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Home , John Mark Ainsley, Richard Tauber, Sarah Connolly

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The Exquisite Hour Beethoven: Lieder und Gesänge Sarah Connolly (with Eugene Asti) John Mark Ainsley / Iain Burnside SIGCD072 SIGCD145

Following Sarah Connolly’s series of title roles at English National Although he is often overlooked as a song writer in comparison to , Glyndebourne and New York's in 2005, his instrumental works, almost half of Beethoven's total output this live recital was recorded at St. John’s, Smith Square, , called for a voice. This luminous collaboration between world- having been premiered at Carnegie Hall earlier in the year. renowned John Mark Ainsley and Iain Burnside redresses that Accompanied by Eugene Asti, Sarah Connolly sings songs by balance, with a collection of some of the very best of his Lieder Haydn, Brahms, Hahn, Korngold and Weill. and Gesänge.

“Hugely impressive disc, testifying to the versatility and range of a “Iain Burnside’s fluid playing is delightful, while Ainsley’s artistry singer who has already drawn comparisons with Janet Baker” is fascinating.”Anna Picard, The Independent The Guardian

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Sonnett für Wien Programme Note ItAdventures is in the film of Robin world, Hood though, that his reputation has endured most strongly. His music for immortal , born in Brno in 1897, swashbucklersElizabeth and Essex such as The Sea Hawk, The 1. Sonnett für Wien, Op. 41 [3.14] Unvergänglichkeit, Op. 27 started his musical life as one of the most and The Private Lives of 16. Unvergänglichkeit [2.34] astonishing child prodigy composers in history. were technically groundbreaking Vier Abschiedslieder, Op. 14 17. Das eilende Bächlein [1.46] The son of the music critic Julius Korngold, who and made him one of the most influential figures 2. Sterbelied [4.16] 18. Das schlafende Kind [2.15] was appointed to the influential Viennese in the history of the film score as an independent 3. Dies eine kann mein Sehnen [2.29] 19. Stärker als der Tod [1.37] newspaper Die neue freie Presse when Erich was genre - an influence that is still felt today. nimmer fassen 20. Unvergänglichkeit [2.46] four years old, he reaped both early advantage Romanticism did not die as the 20th century 4. Mond, so gehst du wieder auf [4.03] Songs of the Clown, Op. 29 and lifelong psychological trauma from his progressed; it merely migrated to the cinema, 5. Gefasster Abschied [3.51] 21. Come away death [2.15] powerful and controlling father; and despite an largely thanks to Korngold, who regarded his films Drei Lieder, Op. 18 22. O Mistress Mine [1.52] illustrious beginning when Mahler himself as ‘ without singing’ and wove them out of 6. In meine innige Nacht [4.15] 23. Adieu, Good Man Devil [0.44] declared the nine-year-old lad a genius, he ended leitmotifs, key symbolism and other techniques 7. Tu ab den Schmerz [1.40] 24. Hey Robin [0.44] his days in embittered exile in California, believing deriving from Wagner, Strauss and his own 8. Versuchung [2.27] 25. For the rain, it raineth every day [2.53] himself forgotten. teacher, Zemlinsky. Drei Lieder, Op. 22 Fünf Lieder, Op. 38 9. Was du mir bist? [3.13] 26. Glückwunsch [2.39] Korngold was in many ways a victim of Like many composers, Korngold was a master of 10. Mit dir zu schweigen [1.59] 27. Der Kranke [2.39] circumstance; in other ways, he remains an recycling and tried never to waste a good idea. 11. Welt ist stille eingeschlafen [3.14] 28. Alt-Spanisch [1.35] example of what can go wrong when a great talent Therefore there is considerable cross-fertilisation is mistakenly pruned. Whether or not one agrees between his concert works and his film scores - Four Shakespeare Songs, Op. 31 29. Old English Song [1.00] that his disinclination to move with his times not least in his copious output of Lieder. Many 12. Desdemona’s song [3.02] 30. My Mistress’ Eyes [2.14] musically was detrimental to his career, there is songs assumed to have been written for film have 13. Under the Greenwood tree [2.15] nevertheless no doubt that he possessed an turned out to date from his earlier days in Vienna 14. Blow, blow, thou winter wind [2.07] Total Timings [74.26] extraordinary instinct for combining music and - for instance, the Old Spanish Song, which puts 15. When birds do sing [2.44] tote Stadt drama - from his solo songs to movie scores by in a delicious appearance in The Sea Hawk. way of his operas, especially the celebrated Die Others, like the Sonnett für Wien, take melodies Sarah Connolly mezzo-soprano (1920). that featured in films and reset them for an utterly William Dazeley baritone Iain Burnside piano different purpose.

