!
Ogni fior che si colori, Every flower that colors, ogni Zeffiro che spiri, every breeze that sighs, quanti, oh Dio! quanti sospiri how many, oh God! how many sighs al mio core ha da costar! will this cost my heart!
Sol che un istante io miri If I admire even only for one instant Anonymous Anonymous
Sol che un istante io miri If I admire even only for one instant la bella mia nemica, my beautiful enemy, la dolce fiamma antica the sweet old flame sento svegliarmi in sen. I feel awaken in my heart.
Ritorno a miei sospiri, I return to my sighs, d’amor per lei mi moro, from love for her I die, e il mio destino adoro and I adore my destiny negli occhi del mio ben. in the eyes of my beloved. Mi lagnerò tacendo I shall mourn in silence Anonymous Anonymous
Mi lagnerò tacendo I shall mourn in silence del mio destino avaro, my harsh destiny, ma ch’io non t’ami, o caro, but that I love you not, my dear, non lo sperar da me, do not expect that of me.
Crudele! in che t’offendo Cruel one! How do I offend you se resta in questo petto if in my breast there remains il misero diletto the joyless delight di sospirar per te? of sighing for you?
Pur nel sonno almen talora At least while I am sleeping Anonymous Anonymous
Pur nel sonno almen talora At least while I am sleeping vien colei che m’innamora the one I love does at times le mie pene a consolar; come to console my sorrow;
rendi amor, se giusto sei, Love, if you are just, più veraci i sogni miei, make my dreams come true, o non farmi risvegliar. or do not let me be awakened. 11 Vorrei di te fidarmi I would like to have faith in you Anonymous Anonymous
Vorrei di te fidarmi, I would like to have faith in you, ma per usanza antica, but by past experience, inteso ad ingannarmi I know you Love, to be io ti conosco amor. intent upon deceiving me.
Se t’accarezzo amica, If I caress you as a friend, tu mi prepari un laccio; you prepare for me a noose, se ti raccolgo in braccio, if I take you in my arms, tu mi ferisci il cor. you wound my heart.
Io lo so che il bel sembiante I know that lovely visage Anonymous Anonymous
Io lo so che il bel sembiante I know that lovely visage un istante, oh Dio! mirai, in an instant, oh God! I saw, e mai più da quell’istante and ever since that moment non lasciai di sospirar! I did not let go of my languishing!
Io lo so, lo sanno queste I know it, they know it, valli ombrose, erme foreste, the shady valleys, the deep forests, che han da me quel nome amato which have from me that lovely name imparato a replicar. learned to repeat.
12 No Flower that Blows Still in search of delight, Sir George Collier Ev’ry pleasure they prove, Ne’er tormented by pride, No flower that blows Or the slights of fond love. Is like this rose, Or scatters such perfume; When a Tender Maid Upon my breast. R. B. Sheridan Ah gently rest And ever, ever bloom. When a tender maid is first assayed By some admiring swain, Dear pledge to prove How her blushes rise if she meet his eyes A parent’s love; While he unfolds his pain! A pleasing gift thou art! Come, sweetest flower, If he takes her hand she trembles quite! And from this hour Touch her lips and she swoons outright! Live henceforth in my heart, While a pit a pat, a pit a pat, a pit a pit a pat, Her heart avows her fright. Still the Lark Finds Repose Mark Londsdale But in time appear fewer signs of fear: The youth she boldly views: Still the lark finds repose If her hand he grasp or her bosom clasp, In the full waving corn, No mantling blush ensues! Or the bee on the rose, Tho’ surrounded with thorn. Then to church well pleased the lovers move, While her smiles her contentment prove, Never robbed of their ease, And a pit a pat, a pit a pat, a pit a pit a pat, They are thoughtless and free, Her heart avows her love! But no more gentle peace Shall e’er harbour with me. 13 Dans un bois In a forest Antoine Houdar de la Motte Antoine Houdar de la Motte
Dans un bois solitaire et sombre In a lonely and somber forest Je me promenais l’autr’ jour, I was walking the other day; Un enfant y dormait à l’ombre, a child was sleeping in the shade, C’était le redoutable Amour. it was the formidable Cupid.
