April 28, 2016 at 8:00pm Richardson Auditorium in Alexander Hall Preview Event featuring the winners of the 2016 Creative Reactions Contest at 7:00pm

Matthias Goerne, Alexander Schmalcz, Piano

FRANZ SCHUBERT (1797-1828) Die schöne Müllerin, D. 795, Op. 25 Nos. 1 - 20 songs after poems by Wilhelm Müller

-sung without intermission-

Das Wandern Wohin? Halt! Danksagung an den Bach Am Feierabend Der Neugierige Ungeduld Morgengruß Des Müllers Blumen Tränenregen Mein! Pause Mit dem grünen Lautenbande Der Jäger Eifersucht und Stolz Die liebe Farbe Die böse Farbe Trockne Blumen Der Müller und der Bach Des Baches Wiegenlied

Please join the artists to celebrate the close of our season at a reception in the Richardson Lounge following the performance. ABOUT THE ARTISTS PRINCETON UNIVERSITY CONCERTS 2015-16 SEASON

ABOUT MATTHIAS GOERNE

Matthias Goerne is one of the most internationally sought-after vocalists and a frequent guest at renowned festivals and concert halls. He has collaborated with leading orchestras all over the world. Conductors of the first rank as well as eminent pianists are among his musical partners.

Matthias Goerne has appeared on the world’s principal opera stages, including the Royal Opera House, Covent Garden in London; Teatro Real in Madrid; Paris National Opera; ; and the in New York. His carefully chosen roles range from Wolfram, Amfortas, Kurwenal, Wotan and Orest to the title roles in ’s , Béla Bartók’s Duke Bluebeard’s Castle, and ’s .

Goerne’s artistry has been documented on numerous recordings, many of which have received prestigious awards, including four Grammy nominations, an ICMA award, and only recently the Diapason d’or arte. After his legendary recordings with pianists

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Vladimir Ashkenazy and for Universal Music, he recently recorded a series of selected Schubert songs on 11 CDs for Harmonia Mundi (The Goerne/Schubert Edition) with pianists including and Elisabeth Leonskaja.

From 2001 through 2005, Matthias Goerne taught as an honorary professor of song interpretation at the Robert Schumann Academy of Music in Düsseldorf. In 2001, he was appointed an Honorary Member of the Royal Academy of Music in London. A native of , he studied with Hans-Joachim Beyer in , and later with and Dietrich Fischer-Dieskau.

Highlights in the 2015/16 season include concerts with the St. Petersburg Philharmonic (Yuri Temirkanov), Orchestre de Paris, London Philharmonic (Christoph Eschenbach), Concertgebouw Orchestra - Amsterdam (Manfred Honeck), New York Philharmonic (Christoph von Dohnányi), Leipzig Orchestra, Tonhalle Orchestra - Zurich (Lionel Bringuier), Swedish Radio Symphony (Daniel Harding), and NHK Symphony (Paavo Järvi), as well as a series of song recitals with pianists , Markus Hinterhäuser, Alexander Schmalcz, and the Quatuor Ebène at New York City’s Lincoln Center, the San Francisco Opera, London, Opéra de Lille, the new Philharmonie de Paris, the Beaux-Arts in Brussels, Gulbenkian in Lisbon, in Abu Dhabi, at the Schubertiade Hohenems, and the Sidney Festival. Matthias Goerne will sing Orest in Strauss’ Elektra at the Vienna State Opera and make his debut as Wotan in a concert version of ’s Walküre with the Hong Kong Philharmonic under Jaap van Zweden.

This concert marks Mr. Goerne’s Princeton University Concerts debut.

Enjoy a Sweet Nibble… We are pleased to thank our community partner MCCAFFREY’S FOOD MARKET

for the donation of the cookies, free to patrons in the lobby after tonight’s concert.

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ABOUT ALEXANDER SCHMALCZ

From early on, pianist Alexander Schmalcz worked with legendary singers such as soprano Edita Gruberova, mezzo-soprano Grace Bumbry, soprano Anna Tomowa-Sintow, and tenor Peter Schreier. A close collaboration with Matthias Goerne as well as numerous performances with singers such as tenor Daniel Behle, bass- Konstantin Wolff and Stephan Loges, sopranos Inessa Galante and Eva Mei, and mezzo-soprano Rachel Frenkel have shaped his career. His chamber music partners include oboists Céline Moinet and Albrecht Mayer, clarinetist Dimitri Ashkenazy, violist Tatjana Masurenko, and The King’s Singers, among others.

As a sought-after song accompanist, Alexander Schmalcz can be heard regularly in important cultural centers of Europe, the Americas, Japan and Korea and he performs at international festivals such as the , Schleswig-Holstein Music Festival, Tanglewood Festival, and the Prague Spring Festival. He appears at Teatro alla Scala Milan, Wiener Staatsoper, Staatsoper Munchen, Théâtre du Châtelet, Amphithéâtre of Opera Bastille, Concertgebouw Amsterdam, Kölner Philharmonie, Gewandhaus Leipzig, Wigmore Hall London, Seoul Arts Center, Tokyo Opera City Hall and KIOI Hall Tokyo.

His comprehensive repertoire is documented on numerous CDs and broadcasts for German, British, Austrian, Dutch and Japanese radio and TV stations. Alexander Schmalcz has also orchestrated songs by , which were commissioned by Matthias Goerne. The transcriptions have enjoyed great acclaim with performances at the Mostly Mozart Festival in New York, the Wiener Symphoniker Fruhlingskonzert at the Musikverein in Vienna as well as with Dresdner Kapellsolisten at the Frauenkirche Dresden.