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A eulogy to the lost world of pre-First World War seeing the city he loved reduced from the heart of harmonic and instrumental invention he possibly response to Eleanore van der Straaten’s love Vienna, the Sonnett für Wien is Korngold’s last Habsburg Europe to a powerless backwater. could - bitonality, polytonality and mysticism ooze poetry ideally suits the words. song, dating from 1953. Its theme is a resetting in from the gargantuan score in an overwhelming basicallyNever duple time of the soaring waltz tune that Another, more personal situation fed into the paean to the power of love. Kaltneker’s mystical It was van der Straaten’s poems that also inspired graced the score of a movie entitled Escape Me tenderness and sorrow of these songs: Korngold tendencies are likewise present in these three Korngold’s song cycle, Unvergänglichkeit. With the , with which ‘turkey’ of a film it had vanished was in love with Luzi von Sonnenthal, a young poems; and Korngold gives his settings a similar cyclic nature of the music suggesting the eternally tooWunder quickly. der The Heliane words are an unpublished sonnet actress from an important Viennese family of mystery, harmonic adventure and richness of renewed nature of love, its self-contained, direct by Hans Kaltneker, the poet who had penned the thespians, whom he eventually married in 1924; texture to that of Heliane, with piano writing that expression signals a relatively new self-discipline play on which Korngold’s biggest opera, Das the match initially met with intense disapproval is commensurately demanding. in Korngold’s language - though its brevity also , was based. By 1953 Vienna from both families, though, and for some time the suggests, perhaps, the lack of time for was a shadow of its former self; there, on his pair were forbidden to see each other. The farewell The unhappy aftermath of Heliane was still composition that now haunted his hectic short-lived return in 1950, Korngold, formerly such of Korngold’s title is not only to Vienna but to Luzi, haunting Korngold when he composed the Op. 22 schedule. It’s a touching work that benefits from a celebrity, met with little other than cold shoulders. for whom he coined a symbolic ‘signature’ motif songs. The opera - the sheer ambition of which, repeated hearing. that appears in the first song. The Abschiedslieder along with its problematic libretto, makes it Music to Much Ado About Nothing The Abschiedslieder, with their burnished as a whole bring together disparately written texts extremely difficult to perform successfully - had Even in his childhood, Korngold adored Shakespeare. Mahlerian colours and wide-spun melodic arcs, on the theme of death, love and farewell, not achieved the acclaim its composer dreamed He enjoyed considerable acclaim for his Incidental date from the old Vienna rather than the new. They beginning with Christina Rossetti’s famous of,auf and a rivalry engineered by his father between (1918-19); auf were written in 1920 when the 23-year-old . The melody of Mond, so geh’st du wieder it and another new opera, Krenek’s Jonny spielt given his natural gift for correlating music and composer was enjoying his greatest successes in also appears in Korngold’s Piano Quintet, where , had backfired horribly against Korngold. By drama, as well as his famous quick wit, there the concert hall and opera house; it forms the basis of the slow movement. 1928, he was furthermore struggling to support could have been no finer topic for him. His first was premiered in December that year. The First Luzi and their two small sons, and had taken a job effort for Hollywood was the arrangement of World War had left a profound impact on his The three Kaltneker songs Op. 18 are among the arranging and conducting for the Mendelssohn’s incidental music for Max Reinhardt’s impressionable psyche. Korngold escaped seeing most complex Lieder in Korngold’s output. ; it was through this that, ambitious film of A Midsummer Night’s Dream action in the war; aged 18, he was drafted, but Kaltneker’sHeliane unpublished play Die Heilige had crucially, he met the theatre director Max (1934-5); this was the project that first took him was fortunate enough to be recognised by the sparked into life Korngold’s Das Wunder der Reinardt. His nervousness about revisiting the to America and brought him to Warner Brothers, doctor in charge of his military medical - effectively a giant, erotic mystery play, world of Heliane showed in his decision to adopt a which good fortune ultimately saved the Jewish mir bist? examination; he subsequently became musical the opera is a post-romantic, expressionistic effort more straightforward language and greater composer and his family from death in post- director of his regiment. But in the war he lost a on a scale that exceeds even Schoenberg’s transparency in his music. The exquisite Was du Vienna. And it was no coincidence that favourite uncle and several friends, as well as Gurrelieder, and Korngold threw into it every is a prime example of this; Korngold’s some of his best film scores were for movies set in