J’approche, sa beauté me flatte, I approach; his beauty flattered me, Mais je devais m’en défier; but I needed to be watchful of it; Il avait les traits d’une ingrate, he had the traits of an ungrateful maiden Que j’avais juré d’oublier. whom I had sworn to forget.
Il avait la bouche vermeille, He had rosy lips, Le teint aussi frais que le sien, his complexion was as fresh as hers. Un soupir m’échappe, il s’éveille; A sigh escapes me. He awakes: L’Amour se réveille de rien. Love awakens at anything.
Aussitôt déployant ses ailes Suddenly opening his wings et saisissant son arc vengeur, and seizing his vengeful bow, L’une de ses flèches cruelles one of his cruel arrows en partant, il me blesse au coeur. while leaving, wounds me to the heart.
Va! Va, dit-il, aux pieds de Sylvie, “Go! Go,” he says, “at Sylvie’s feet, De nouveau languir et brûler! again to languish and burn Tu l’aimeras toute la vie, you will love her all your life long, Pour avoir osé m’éveiller. for having dared awaken me.” Oiseaux, si tous les ans You birds, if every year Antoine Ferrand Antoine Ferrand
Oiseaux, si tous les ans You birds, if every year Vous changez de climats you change your climate Dès que le triste hiver as soon as the sad winter Dépouille nos bocages; strips our groves, Ce n’est pas seulement it isn’t solely Pour changer de feuillages, for a change of foliage Ni pour éviter nos frimats; or to avoid our foggy winter weather. Mais votre destinée But your destiny Ne vous permet d’aimer, simply doesn’t allow you to love Qu’à la saison des fleurs. beyond the season of flowers. Et quand elle est passée, For when it is gone, Vous la cherchez ailleurs, you look elsewhere, Afin d’aimer toute l’année. so as to love all year long.
15 DIE BLUMEN UND DER SCHMETTERLING THE FLOWERS AND THE BUTTERFLY Karl Friedlich Müchler Karl Friedlich Müchler
Zueignung an Deutschlands Töchter Dedication to Germany’s Daughters
Euch ihr Guten, Euch ihr Schönen, To you who are good, who are pretty, Die ihr zart wie Blüten seid, who are tender as blossoms, Euch sei unter sanften Tönen To you may this wreath of flowers Dieser Blumenkranz geweiht. set amongst delicate notes be dedicated. Aus dem Mutterschoss der Erde From the womb of the earth Sprossten sie an Anmut reich: they sprang, rich in grace: Deutsche Mädchen, jedes werde German girls, may each of you become Diesen holden Blumen gleich. like these charming flowers.
Wie das Veilchen, blüht bescheiden, Like the violet, like the lily-of-the-valley, Wie das Maienblümelein may each of you bloom moderately, Frost erduldet, traget Leiden, endure frost, bear sorrows, Hüllend Euch in Demuth ein. enveloping yourselves in humility. In der Lilien weissem Kleide, In the lily’s white dress, Wie der Rose Knospe schön, lovely as the rosebud, Mögt Ihr einst im Festgeschmeide may you some day stand in ceremonial jewels An dem Brautaltare steh,n. at the wedding altar.
Auf der Pfirsichwange male On your downy cheek, Die Gesundheit Rosenlicht; may health paint a rosy glow; Aus den offnen Auge strahle from your candid eyes, Sanftmuth wie Vergissmeinnicht. may gentility radiate like the forget-me-not. Fest wie Ephen rankt, umgürte As firmly as ivy twines, may modesty Sittsamkeit die keusche Brust; gird your chaste breast; Dann nur blühet Hymens Mirte only then will Hymen’s myrtle bloom Euch zu dauerhafter Lust. for you in everlasting joy. 16 Das Schneeglöckchen The Snowdrop
Wenn noch Eis die Fluren drückt, As ice yet weighs down the meadows, Sich noch keine Schwalbe zeiget, no swallows yet appear, Noch kein Halm der Erd’ entsteiget, no blade of grass yet emerges from the earth, Und kein Knöspchen freundlich nickt, and no little buds nod amiably, Hebst du schon dein Haupt empor, you already lift up your head, Zeigst du rein wie Winterflokken you reveal your delicate white bells, Deine zarten weissen Glocken, pure as snowflakes, Blühst du schon im hell’sten Flor you already bloom in brightest florescence.