Alexander Schmalcz received his first piano lessons as a chorister in the Dresden Kreuzchor. He studied at Musikhochschule Dresden and Utrecht Conservatorium before finishing his studies at the Guildhall School of Music and Drama in London with Iain Burnside and Graham Johnson. Alexander Schmalcz is a professor for song interpretation at the Leipzig Musikhochschule and gives international master classes.

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ABOUT THE PROGRAM By Peter Laki, ©2016

FRANZ SCHUBERT (Himmelpfortgrund, nr. Vienna [now part of the city], 1797 – Vienna, 1828) Die schöne Müllerin (“The Miller’s Beautiful Daughter”) D. 795 (1823) poems by Wilhelm Müller (Dessau, 1794 –1827)

“Two little words make up the entire world to me,” sings the protagonist of Schubert’s Schöne Müllerin (Song No. 6, “The Curious One”). In a way, something similar could be said of the cycle as a whole. The rather meager story, about an over-sensitive and, yes, somewhat nerdy young man, the object of his affections (whom we hardly get to know as a person) and his more successful rival, does make up an entire world—the protagonist sets out on a journey, finds love and ultimately death.

Wilhelm Müller (a German contemporary of Schubert’s who, like him, died in his early thirties) is remembered today chiefly because Schubert based his two great song cycles, Die schöne Müllerin and Winterreise, on his work. Critics have sometimes been quick to dismiss Müller as a poet; yet his poetic images are often rich and evocative. In the Müllerin cycle, his portrayal of the protagonist’s feelings is full of keen psychological insights, and in Winterreise, he depicted existential despair in a way not seen before in Romantic literature. Yet it is undeniable that without Schubert’s settings, these poems would never have the effect they produce in conjunction with the music, which transports them into a completely different realm, adding whole new layers of meaning through an incredibly sensitive musical treatment of the texts.

Ever since I first got to know these songs as a child, I have never ceased to marvel at such details as the sudden turn to the minor mode in Song No. 10, at the very moment when it starts raining and the girl decides to go home just when the two of them might have begun to get a little closer (hence the title “Rain of Tears”). The cycle contains some of the most compelling depictions of happiness (Song No. 11, “Mine!”) and despair (Song No. 17, “The Hateful Color”) in the entire art-song repertoire. And how about the gripping image of the sobbing angels in Song No. 19 (“The Miller and the Brook”) which Heinrich Heine, no less, found worth picking up? (The image shows up in one of the poems Schumann included in Dichterliebe.) Schubert’s melodic line, complete with that eternal

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musical symbol of grief, the Neapolitan sixth, is unforgettable. Each one of the twenty songs is a perfect depiction of a state of mind or a particular place where the events unfold. One song (No. 5, “In the Evening of Rest”) offers a whole dramatic mini-scene, where the protagonist, the old miller and his daughter are all present. When the daughter wishes everyone a good night, Schubert’s melodic line emphasizes the word “everyone” with a long-held high note, making us feel the young man’s bitter disappointment at not being specifically singled out in this friendly gesture.

The entire cycle moves from an upbeat, carefree folksong at the beginning to utter transcendence in the final lullaby/dirge. The cycle begins in B-flat Major and ends in E Major; these two keys are as far removed from one another as they can possibly be in the classical tonal system. Together, they truly encompass an entire world—even in a musical sense.

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TEXTS & TRANSLATIONS Poems by Wihelm Müller; Translations By Anna Leader ‘ 18

Anna Leader is a sophomore at Princeton and a First Prize-winner of our 2016 Creative Reactions Contest. After learning more about her through the contest, we found out that in addition to being a superb writer, she also has a serious interest in literary translation, working from both French and German. She translated tonight’s poetry on two days notice! This summer she will meet one of her favorite contemporary poets – Jan Wagner - who reached out to her after he read her prize-winning translation of one of his poems. We are so pleased to have discovered Anna Leader’s work through our Creative Reactions Contest and to be able to extend a student’s personal interaction with our concerts even further by including her translation in tonight’s program.

Das Wandern Wandering Das Wandern ist des Müllers Lust, Wandering is the miller’s joy, Das Wandern! Wandering! Das muß ein schlechter Müller sein, A poor, sad miller it must be Dem niemals fiel das Wandern ein, Who has never thought of wandering, Das Wandern. Wandering.

Vom Wasser haben wir’s gelernt, We learned wandering from the water, Vom Wasser! From the water! Das hat nicht Rast bei Tag und Nacht, It never rests in day or night, Ist stets auf Wanderschaft bedacht, It’s always dreaming of its travels, Das Wasser. The water.

Das sehn wir auch den Rädern ab, We observe it also in the wheels, Den Rädern! The wheels! Die gar nicht gerne stille stehn, That never want to just stand still, Die sich mein Tag nicht müde drehn, That never tire as they turn, Die Räder. The wheels.

Die Steine selbst, so schwer sie sind, The stones themselves, though they are heavy, Die Steine! The stones! Sie tanzen mit den muntern Reihn They join the dance in lively rows Und wollen gar noch schneller sein, And long to go even faster, Die Steine. The stones.

O Wandern, Wandern, meine Lust, O wandering, wandering, my joy, O Wandern! O wandering! Herr Meister und Frau Meisterin, Lord Master and Lady Mistress, Laßt mich in Frieden weiterziehn Let me continue now in peace Und wandern. And wander. (please turn the page quietly)

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Wohin? Where to? Ich hört’ ein Bächlein rauschen I heard a small stream rushing Wohl aus dem Felsenquell, Straight from the rocks’ spring, Hinab zum Tale rauschen It flowed into the valley So frisch und wunderhell. So fresh and wonder-bright.