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Olde Englande, which he naively expected - and a haunting art song, Der Kranke, portrays TEXTS Translations © Uri Liebrecht - www.uritext.co.uk knowing nothing of the English language or of the love of life in one who knows he must soon American culture - would be redolent of the leave it. 1 Sonett für Wien, Op. 41 Sonnet for Vienna Immortal Bard. Korngold himself was by no means healthy during Du Stadt, du Psalm, aus Gottes Mund erklungen O city, psalm intoned by the breath of God and become stone, marble, park and garden, HisNight. Shakespeare Songs Op. 31 are settings of his Hollywood years; he was massively overweight und Stein geworden, Marmor, Park und Garten, poems from Othello, As You Like It and King Lear; and depressed through most of the war years. He Gedicht und der liebsten Engelzungen, poem and song from the sweetest tongues the Op. 38 Songs of the Clown are all from Twelfth suffered a severe heart attack at 50 and the threat die lange deiner gold’nen Kirchen harrten, of angels WorkshopReinhardt, Korngold’s closest and longest- of illness never really left him. He died at 60 of a drin alle Heil’gen, wunderlich bezwungen who’d waited long for your golden churches, term collaborator, set up the Max Reinhardt stroke. His wit had proved his strongest defence von ihrer hohen Form, zu Glanz erstarrten! within, all the saints strangely subdued by their stance in frozen radiance. in Los Angeles in 1937, a studio to train on his complex road - along with his music, which Stadt der Fontänen, altem Stein entsprungen, City of fountains sprung from ancient stone, young actors and directors; he and Korngold in recent years has enjoyed an extraordinary barocker Bauten, gnädiger Standarten, baroque buildings, noble banners continued to work together when possible and these posthumous renaissance in the concert hall, opera die über hohen Prozessionen schweben! fluttering above impressive processions. songsClowns were and among Songs the composer’s contribution to house and recording studio. a studio production called Shakespeare’s Women, Du Stadt, darin der Klang vergang’ner Zeiten You, city where the clamour of bygone ages , though some of the Op. 31 “Music is music,” said Korngold, “whether it is for noch klingt, still resounds, where antique gold still gleams, numbers had been written back in Vienna and the stage, rostrum or cinema. Form may change, darin das alte Gold noch leuchtet, where the sombre, holy pictures live were, naturally, recycled. the manner of writing may vary, but the composer darin die dunkeln, frommen Bilder leben and God’s eye, from the green distance Eyes needs to make no concessions whatever to what und Gottes Auge aus den grünen Weiten der Berge of the mountains, radiates a gentle, tear-stained It is Shakespeare, too, whose sonnet My Mistress’ he conceives to be his own musical ideology.” strahlt, melancholy. finishes the last set of songs on this disc, a Nowhere is this truer in Korngold’s output than in von Wehmut sanft befeuchtet. richly varied collection that begins with the his songs. Du Stadt, du Psalm... beautiful Glückwunsch - a lavish Straussian setting of a poem by Richard Dehmel using a Jessica Duchen Hans Kaltneker (1895 - 1919) melody that appears in the film Devotion (a biopic about the Brontës). The Old Spanish Song appears in The Sea Hawk, but Korngold wrote it at the tender age of 14 in 1911. The Old English Song unsurprisingly shares these filmic associations;