Bleibe diesem Blümchen gleich: Remain like this little flower: Such’ in trüben rauhen Zeiten in dreary, harsh times, seek Fried’ und Freude zu verbreiten, to spread peace and joy; Schaff’ um dich ein Himmelreich. create a heavenly realm around yourself. Es steht ganz in deiner Macht, It is entirely within your power, Wenn du im Verborg’nen blühest, if you bloom in seclusion, Und das Gift der Anmuth fliehest, and flee the poison of charm, Schnöden Stolz und eitle Pracht. vile pride, and vain display.
Das Veilchen The Violet
Von dunklem Laub umschlossen Enveloped by dark leaves, Blüht heimlich auf der Au, a dark blue little flower Wo wild nur Gräser sprossen blooms secretly on the meadow Ein Blümchen dunkelblau. where only grasses sprout wildly.
Es ruht an ihren Herzen, It rests upon their hearts, Sinkt dort in süsse Ruh, languishes there in sweet repose, Und schliesset ohne Schmerzen and painlessly closes Den Kelch auf ewig zu. its calyx forever. 17 Die Myrthe The Myrtle
Dir Myrthenreiss, To you, myrtle branch, Gebührt der Preis the prize belongs, Vor jeglicher Blume und Pflanze. above any other flower or plant. Denn dich ersah, For Cyprus once Einst Cypria desired you Der Unschuld zum lohnenden Kranze. for a wreath rewarding innocence.
Ihr Töchter Teuts! Sister Teutons! Den höchsten Reiz The myrtle crown Verleiht Euch die Krone von Myrten, bestows upon you incomparable charm, Wenn froh und frei, when, happy and free, Euch Lieb’ und Treu love and loyalty Die Stirne der Unschuld umgürten. gird your innocent brows.
Die Narzisse The Narcissus
Horch, was tönt vom Felsenhange Listen to what resounds sadly from the cliff, Traurig dort am Wasserfall, there by the waterfall, Gleich dem klagenden Gesange like the plaintive song Der verlassnen Nachtigall. of the forsaken nightingale.
So, der Eitelkeit zum Raube, Thus, falling prey to his vanity, Schliesst sich ungeliebt sein Lauf, he ends his days unloved, Und es spriesst aus seinem Staube and from his dust, Eine Blume warnend auf. a flower sprouts in warning.
Echo seufzet, die Verschmähte, Echo sighs, the rejected girl, Ach, die für Narziss entbrannt, ah, who burned with love for Narcissus, Schwärmerisch um Liebe flehte, who begged rapturously for love, 18 Doch nie Gegenliebe fand. but never found requited love Das Vergissmeinnicht The Forget-Me-Not
Freundlich glänzt an stiller Quelle, In a quiet spot, a flower, Wie des Mondes Silber-Licht, delicate and bright, shines amiably Eine Blume zart und helle, like the silver light of the moon: O, verkenn’ dies Blümchen nicht! oh, do not fail to recognize this little flower!
Doch geliebte Seele, höre, Yet hear, dear soul, Was aus jedem Blättchen spricht: what utters from every leaflet: Ach, sein tau ist eine Zähre, ah, its dewdrop is a tear, Und sie seufzt: vergiss mein nicht! and the tear sighs: forget me not!
Die Palme The Palm
Es mag der Held den Lorbeer preisen, The hero may praise the laurel, Der um des blut’gen Schwertes Eisen which coils 'round the iron of his bloody sword Nach langem Kampf als Lohn sich schlingt: as a reward after long battle; Ich preise nur Irenens Palme, I praise only Irene’s palm, Die uns die segenreichen Halme, which brings us the prosperous grains Des friedlich frommen Landmanns bringt. Of the peaceful, pious farmer.
Der Zwietracht Furien, wo die würthen Where they, the Furies of discord rage, Verdorren schnell des Lebensblüthen, life’s blossoms wither rapidly, Erstirbt des Herzens Zartgefühl; the heart’s sensitivity fades away; Nur wo sich Fried’ und Freude gatten, only where peace and joy unite, Nur in der edlen Palme Schatten only in the shadow of the noble palm, Lacht, süsse Liebe, dein Asyl. does your sanctuary, sweet love, thrive. Die Rose The Rose
Bild der jungfräulichen Tugend, Symbol of maidenly virtue, Die in hoher Schaam erglüht which glows amid peerless modesty, Bild der Schönheit, Bild der Jugend, symbol of beauty, symbol of youth, Dir, o Ros’! ertön’ ein Lied. to you, o rose! I sing a song.