Ich weiß nicht, wie mir wurde, I know neither how I felt it, Nicht, wer den Rat mir gab, Nor who gave me this advice; Ich mußte auch hinunter I had to go down too Mit meinem Wanderstab. With my wanderer’s staff.

Hinunter und immer weiter Down there and always farther Und immer dem Bache nach, And always by the stream, Und immer frischer rauschte And always rushing freshly Und immer heller der Bach. The ever-shining stream.

Ist das denn meine Straße? Is this one here my road, then? O Bächlein, sprich, wohin? O, tell me, stream: where to? Du hast mit deinem Rauschen Your rushing has intoxicated Mir ganz berauscht den Sinn. My senses now completely.

Was sag ich denn vom Rauschen? But why do I call it ‘rushing’? Das kann kein Rauschen sein: Rushing cannot be what it is: Es singen wohl die Nixen The mermaids must be singing Tief unten ihren Reihn. Their canons in the deep.

Laß singen, Gesell, laß rauschen Let it sing and rush, my friend, Und wandre fröhlich nach! And gladly wander after! Es gehn ja Mühlenräder The mill-wheels are turning In jedem klaren Bach. In every small clear stream.

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Halt! Halt! Eine Mühle seh ich blinken I see a mill that shines Aus den Erlen heraus, Out from the alder trees; Durch Rauschen und Singen Through rushing and singing Bricht Rädergebraus. Bursts the roaring of the wheels.

Ei willkommen, ei willkommen, Oh, welcome, oh welcome! Süßer Mühlengesang! Sweet song of the mill! Und das Haus, wie so traulich! And the house, how cosy! Und die Fenster, wie blank! And the windows, how clean!

Und die Sonne, wie helle And the sun, how brightly Vom Himmel sie scheint! It shines down from the sky! Ei, Bächlein, liebes Bächlein, Oh, stream, dearest stream, War es also gemeint? Was this then your meaning?

Danksagung an den Bach Thanking the Stream War es also gemeint, Was this, then, your meaning, Mein rauschender Freund? My rushing friend? Dein Singen, dein Klingen, Your singing, your ringing – War es also gemeint? Was this, then, its meaning?

Zur Müllerin hin! To the Millermaid now! So lautet der Sinn. It seems to be saying. Gelt, hab’ ich’s verstanden? Have I understood right? Zur Müllerin hin! To the Millermaid now!

Hat sie dich geschickt? Did she send you to me? Oder hast mich berückt? Or have you beguiled me? Das möcht ich noch wissen, I would still like to know, Ob sie dich geschickt. Whether she sent you.

Nun wie’s auch mag sein, Now, whatever may be, Ich gebe mich drein: I commit myself to it: Was ich such’, hab’ ich funden, What I sought, I have found, Wie’s immer mag sein. Whatever may be.

Nach Arbeit ich frug, I asked for work, Nun hab ich genug Now I have enough Für die Hände, fürs Herze For my hands, for my heart, Vollauf genug! Altogether enough!

(please turn the page quietly)

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Am Feierabend In the Evening of Rest Hätt ich tausend If only I had a thousand Arme zu rühren! Arms I could move! Könnt ich brausend Then I could turn Die Räder führen! All the loud wheels! Könnt ich wehen Then I could blow Durch alle Haine! Through all of the groves! Könnt ich drehen Then I could spin Alle Steine! Every stone! Daß die schöne Müllerin If only the pretty Millermaid Merkte meinen treuen Sinn! Saw my devotion!

Ach, wie ist mein Arm so schwach! Ah, why is my arm so weak? Was ich hebe, was ich trage, What I lift, what I carry, Was ich schneide, was ich schlage, What I chop, what I strike, Jeder Knappe tut mir’s nach. Every boy does it just as well. Und da sitz ich in der großen Runde, And I sit there in the big circle, In der stillen kühlen Feierstunde, In the quiet, cool hour of rest, Und der Meister spricht zu allen: And the master speaks to us all: Euer Werk hat mir gefallen; Your work has pleased me; Und das liebe Mädchen sagt And the lovely maiden wishes Allen eine gute Nacht. Everyone goodnight.

Der Neugierige The Curious One Ich frage keine Blume, I do not ask a flower, Ich frage keinen Stern, I do not ask a star; Sie können mir alle nicht sagen, Not one of them can tell me, Was ich erführ so gern. What I so dearly want to know.

Ich bin ja auch kein Gärtner, I am certainly no gardener, Die Sterne stehn zu hoch; The stars stand too high; Mein Bächlein will ich fragen, I want to ask my stream Ob mich mein Herz belog. If my heart has lied to me.

O Bächlein meiner Liebe, O stream of my love, Wie bist du heut so stumm? Why so silent today? Will ja nur eines wissen, I just want to know one thing: Ein Wörtchen um und um. One whole little word.

Ja, heißt das eine Wörtchen, The little word is Yes; Das andre heißet Nein, The other is No, Die beiden Wörtchen schließen These two small words make up die ganze Welt mir ein. My entire world.

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O Bächlein meiner Liebe, O stream of my love, Was bist du wunderlich! How whimsical you are! Will’s ja nicht weitersagen, I won’t spread the news around; Sag, Bächlein, liebt sie mich? Tell me, stream, does she love me?

Ungeduld Impatience Ich schnitt es gern in alle Rinden ein, I would like to carve it into every tree’s bark, Ich grüb es gern in jeden Kieselstein, I would like to chisel it into each pebble, Ich möcht es sä’n auf jedes frische Beet I want to sow it in each fresh flower-bed Mit Kressensamen, der es schnell verrät, With water-cress seeds that would quickly reveal it; Auf jeden weißen Zettel möcht ich’s schreiben: On each sheet of white paper I would like to write: Dein ist mein Herz und soll es ewig bleiben. Yours is my heart and it shall always stay mine.