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2 - 5 Vier Abschiedslieder, Op.14 Four Songs of Farewell 3 Dies eine kann mein Sehnen nimmer fassen This is Beyond my Yearning’s Grasp

2 Sterbelied When I am dead, my dearest Dies eine kann mein Sehnen nimmer fassen; This is beyond my yearning’s grasp; dass nun von mir zu dir kein Weg mehr führe, That the road that linked us is no more, Lass Liebster, wenn ich tot bin, When I am dead, my dearest, dass du vorübergehst an meiner Türe That you may pass before my door lass du von Klagen ab; Sing no sad songs for me; in ferne, stumme, ungekannte Gassen. Along distant, silent, unknown paths. Statt Rosen und Cypressen Plant thou no roses at my head, wächst Gras auf meinem Grab: Nor shady cypress tree: Wär’ es mein Wunsch, dass mir dein Bild erbleiche, Could I wish to see my image of you fade Ich schlafe still im Zwielichtschein Be the green grass above me wie Sonnenglanz, von Nebeln aufgetrunken, Like sunshine swallowed by the mist, in schwerer Dämmernis; With showers and dewdrops wet; wie einer Landschaft frohes Bild, versunken Like the happy image of a scene Und wenn du willst, gedenke mein And if thou wilt, remember, im glatten Spiegel abendstiller Teiche? Sunk within the mirror of a pool at dusk? und wenn du willst, vergiss. And if thou wilt, forget. Der Regen fällt. Die müden Bäume triefen; Rain falls, the weary trees are dripping; Ich fühle nicht den Regen, I shall not see the shadows, Wie welkes Laub verwehn viel Sonnenstunden. Like fallen leaves the sun-filled hours lie ich seh’ nicht, ob es tagt; I shall not feel the rain; Noch hab’ ich in mein Los mich nicht gefunden scattered. ich höre nicht die Nachtigall, I shall not hear the nightingale und seines Dunkels uferlose Tiefen. As yet I have not found my self in this, my fate, die in den Büschen klagt: Sing on, as if in pain: Nor in its boundless darkness’ depths. Vom Schlaf erweckt mich keiner, And dreaming through the twilight Edith Ronsperger die Erdenwelt verblich. That doth not rise nor set. Vielleicht gedenk ich deiner, Haply I may remember, 4 Mond, so gehst du wieder auf So, Moon, You Rise Again vielleicht vergass ich dich. And haply may forget. Mond, so gehst du wieder auf So, moon, you rise again Adapted by Alfred Kerr (1867 - 1948) Christina Rossetti (1830 - 1894) überm dunklen Tal der ungeweinten Tränen! Over this dark vale of unwept tears! Lehr, so lehr mich’s doch, mich nicht nach ihr Teach me, teach me then not to long for her, zu sehnen To bleach the colour from my blood, blass zu machen Blutes Lauf, To feel no more this pain dies Leid nicht zu erleiden Of two people being parted. aus zweier Menschen Scheiden.