Vogel, Schmetterling und Biene Bird, butterfly, and bee Flattern, suchend dich, umher, flutter around, looking for you, Doch verwandelt ist die Bühne, but the stage has transformed; Du, o Rose, bist nicht mehr! you, o rose, are no more!
Wechselgesang der Blumen Alternating Song of Flowers
Alle All Wir Kinder des Lenzen, Children of spring, Wir keimen und spriessen we germinate and sprout Im Garten und Hain, in garden and grove, Auf grünenden Wiesen on greening meadows, Zu duftenden Kränzen to arrange ourselves into Uns lieblich zu reihn. lovely, fragrant wreaths.
Wir krönen die Musen mit Blüthen, We crown the Muses with blossoms, Und fröhnen Cytherens Altar. and attend Cytherea’s altar. Wir zieren der Schönen We grace the softly flowing hair Sanft wallenden Busen, and the gently undulating bosoms Leicht flatterndes Haar. of beauties. 20 Das Veilchen The Violet Ich liebe nur Trifften, I love only pastures; Mich nährt nur der Morgen only the morning nourishes me Mit labendem Thau; with refreshing dew; Ich blühe verborgen, I bloom concealed, Doch würz’ ich mit Düften but I season the laughing meadow Die lachende Au! with fragrance!
Das Vergissmeinnicht The Forget-Me-Not An ländlicher Hütte By a rustic cabin, Umgürt ich die Quelle I encircle the spring Und brüste mich nicht, and do not boast; An heimlicher Stelle in a secluded spot, Entkeim’ ich und bitte, I sprout and entreat, Ach! Vergiss mein nicht. forget me not!
Die Myrthe The Myrtle Wir kränzen die Haare We wreathe the hair Der schmachtenden Bräute of yearning brides, Der Keuschheit Symbol the symbol of chastity, Der Jünglinge Beute the plunder of youths An Hymens Altare, laid at Hymen’s altar, Ihr schönstes Idol. her most beautiful idol.
21 Die Rose The Rose Zur Fürstin der Beete When Amor captured me, Ernannte mich Flora Flora named me Als Amor mich nahm, the princess of flowerbeds; Mich malet Aurora Aurora painted me Mit lieblicher Röthe, with lovely red, Ein Sinnbild der Schaam. A symbol of modesty.
Alle All Wir alle, wir grünen We all, we sprout In Iris Geschmeide, into Iris’s jewels, In kunstloser Zier, into unaffected adornment Der Schönheit zu dienen, to serve beauty; Der Unschuld zur Freude we joyfully pay homage Wir huldigen ihr. To innocence.
Der Schmetterling The Butterfly
Von Knosp’ auf Knospe schwebend, Hovering from bud to bud, Vom Duft der Blüthen lebend, living off the fragrance of blossoms, Sich badend in des Äthers Blau, bathing in Aether’s blue, Bestrahlt vom Sonnenspiegel, illuminated by the heliotrope, Hebt er die goldnen Flügel, he raises his golden wings, Und flattert fort von Au zu Au. and flutters off, from meadow to meadow.
Der Erde Druck entbunden, The weight of the earth released, Blickt in geweihten Stunden, his prophetic eye looks Sein Seherauge himmelwärts, heavenward in sacred hours, Gleichfühlenden verkündet his song proclaims what he perceives Sein Lied, was er empfindet, to those who feel as he does, Und flieht die Jugend, bricht sein Herz! and should youth flee, his heart would break! La Partenza The Departure Pietro Metastasio Pietro Metastasio
Ecco quel fiero istante! Now comes the painful instant! Nice, mia Nice, addio! Nice, my Nice, goodbye! Come vivrò ben mio, How can I live, my love, cosi lontan da te? so far away from you?
Io vivrò sempre in pene, My life will be a burden, io non avrò piu bene, without any happiness, e tu, chi sa se mai and you, who knows if ever ti sovverrai di me! you will remember me!