Ich möcht mir ziehen einen jungen Star, I would like to raise a young starling, Bis daß er spräch die Worte rein und klar, Until he speaks pure and clear words, Bis er sie spräch mit meines Mundes Klang, Until he speaks them with my mouth’s sound, Mit meines Herzens vollem, heißem Drang; With my heart’s full, heated urge; Dann säng er hell durch ihre Fensterscheiben: Then he could sing brightly through her window: Dein ist mein Herz und soll es ewig bleiben. Yours is my heart and it shall always stay mine.

Den Morgenwinden möcht ich’s hauchen ein, I would like to breathe it into the morning winds, Ich möcht es säuseln durch den regen Hain; I would like to whisper it through the stirring grove; Oh, leuchtet’ es aus jedem Blumenstern! Oh, if only it shone out from each flower-star, Trüg es der Duft zu ihr von nah und fern! And brought her the fragrance from near and far! Ihr Wogen, könnt ihr nichts als Räder treiben? You waves, can you turn nothing but wheels? Dein ist mein Herz und soll es ewig bleiben. Yours is my heart and it shall always stay mine.

Ich meint, es müßt in meinen Augen stehn, I thought that it must be clear in my eyes, Auf meinen Wangen müßt man’s brennen sehn, On my cheeks one must see it burning; Zu lesen wär’s auf meinem stummen Mund, It must be easy to read on my mute lips, Ein jeder Atemzug gäb’s laut ihr kund, With every breath it must announce itself loudly, Und sie merkt nichts von all dem bangen Treiben: And yet she does not notice my anxious yearning. Dein ist mein Herz und soll es ewig bleiben. Yours is my heart and it shall always stay mine.

(continued on page 14 - please turn the page quietly)

-11- ANNOUNCING THE 2016-2017 SEASON CONCERT CLASSIC SERIES [9 concerts] Thursday, October 6 8 pm Thursday, March 2 8 pm JAMIE BARTON,* Mezzo-soprano HAGEN STRING QUARTET JAMES BALLELIEU,* Piano Schumann, Dvorak, Brahms Songs by Turina, Brahms, Dvorak, Ives Nothing as it seems. And it is certainly ... one of the greatest {mezzos] I’ve heard. not as we thought we knew it. — Mezzo-soprano Marilyn Horne — Hamburger Abendblatt

Thursday, October 13 8 pm Thursday, March 16 8 pm BELCEA STRING QUARTET* TAKÁCS STRING QUARTET Schubert, Brahms All-Beethoven a spiritual depth and expressive urgency Thursday, April 13 8 pm that leaves you eager to hear more. PAMELA FRANK,* Violin — The New York Times CHRISTIAN TETZLAFF, Violin Prokofiev, Leclair, Bach, Bartók Thursday, October 27 8 pm SERGEI BABAYAN,* Piano a big, rich sound … that breathes with purpose. DANIIL TRIFONOV,* Piano — Philadelphia Inquirer on Pamela Frank Schumann, Schubert, Brahms, Rachmaninoff Thursday, May 11 8 pm {Trifonov} has everything and more. MURRAY PERAHIA, Piano I’ve never heard anything like it. — pianist Martha Argerich His place among the great pianists of our time is not disputed. — The Guardian (London) Thursday, November 17 8 pm TAKÁCS STRING QUARTET All-Beethoven ALL IN THE FAMILY Thursday, February 9 8 pm Chamber music concerts for kids ages 3 & up ESTONIAN PHILHARMONIC and their families CHAMBER CHOIR* Kaspars Putnins, Artistic Director Saturday, November 5 1pm “Northern Land & Spirit,” Pärt, BABY GOT BACH Tchaikovsky, Tormis, Sibelius Back by popular demand, pianist Orli Shaham the choir’s performances will introduce pre-school-aged kids to the joy inspire a transporting awe. of live classical music played by renowned — The Washington Post musicians.

*Princeton University Concerts debut Saturday, March 11 1 pm MEET THE MUSIC The musicians of The Chamber Music Society of Lincoln Center and host Bruce Adolphe return on Pi Day Weekend with a program that honors Princeton’s own Albert Einstein. SPECIAL EVENT PUC125 In a season anchored by timeworn masterworks here at Princeton, Fleck and Washburn offer a PERFORMANCES UP slightly different perspective in the mix, drawing CLOSE [4 concerts] from the great vernacular music of Appalachia. Our new series continues to explore the future of chamber music. Experience classical music Thursday, April 20 7:30 pm more directly, more viscerally than ever before BÉLA FLECK,* Banjo in these one hour concerts in-the-round on the ABIGAIL WASHBURN,* Banjo/Voice stage of Alexander Hall. Concerts feature an Béla Fleck is surely the finest banjo player eclectic mix of artists and programs that reflect on the planet, a virtuoso who can switch the voices of a new generation. from bluegrass to classical, jazz and African Thursday, September 29 6 pm & 9 pm styles, while his wife, Abigail Washburn, AUGUSTIN HADELICH,* Violin is also an impressive banjo performer, influenced by China as well as Appalachia. PABLO SÁINZ VILLEGAS,* Guitar - The Guardian (London) Piazzolla, De Falla, Ysaÿe Hadelich’s playing combined impressive THE COMPLETE technical command with plush, rich-textured BEETHOVEN STRING sound. And with magisterial poise and serene control. — The New York Times QUARTET CYCLE played by the Sunday, February 12 2 pm & 5 pm TAKÁCS STRING QUARTET COLIN CURRIE,* Percussion Over six performances, we are treated to Norgaard, Hosokawa, Stockhausen, Xenakis the ultimate thrill of seeing the blueprint of Beethoven’s artistic development unfold before Surely the world’s finest and most daring our eyes, even more relevant in 2016 than on percussionist. — The Spectator (London) the day of Beethoven’s death in 1827. Concerts will be hosted by Professor Scott Burnham. Thursday, March 30 6 pm