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Sieh, in Nebel hüllst du dich. I see you shroud yourself in mist, Schau zuletzt die schöne Linde, Look, lastly, at our linden tree, Doch verfinstern kannst du nicht den Glanz But cannot dim the brilliance of the image drunter uns kein Aug’ erspähte. No one ever caught us there. der Bilder, Waking me every night, aching more, more Glaub’, dass ich dich wiederfinde; Trust - you’ll be returned to me; die mir weher jede Nacht erweckt und wilder. desperate. ernten wird, wer Liebe säte. Sown in joy, love reaps its share. Ach! im Tiefsten fühle ich: Ah, in my depths I feel: Weine nicht!... das Herz, das sich musst’ trennen The heart that has to live apart wird ohne Ende brennen. Will now burn for ever. Ernst Lothar

Ernst Lothar (1890 - 1974) 6 - 8 Drei Lieder, Op. 18 Three Songs 5 Gefasster Abschied Controlled Farewell 6 In meine innige Nacht In My Deepest Night Weine nicht, dass ich jetzt gehe, Do not weep now that I’m going, heiter lass’ dich von mir küssen, Let me kiss you in good cheer, In meine innige Nacht geh’ ich ein. I am declining into my deepest night. Blüht das Glück nicht aus der Nähe, Fortune’s bloom may not be showing, Wirst du schwebender Traum um meine Stirne sein? Will you, hovering dream, be at my brow? Ferne wird’s dich keuscher grüssen. Shy, it waits till I’m not here. Wirst du heilig und still auf meinen Kissen ruhn? Will you be resting on my bed, holy and quiet? Wenn ich weine, wirst du’s mit mir tun? And when I weep, will you weep now? Nimm diese Blumen, die ich pflückte, Take these flowers which I got you, Monatsrosen rot und Nelken, Roses I picked in the glade, Taut meinen Lippen dein Mund Lächeln mild, If you thaw my lips with your gentle smile, lass die Trauer, die dich drückte; Leave the sorrow which oppressed you; tief auf Sternengrund lieg’ ich gestillt. Soothed, I’ll lie among the stars a while. Herzens Blume kann nicht welken. My heart’s flower shall not fade. Rührt mich das Sterben an um Mitternacht, If death should touch me at the midnight hour, denke, ich sei vom Tod ins Leben erwacht. Think, that dying, I’ll waken to life’s power. Lächle nicht mit bitterm Lächeln, Do not smile so bitter a smile, stosse mich nicht stumm zur Seite; Or push me dumbly to one side; Denke, ich spiele fromm mit Gottes Getier, Think, with God’s creatures I shall bide, Linde Luft wird bald dich fächeln, Gentle winds will cool your ire, Denk’, ich bin nun weit und du bei mir. Think, though far away, you’re at my side. bald ist Liebe dein Geleite. Love will shortly be your guide. Hans Kaltneker Gib die Hand mir ohne Zittern, Take my hand without yours trembling, letztem Kuss gib alle Wonne. Give this last kiss all your love. Bang’ vor Sturm nicht; aus Gewittern Fear no storm; sun, after lightning strahlender geht auf die Sonne. Shines more brightly from above.

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7 Tu ab den Schmerz Away with Pain 9 - q Drei Lieder, Op. 22 Three Songs

Tu ab den Schmerz, entflieh, Verlangen! Away with pain, off with desire! 9 Was du mir bist? What you are to me? Sommer umblüht meiner süssen Schwester Haupt. Summer blooms at my dear sister’s head. Selig die Seele, die ohne Bangen Blessed the soul that without dread Was du mir bist? Der Ausblick in ein schönes Land, What you are to me? The sight of land, an den guten, den ewigen Winter glaubt. Would to unceasing winter aspire. Wo fruchtbelad’ne Bäume ragen, A stand of fruit-laden trees, Blumen blühn’ am Quellenrand. Flowers in bloom at the water’s edge. Tu auf dein Herz, zieh ein, o Friede! Open your heart, give peace a place! Schwebende Sonne küsst meiner Schwester Gesicht. The floating sun kisses my sister’s face. Was du mir bist? Der Stern’ Funkeln, das What you are to me? The sparkle of stars that Selig, der mit dem letzten Liede Blessed he who, with his last breath Gewölk durchbricht, breaks through the cloud, um die Schläfen des Todes blühende Kränze flicht. Weaves flowering chaplets about the brow of Death. Der ferne Lichtstrahl, der im Dunkeln spricht: The distant ray of light that through the O Wand’rer, verzage nicht! darkness says: Hans Kaltneker Traveller, don’t lose heart!