O care selve, o cara felice libertà! O dear forest, oh dear happy liberty! From Pietro Metastasio’s “Olimpiade” From Pietro Metastasio’s “Olimpiade”
O care selve, o cara O dear forest, o dear felice libertà! happy liberty! Qui se un piacer si gode, Here if one enjoys pleasure, parte non v’ha la frode, deceit has no part in it, ma lo condisce a gara but vying with one other to season it amore e fedeltà. are love and fidelity.
Mio ben ricordati Remember my love Pietro Metastasio Pietro Metastasio
Mio ben ricordati, Remember my love, se avvien ch’io mora: if I should die: quanto quest’anima how much this faithful fedel t’amò. soul loved you. 23 E se pur amano If cold ashes le fredde ceneri, could love: nell’urna ancora then in the urn t’adorerò. I will still adore you.
Da quel sembiante appresi From that face I learned Pietro Metastasio Pietro Metastasio
Da quel sembiante appresi From that face I learned a sospirar d’amore to sigh with love, sempre per quel sembiante always for that face sospirerò d’amore. will I sigh with love.
La face a cui m’accesi The flame which ignited me solo m’alletta e piace, alone entices and pleases me. è fredda ogn’altra face cold are all other flames per riscaldarmi il cuore. to warm my heart.
FRÜHLINGSLIEDER SPRING SONGS Ludwig Uhland Ludwig Uhland
Frühlings-Ahnung Anticipation of Spring
O sanfter, süsser Hauch! O gentle breath of air! Schon weckest du wieder you waken my longing Mir Frühlingslieder, for spring songs and singing; Bald, blühen die Veilchen auch. soon, violets will be there.
24 Frühlings-Glaube Belief in Spring
Die linden Lüfte sind erwacht, The winds are awake now, breezes light, Sie säuseln und weben Tag und Nacht, they weave and whisper day and night, Sie schaffen an allen Enden. they rustle in every corner. O frischer Duft! O neuer Klang! Oh fresh new scent! Oh sounds so clear! Nun, armes Herze, sei nicht bang! now, my poor heart, do no more fear, Nun muss sich alles, alles wenden. now all things will change, will change for the better.
Die Welt wird schöner mit jedem Tag, The world grows beautiful more and more, Man weiss nicht was noch werden mag, no telling what it holds in store, Das Blühen will nicht enden. the blooming will not end. Es blüht das fernste tiefsten Tal, Deepest valleys flowers grow, Nun, armes Herz, vergiss der Qual, now my poor heart, forget your woe, Nun muss sich alles, alles wenden. now all things will change, will change for the better.
Frühlings-Ruhe Rest in Spring
O legt mich nicht ins dunkle Grab, Do not entomb me in the dark grave, Nicht unter die grüne Erde hinab! not under the green earth bound. Soll ich begraben sein, If I must buried be, Lieg’ ich ins tiefe Gras hinein. oh let me lie in deep grass.
In Gras und Blumen lieg’ ich gern, I love to lie among the flow’rs and the grass, Wenn eine Flöte tönt von fern, to hear a distant flute, Und wenn hoch obenhin to watch above, on high Die hellen Frühlingswolken ziehn. the silvery clouds of spring go by.
25 Frühlings-Feier Celebration of Spring
Süsser goldner Frühlingstag! Glorious, golden day of spring! Inniges Entzücken! Joyfully enchanted! Wenn mir je ein Lied gelang, If my lines were meant to sing, Sollt’ es heut’ nicht glücken? is not success now granted?
Doch warum in dieser Zeit Yet why should I work away An die Arbeit treten? for this celebration? Frühling ist ein hohes Fest, Springtime is a holiday: Lasst mich ruhn und beten. let me rest and pray.
Lob des Frühlings In Praise of Spring
Saatengrün, Veilchenduft, Sowing green, violets’ scent, Lerchenwirbel, Wachtelschlag, lark ascending, partridge call, Sonnenregen, linde Luft! streaming sunshine, wafting winds!
Wenn ich solche Worte singe When such words I keep on singing Braucht es dann noch grosser Dinge greater things are needed. Dich zu preisen, Frühlingstag? Praise to you, o day of spring!