BENJAMIN BAGBY,* Tuesday, November 15 8 pm Thursday, November 17 8 pm Voice & Anglo-Saxon Harp Wednesday, January 18 8 pm Beowulf, the epic book in performance Thursday, January 19 8 pm a double tour de force of scholarly Wednesday, March 15 8 pm excavation and artistic dynamism. Thursday, March 16 8 pm — San Francisco Chronicle It is impossible to think of a more compelling window onto Beethoven, onto Sunday, April 30 5 pm & 7:30 pm the genre of the string quartet, or even PEKKA KUUSISTO,* Violin onto the entire multifarious pageant of NICO MUHLY, * Piano chamber music in the modern West. Bach, Glass, Pärt, Muhly, Finnish folksongs - Professor Scott Burnham Kuusisto & Muhly brought a sense of such RICHARDSON CHAMBER intimacy and spontaneity that a listener felt more a participant than a passive recipient. PLAYERS [3 concerts] More concerts should feel this way. Our resident ensemble of performance -The Washington Post faculty, distinguished guest artists and supremely talented students. SUBSCRIBE NOW Sunday Afternoons at 3 pm princetonuniversityconcerts.org October 16 February 19 April 9 TEXTS & TRANSLATIONS PRINCETON UNIVERSITY CONCERTS 2015-16 SEASON

Morgengruß Morning Greetings Guten Morgen, schöne Müllerin! Good morning, pretty millermaid! Wo steckst du gleich das Köpfchen hin, Why do you quickly turn your head, Als wär dir was geschehen? As if something had happened to you? Verdrießt dich denn mein Gruß so schwer? Do my greetings annoy you so much? Verstört dich denn mein Blick so sehr? Does my gaze disturb you so much? So muß ich wieder gehen. Then I must go away again.

O laß mich nur von ferne stehn, O let me only stand at a distance, Nach deinem lieben Fenster sehn, Watching your dear window, Von ferne, ganz von ferne! From a distance, from quite far away! Du blondes Köpfchen, komm hervor! Blonde little head, come out! Hervor aus eurem runden Tor, Come out from your round gate, Ihr blauen Morgensterne! You blue morning stars!

Ihr schlummertrunknen Äugelein, You small sleep-drunk eyes, Ihr taubetrübten Blümelein, You dew-dampened flowers, Was scheuet ihr die Sonne? Why shun the sun? Hat es die Nacht so gut gemeint, Has night been so good to you Daß ihr euch schließt und bückt und weint That you close yourselves and bow and weep Nach ihrer stillen Wonne? For her quiet bliss?

Nun schüttelt ab der Träume Flor Now shake off the veil of dreams Und hebt euch frisch und frei empor And raise yourselves up fresh and free In Gottes hellen Morgen! In God’s bright morning! Die Lerche wirbelt in der Luft, The lark warbles in the sky, Und aus dem tiefen Herzen ruft And from the heart’s depths Die Liebe Leid und Sorgen. Love casts out pain and fear.

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Morning Greetings Des Müllers Blumen The Miller’s Flowers Good morning, pretty millermaid! Am Bach viel kleine Blumen stehn, Many small flowers grow by the stream; Why do you quickly turn your head, Aus hellen blauen Augen sehn; They see out of bright blue eyes; As if something had happened to you? Der Bach, der ist des Müllers Freund, The stream is the miller’s friend, Do my greetings annoy you so much? Und hellblau Liebchens Auge scheint, And my darling’s eyes shine bright blue; Does my gaze disturb you so much? Drum sind es meine Blumen. That’s why they are my flowers. Then I must go away again. Dicht unter ihrem Fensterlein, Just below her little window, O let me only stand at a distance, Da will ich pflanzen die Blumen ein, Is where I want to plant these flowers, Watching your dear window, Da ruft ihr zu, wenn alles schweigt, There you will call to her, when all is quiet, From a distance, from quite far away! Wenn sich ihr Haupt zum Schlummer neigt, When her head bends itself to sleep, Blonde little head, come out! Ihr wißt ja, was ich meine. You know what I want you to say. Come out from your round gate, You blue morning stars! Und wenn sie tät die Äuglein zu And when she closes her little eyes, Und schläft in süßer, süßer Ruh, And sleeps in sweet, sweet peace, You small sleep-drunk eyes, Dann lispelt als ein Traumgesicht Then whisper like a vision in a dream You dew-dampened flowers, Ihr zu: Vergiß, vergiß mein nicht! To her: Forget, forget me not! Why shun the sun? Das ist es, was ich meine. That’s what I want you to say. Has night been so good to you That you close yourselves and bow and weep Und schließt sie früh die Laden auf, And when she opens the shutters at dawn, For her quiet bliss? Dann schaut mit Liebesblick hinauf: Gaze up at her with a look of love: Der Tau in euren Äugelein, The dew in your eyes Now shake off the veil of dreams Das sollen meine Tränen sein, Shall be my tears, And raise yourselves up fresh and free Die will ich auf euch weinen. Which I will shed upon you. In God’s bright morning! The lark warbles in the sky, And from the heart’s depths Love casts out pain and fear. (please turn the page quietly)

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Tränenregen Rain of Tears Wir saßen so traulich beisammen We sat together so at ease Im kühlen Erlendach, Under the cool alders’ roof, Wir schauten so traulich zusammen Together we gazed, at ease, Hinab in den rieselnden Bach. Down at the trickling brook.

Der Mond war auch gekommen, The moon came out as well, Die Sternlein hinterdrein, The stars followed after her, Und schauten so traulich zusammen And we gazed, so easy together, In den silbernen Spiegel hinein. Into the silver mirror.

Ich sah nach keinem Monde, I was not looking for a moon, Nach keinem Sternenschein, Nor for the light of the stars; Ich schaute nach ihrem Bilde, I was looking at her image, Nach ihren Augen allein. At her eyes alone.

Und sahe sie nicken und blicken And I saw her nod and gaze Herauf aus dem seligen Bach, Up from the blissful stream, Die Blümlein am Ufer, die blauen, The blue flowers on the bank Sie nickten und blickten ihr nach. Nodded and gazed back at her.

Und in den Bach versunken And sunken in the stream Der ganze Himmel schien Appeared the entire sky; Und wollte mich mit hinunter And wished to pull me down In seine Tiefe ziehn. Into its depths as well.

Und über den Wolken und Sternen, And over the clouds and the stars, Da rieselte munter der Bach The stream trickled cheerfully Und rief mit Singen und Klingen: And called with its singing and ringing: Geselle, Geselle, mir nach! Friend, friend, follow me!

Da gingen die Augen mir über, Then my eyes filled with tears, Da ward es im Spiegel so kraus; And made ripples in the mirror: Sie sprach: Es kommt ein Regen, She said: ‘The rain is coming. Ade, ich geh nach Haus. Farewell, I shall go home.’

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Mein! Mine Bächlein, laß dein Rauschen sein! Little stream, stop your rushing! Räder, stellt euer Brausen ein! Wheels, cease your roaring! All ihr muntern Waldvögelein, All you cheerful woodbirds, Groß und klein, Large and small, Endet eure Melodein! Finish your songs! Durch den Hain Through the grove, Aus und ein Out and in, Schalle heut ein Reim allein: Only one song will ring out today: Die geliebte Müllerin ist mein! The beloved millermaid is mine! Mein! Mine! Frühling, sind das alle deine Blümelein? Spring, are those all of your flowers? Sonne, hast du keinen hellern Schein? Sun, do you have no brighter shine? Ach, so muß ich ganz allein Ah, so I must be all alone Mit dem seligen Worte mein With my blissful word, Unverstanden in der weiten Schöpfung sein! Understood by nothing on Earth!

Pause Pause Meine Laute hab ich gehängt an die Wand, I’ve hung my lute upon the wall, Hab sie umschlungen mit einem grünen Band - I tied it there with a green ribbon – Ich kann nicht mehr singen, mein Herz ist zu voll, I can’t sing anymore, my heart’s too full; Weiß nicht, wie ich’s in Reime zwingen soll. I don’t how to force it to make rhymes. Meiner Sehnsucht allerheißesten Schmerz The hottest torment of my yearning Durft ich aushauchen in Liederscherz, I once could breathe into blithe songs; Und wie ich klagte so süß und fein, And I complained so sweetly, prettily, Glaubt’ ich doch, mein Leiden wär’ nicht klein. That my suffering did not seem small to me. Ei, wie groß ist wohl meines Glückes Last, Ah, but how great is the weight of my joy now, Daß kein Klang auf Erden es in sich faßt? That no sound on Earth can contain it?

Nun, liebe Laute, ruh an dem Nagel hier! Now, dear lute, rest here on this nail! Und weht ein Lüftchen über die Saiten dir, And if a breeze flutters over your strings, Und streift eine Biene mit ihren Flügeln dich, And if a bee brushes you with its wings, Da wird mir so bange, und es durchschauert mich. It makes me so anxious, and a shudder Warum ließ ich das Band auch hängen so lang? runs through me. Oft fliegt’s um die Saiten mit seufzendem Klang. Why did I leave that ribbon hanging so long? Ist es der Nachklang meiner Liebespein? It often flits over the strings as if sighing. Soll es das Vorspiel neuer Lieder sein? Is it the echo of my lovelorn pining? Might it be the prelude to new songs?

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Mit dem grünen Lautenbande With the Green Lute Ribbon “Schad um das schöne grüne Band, “A pity that this pretty ribbon, Daß es verbleicht hier an der Wand, Should fade here on the wall; Ich hab das Grün so gern!” I’m so fond of green!” So sprachst du, Liebchen, heut zu mir; So you said to me, my dear, today; Gleich knüpf ich’s ab und send es dir: I’ll take it down and send it your way: Nun hab das Grüne gern! Now be fond of green!

Ist auch dein ganzer Liebster weiß, Although your sweetheart’s all in white, Soll Grün doch haben seinen Preis, Green deserves its praise; Und ich auch hab es gern. And I am also fond of green – Weil unsre Lieb ist immergrün, Because our love is evergreen, Weil grün der Hoffnung Fernen blühn, And Hope blooms greenly in the distance, Drum haben wir es gern. We both are fond of green.

Nun schlinge in die Locken dein Now tie your hair up pleasingly Das grüne Band gefällig ein, With this green ribbon; Du hast ja’s Grün so gern. You’re just so fond of green. Dann weiß ich, wo die Hoffnung wohnt, Then I will know where Hope abides, Dann weiß ich, wo die Liebe thront, Then I will know where Love is king, Dann hab ich’s Grün erst gern. And I’ll be truly fond of green.