26 Romance de Claudine Song of Claudine Jean-Pierre Claris de Florian Jean-Pierre Claris de Florian
Pauvre Jeanne qui chantoit si bien, Poor Jeanne who sang so well— Larirette triste et seulette tu ne dis plus rien. tra-la, tra-la—sad and alone you do not speak any more. Las je soupire loin de mon ami: “Alas, I sigh far from my friend: Ne sais rien dire à d’autres qu’à lui. I know not to say anything to anyone but him.”
Jeune et fillette ne peux-tu changer? Being a young girl, can you not change? Larirette: crois-moi Jeannette choisis un berger. tra-la, tra-la—believe me, Jeanne chose a shepherd. Le Roi lui même auroit un refus: The king himself would have been refused: Du jour qu’on aime on ne choisit plus. from the day love starts, there is no further choice.
Chanson des bergères Song of the Shepherds Jean-Pierre Claris de Florian Jean-Pierre Claris de Florian
Voici venir le doux printemps, Here comes the sweet spring, Allons danser sous la coudrette: let us go dance under the hazel trees: La nature a marqué ce temps, nature has marked the time Pour que le plaîsir eût sa fête. for the celebration of pleasure. Ah! craignons de perdre un seul jour Alas, let us be afraid to lose one single day De la belle saison d’amour. of the beautiful season of love.
De l’eau qui court sur les cailloux Of water running over small stones L’agréable et tendre murmure, the enjoyable and tender murmur, Le bruit si léger et si doux the sweet and gentle sound Du zéphir et de la verdure; of the wind and of greenery, Tout dit craignez de perdre un jour all say: “Be afraid to lose one day De la belle saison d’amour. of the beautiful season of love.”
27 Romance de Célestine Romance of Célestine Jean-Pierre Claris de Florian Jean-Pierre Claris de Florian
Plaisir d’amour ne dure qu’un moment; The pleasure of love only lasts one moment; Chagrin d’amour dure toute la vie. the regret of love lasts one’s whole life. J’ai tout quitté pour l’ingrate Silvie: I left everything for the ungrateful Sylvie: Elle me quitte et prend un autre amant. she leaves me and takes another lover.
“Tant que cette eau coulera doucement “As long as this water flows softly Vers ce ruisseau qui borde la prairie, toward this brook that borders the plain, Je t’aimerai, me répétoit Silvie, I will love you,” repeated Sylvie to me. L’eau coule encore, elle a changé pourtant The water still flows; she has changed, however.
Romance de Galatée Romance of Galatéa Jean-Pierre Claris de Florian Jean-Pierre Claris de Florian
Les soins de mon troupeau m’occupent toute entière, Caring for my flock keeps me busy all the time, C’est de mes seuls agneaux que depend mon bonheur; my happiness depends solely on my lambs. Quand j’ai trouvé pour eux une fontaine claire, When I have found for them a clear spring, S’ils sont contents, rien ne manque à mon coeur. if only for their happiness, my heart is full of joy.
Que les loups et l’amour soient loin de ma retraite. That wolves and love be far from my retreat. Trop heureuses brebis un chien sûr vous défend. O happy sheep for a sturdy dog protects you. Pour me défendre, hélas! Je n’ai qu’une houlette, to fend for myself, alas I only have a stick, Mais c’est assez pour combattre un enfant. but it is enough to fend off a child. C’est une larme It is a tear Anonyme Anonymous
C’est une larme It is a tear Qui sert d’accent à la douleur, that serves to emphasize the pain, C’est une larme it is a tear Qui peint l’ivresse du bonheur, that sorrows the intoxication of happiness, Par une larme by a tear Les secrets du coeur sont trahis, the secrets of the heart are betrayed, L’amour se venge du mépris Love avenges itself of contempt Par une larme. by a single tear.
C’est une larme It is a tear Que l’on accorde au souvenir, that we allow for remembrance, Par une larme by a tear Le guerrier se laisse attendrir the warrior softens his heart, Rien qu’une larme only one tear Dit qu’on est payé de retour; signals we have conquered; Combien d’éloquence et d’amour so much eloquence and love is present Dans une larme. in a tear.