Der Jäger The Hunter Was sucht denn der Jäger am Mühlbach hier? What does the hunter seek here at the mill-stream? Bleib, trotziger Jäger, in deinem Revier! Stay, stubborn hunter, in your own territory! Hier gibt es kein Wild zu jagen für dich, There is no game for you to chase here; Hier wohnt nur ein Rehlein, ein zahmes, für mich, Only a little doe lives here, a tame one, for me, Und willst du das zärtliche Rehlein sehn, And if you want to see the tender doe, So laß deine Büchsen im Walde stehn, Then leave your rifles in the woods, Und laß deine klaffenden Hunde zu Haus, And leave your barking dogs at home, Und laß auf dem Horne den Saus und Braus, And stop the horn from blasting and blowing, Und schere vom Kinne das struppige Haar, And shear the shaggy hair from your chin, Sonst scheut sich im Garten das Rehlein fürwahr. Else the doe will hide itself in the garden.

Doch besser, du bliebest im Walde dazu Better for you to stay in the forest Und ließest die Mühlen und Müller in Ruh. And leave the mills and the miller in peace. Was taugen die Fischlein im grünen Gezweig? What use are fishes among green branches? Was will den das Eichhorn im bläulichen Teich? What would a squirrel want with blue ponds? Drum bleibe, du trotziger Jäger, im Hain, Therefore stay, stubborn hunter, in the groves, Und laß mich mit meinen drei Rädern allein; And leave me and my three wheels alone. Und willst meinem Schätzchen dich machen beliebt, And if you wish to be liked by my sweetheart,

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So wisse, mein Freund, was ihr Herzchen betrübt: Then know, my friend, what troubles her heart: Die Eber, die kommen zur Nacht aus dem Hain The boars come out at night from the grove Und brechen in ihren Kohlgarten ein And break into her cabbage-garden Und treten und wühlen herum in dem Feld: And trample and wallow around in the field: Die Eber, die schieß, du Jägerheld! These boars - shoot them, heroic hunter!

Eifersucht und Stolz Jealousy and Pride Wohin so schnell, so kraus und wild, Where are you going so quickly, my dear stream, mein lieber Bach? so ruffled and wild? Eilst du voll Zorn dem frechen Are you rushing full of anger for the Bruder Jäger nach? arrogant hunter? Kehr um, kehr um, und schilt erst Turn back, turn back, and first scold deine Müllerin your millermaid, Für ihren leichten, losen, kleinen Flattersinn. For her light, loose, fickle little mind.

Sahst du sie gestern abend nicht am Tore stehn, Didn’t you see her at the gate last night, Mit langem Halse nach der großen Straße sehn? Stretching her neck out toward the road? Wenn vom den Fang der Jäger lustig zieht nach When the hunter returns merrily home from Haus,Da steckt kein sittsam Kind den Kopf zum the hunt, fenster ‘naus. No modest girl sticks her head out the window.

Geh, Bächlein, hin und sag ihr das; doch sag Go, stream, and tell her that; but ihr nicht, do not say – Hörst du, kein Wort von meinem traurigen Do you hear? – say nothing of my Gesicht. sad face. Sag ihr: Er schnitzt bei mir sich eine Tell her: He is whittling a reed pipe, Pfeif’ aus Rohr And he plays pretty dances and songs Und bläst den Kindern schöne Tänz’ for the children. und Lieder vor.

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Die liebe Farbe The Favorite Color In Grün will ich mich kleiden, I will clothe myself in green, In grüne Tränenweiden: In green weeping willows: Mein Schatz hat’s Grün so gern. My sweetheart is so fond of green. Will suchen einen Zypressenhain, I’ll look for a grove of cypresses, Eine Heide von grünen Rosmarein: A bush of green rosemary: Mein Schatz hat’s Grün so gern. My sweetheart is so fond of green.

Wohlauf zum fröhlichen Jagen! Off to the merry hunt! Wohlauf durch Heid’ und Hagen! Off through heath and hedge! Mein Schatz hat’s Jagen so gern. My sweetheart is so fond of hunting. Das Wild, das ich jage, das ist der Tod; The beast that I’m hunting is Death; Die Heide, die heiß ich die Liebesnot: The heath is what I call lovesickness: Mein Schatz hat’s Jagen so gern. My sweetheart is so fond of hunting.

Grabt mir ein Grab im Wasen, Dig me a grave in the ground, Deckt mich mit grünem Rasen: Cover me with green grass: Mein Schatz hat’s Grün so gern. My sweetheart is so fond of green. Kein Kreuzlein schwarz, kein Blümlein bunt, No little black cross, no colorful flowers, Grün, alles grün so rings und rund! Green, everything green all around! Mein Schatz hat’s Grün so gern. My sweetheart is so fond of green.

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Die böse Farbe The Hateful Color Ich möchte ziehn in die Welt hinaus, I’d like to go out into the world, Hinaus in die weite Welt; Out into the wide world; Wenn’s nur so grün, so grün nicht wär, If only it were not so green, so green, Da draußen in Wald und Feld! Out there in forest and field!

Ich möchte die grünen Blätter all I would like to pluck all the green leaves Pflücken von jedem Zweig, From every branch, Ich möchte die grünen Gräser all I would like to weep on all the grass Weinen ganz totenbleich. Until it is pale as death.

Ach Grün, du böse Farbe du, Ah, Green, you hateful color, you, Was siehst mich immer an Why do you always look at me, So stolz, so keck, so schadenfroh, So proud, so bold, so gloating, Mich armen weißen Mann? At me, poor pale man that I am?

Ich möchte liegen vor ihrer Tür I would like to lie in front of her door, Im Sturm und Regen und Schnee. In storm and rain and snow. Und singen ganz leise bei Tag und Nacht And sing quietly by day and by night Das eine Wörtchen: Ade! One little word: Farewell! Horch, wenn im Wald ein Jagdhorn schallt, Hark, when in the forest a hunter’s horn sounds Da klingt ihr Fensterlein! Her window clicks open! Und schaut sie auch nach mir nicht aus, And even if she doesn’t look for me, Darf ich doch schauen hinein. I can certainly look in.

O binde von der Stirn dir ab O unwind from your forehead Das grüne, grüne Band; That green, green ribbon; Ade, ade! Und reiche mir Farewell, farewell! And give me Zum Abschied deine Hand! Your hand as we part ways!

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Trockne Blumen Dry flowers Ihr Blümlein alle, All you little flowers, Die sie mir gab, That she gave to me, Euch soll man legen You should be laid Mit mir ins Grab. With me in my grave.

Wie seht ihr alle Why do you all look Mich an so weh, At me so sadly, Als ob ihr wüßtet, As if you knew Wie mir gescheh? What would happen to me?

Ihr Blümlein alle, All you little flowers, Wie welk, wie blaß? How wilted, how pale! Ihr Blümlein alle, All you little flowers, Wovon so naß? Why are you wet?

Ach, Tränen machen Ah, tears do not make Nicht maiengrün, Things as green as in May, Machen tote Liebe Do not make dead love Nicht wieder blühn. Bloom again.

Und Lenz wird kommen, And Spring will come, Und Winter wird gehn, And Winter will go, Und Blümlein werden And flowers will Im Grase stehn. Stand in the grass.

Und Blümlein liegen And flowers will lie In meinem Grab, In my grave, Die Blümlein alle, All the flowers Die sie mir gab. That she gave to me.

Und wenn sie wandelt And when she wanders Am Hügel vorbei Past the mound of earth Und denkt im Herzen: And thinks in her heart: Der meint’ es treu! His feelings were true!

Dann, Blümlein alle, Then, little flowers, Heraus, heraus! Come out, come out! Der Mai ist kommen, May has come, Der Winter ist aus. Winter is done.

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Der Müller und der Bach The Miller and the Brook Der Müller: The Miller: Wo ein treues Herze When a true heart In Liebe vergeht, Wastes away in love, Da welken die Lilien Then the lilies wilt Auf jedem Beet; In every bed; Da muß in die Wolken Then the full moon Der Vollmond gehn, Must go into the clouds, Damit seine Tränen So that her tears Die Menschen nicht sehn; Aren’t seen by man; Da halten die Englein Then the angels Die Augen sich zu Shut their eyes Und schluchzen und singen And sob and sing Die Seele zur Ruh. Their souls to sleep.

Der Bach: The Stream: Und wenn sich die Liebe And when Love Dem Schmerz entringt, Conquers pain, Ein Sternlein, ein neues, A little star, a new one, Am Himmel erblinkt; Shines in the sky; Da springen drei Rosen, Then three roses spring up, Halb rot und halb weiß, – Half-red and half-white, Die welken nicht wieder, That will never wilt – Aus Dornenreis. On thorny stalks. Und die Engelein schneiden And the angels cut Die Flügel sich ab Their own wings off Und gehn alle Morgen And go every morning Zur Erde herab. Down to the Earth.

Der Müller: The Miller: Ach Bächlein, liebes Bächlein, Ah, stream, dear stream, Du meinst es so gut: You mean so well, Ach Bächlein, aber weißt du, Ah, stream, but do you know Wie Liebe tut? What love can do? Ach unten, da unten Ah, under, under, Die kühle Ruh! There is cool rest! Ach Bächlein, liebes Bächlein, Ah, stream, dear stream, So singe nur zu. Please just sing on.

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Des Baches Wiegenlied The Stream’s Lullaby Gute Ruh, gute Ruh! Rest well, Rest well! Tu die Augen zu! Close your eyes! Wandrer, du müder, du bist zu Haus. Wanderer, tired one, you are home. Die Treu’ ist hier, Devotion is here, Sollst liegen bei mir, You shall lie by me, Bis das Meer will trinken die Bächlein aus. Until the ocean drinks the stream dry.

Will betten dich kühl I will lay you down Auf weichem Pfühl On a cool, soft pillow, In dem blauen kristallenen Kämmerlein. In the blue crystal room. Heran, heran, Come, come, Was wiegen kann, Let whatever can lull Woget und wieget den Knaben mir ein! Cradle and lull my boy to sleep!

Wenn ein Jagdhorn schallt When a hunting-horn sounds Aus dem grünen Wald, From the green woods, Will ich sausen und brausen wohl um dich her. I will roar and rush around you. Blickt nicht herein, Don’t look inside, Blaue Blümelein! Little blue flowers! Ihr macht meinem Schläfer die Träume so schwer. You make my sleeper’s dreams so troubled.

Hinweg, hinweg Away, away Von dem Mühlensteg, From the mill-path, Hinweg, hinweg, Away, away, Böses Mägdelein! Naughty girl! Daß ihn dein Schatten nicht weckt! So that your shadow does not wake him! Wirf mir herein Throw in to me Dein Tüchlein fein, Your fine handkerchief, Daß ich die Augen ihm halte bedeckt! So I may cover up his eyes!

Gute Nacht, gute Nacht! Goodnight, goodnight, Bis alles wacht, Until all awakens, Schlaf aus deine Freude, schlaf aus dein Leid! Sleep away your joy, sleep away your pain! Der Vollmond steigt, The full moon climbs, Der Nebel weicht, The mist retreats, Und der Himmel da oben, wie ist er so weit! And above us, how wide is the sky!

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