29 Credits
Executive Producer: Liner notes: Louise Toppin Ryan Ebright, PhD
Engineer: Text Editor: Travis Garrison Timothy Carter, PhD
Piano technicians: Graphic Design: John Foy (Chapel Hill) Natasha Gilliam Ernie Miller (Greenville) Photography: Recorded: Romanieo Golphin March 8-10, 2014 Ryan Webb (Walter fortepiano) The Music House, Greenville, NC Hair, Makeup & Custome Design: May 12-15, 2014 Rasheeda Waddell July 31-August 2, 2014 Person Recital Hall Graf fortepiano provided by: The University of North Carolina UNC Department of Music Chapel Hill, NC Walter fortepiano provided by: John O’Brien of the Music House Permissions
SONG TEXTS AND TRANSLATIONS USED BY PERMISSION OF: c Professor Frédéric Fladenmuller (French) and Professor Charles Fantazzi (Italian and German) of East Carolina University, Greenville, NC. d
c Righini songs by Kathryne Wallace—Southern Music Company d
c Linley songs—Stainer and Bell Ltd publishers d
cThe cycleDie Blumen und der Schmetterling, including the texts and translations, is published in Topical Song Cycles of the Early Nineteenth Centry, edited by Ruth O. Bingham. Recent Researchers in the Music of the Nineteenth and Early Twentieth Centuries, vol. 37. Middleton, WI: A-R Editions, Inc., 2003. Used with permission. All rights reserved. Texts and translations used with permission. www.areditions.com d
c La Partenza—Translation copyright © by Johann Gaitzsch, from the LiederNet Archive d
c Kreutzer songs—Pendragon Press d
Songs for Voice and Fortepiano TROY1664 VIDEMUS VIDEMUS RECORDS La saison des fleurs: Louise Toppin, soprano • John O’Brien, fortepiano
From Dodici ariette con accompagnamento Vincenzo Righini Two songs on texts by Metastasio Ludwig van Beethoven La saison des fleurs: di Forte Piano, op.7 22. La partenza WoO 124 1:16 1. Aure amiche, ah! Non spirate 2:07 23. O care selve WoO 119 1:00 2. Sol che un istante io miri 1:37 From Vier Canzonen, D.688 Franz Schubert 3. Mi lagnerÒ lacendo 2:11 24. Mio ben ricordati 2:15 4. Pur nel sonno 2:38 25. Da quel sembiante appresi 1:53 5. Vorrei di te fidarmi 1:51 Fünf Frühlingslieder von Uhland, op.33 Conradin Kreutzer 6. Io lo so che il bel sembiante 2:09 26. Frühlings-Ahnung 2:20 Three English Songs Thomas Linley 27. Frühlings-Glaube 2:16 7. No Flower that Blows 28. Frühlings-Ruhe 2:14 from Selima and Azor 2:54 29. Frühlings-Feier 2:35 8. Still the Lark Finds Repose 30. Lob des Frühlings* 2:39 for VoiceSongs and Fortepiano
Songs for Voice and Fortepiano and Songs Voice for from The Spanish Rivals 3:29 *With Timothy Sparks, tenor and Eugene Galvin, baritone 9. When a Tender Maid Five Early French Songs Fanny Hensel from The Duenna 1:20 31. Romance de Claudine 1:16 Ariette für Singstimme und Klavier Wolfgang Amadeus Mozart 32. Chanson des bergères 1:19 10. Dans un bois K.308 3:08 33. Romance de Célestine 2:48 11. Oiseaux, si tous les ans K.307 2:05 34. Romance de Galatée 1:00 Die Blumen und der Schmetterling Friedrich Heinrich Himmel 35. C’est une larme 1:43 12. Zeuignung an Deutschlands Töchter 3:20 13. Das Schneeglöckchen 2:35 77:43 minutes of music 14. Das Veilchen 2:32
15. Die Myrthe 1:48 VIDEMUS
La saison des fleurs: 16. Die Narzisse 3:09 17. Das Vergissmeinnicht 1:01 VIDEMUS RECORDS 18. Die Palme 1:43 VIDEMUS Albany Records U.S. Warning: Copyright subsists in all recordings VIDEMUS RECORDS 19. Die Rose 1:57 www.videmus.org 915 Broadway VIDEMUS issued under this label. [email protected] Albany, NY 12207
TROY1664 20. Wechselgesang der Blumen 5:46 © 2017 Albany Records PO Box 130644 Tel - (518) 436-8814 21. Der Schmetterling 1:50 Made in USA Ann Arbor, MI 48113 Fax - (518) 436-0643 Videmus & Albany Records