8 Versuchung Temptation Und war mein Leben auch Entsagen, And even if my life was one of resignation, glänzte mir kein froh Geschick, Where no good fortune came my way, Du reine Frau aus Licht und Elfenbein, Woman, pure, of ivory and light, was dur mir bist? Kannst du noch fragen? What you are to me? Need you ask? du helle Schwester mir am trüben Bette, Bright sister at my miserable bed, Was du mir bist: mein Glaube an das Glück. What you are to me: my faith in happiness. du meines Blutes letzte Zufluchtsstätte, You, the last refuge of my blood, du Seelenberge, tief und kühl und rein; Sanctuary for my soul, deep, cool and pure; Eleonore van der Straaten wie wenn dein Schoss mich einst geboren hätte, As if you were the one to give me birth, kehrt stets mein Herz in deiner Liebe ein. My heart returns in love to you. 0 Mit dir zu schweigen Silence, when I’m with you

Dich, süsse Heil’ge, kann kein Wunsch entweihn, Sweet saint, whom no desire can sully, Mit Dir zu schweigen still im Dunkel, To sit with you in silence in the dark, doch mich, dein Kind, aus wehem Feuer rette! Save me, your child, from woeful fire! die Seele an der Träume Schoss gelehnt, Our souls resting in the lap of dreams, Ich höre nachts die wilden Reiter jagen, I hear the horsemen wildly in the night, ist Lauschen ew’gen Melodien, Is to hear eternal melodies, heiss keucht ihr Atem mir ins Angesicht. Their hot breath panting in my face. ist Liebe ohne End. Is endless love, it seems. Nein, hilf mir nicht! Lass mich auch dies ertragen No, do not help, let me now bear this um dich, die mich erhebt, wenn sie mich bricht. For you, who exalts me even as I am crushed.

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Mit Dir zu schweigen in der Dämmerzeit To sit with you at twilight without words w - t Four Shakespeare Songs, Op. 31 e Under the Greenwood Tree ist Schweben nach der Welten grossen Fülle, Is to float towards the fullness of the earth, ist Wachsen weit in die Unendlichkeit, Is to grow deep into the infinite, w Desdemona’s song Under the greenwood tree entrückt in ew’ge Stille. Far removed, a tranquil berth. Who loves to lie with me, The poor soul sat sighing by a sycamore tree, And turn his merry note Karl Kobald (1876 - 1957) Sing all a green willow; Unto the sweet bird’s throat, Her hand on her bosom, her head on her knee, Come hither, come hither: q Welt ist stille eingeschlafen When the World has gone to sleep Sing willow, willow, willow; Here shall he see, No enemy The fresh streams ran by her, and murmur’d But winter and rough weather. Welt ist stille eingeschlafen, When the world has gone to sleep, her moans; Ruht im Mondenschein Resting in the moon-light Sing willow, willow, willow; Who doth ambition shun, Öffnen sich im Himmelshafen And in heaven’s harbour Her salt tears fell from her, and soften’d the stones. And loves to live i’ the sun, Augen, golden, rein, Eyes, pure and golden open, Sing willow, willow, willow; Seeking the food he eats, Gottes Geige singt jetzt leis’ God’s violin sings sweetly And pleas’d with what he gets, Liebste, denk’ an Dich, And my love, I think of you. Sing all a green willow my garland must be, Come hither, come hither: Sing all a green willow; Here shall he see, No enemy Wie im Traumboot geht die Reise, Sailing in a boat of dreams, Let nobody blame him; his scorn I approve, But winter and rough weather. such’ in Sternen Dich. I seek you in the stars, Sing willow, willow, willow; Strahlen sel’ger Lieb erhellen Beams of blissful love light up I call’d my love false love; but what said he then? If it do come to pass Meines Herzens Raum. The recesses of my heart. Sing willow, willow, willow; That any man turn ass, Zweisprach halten uns’re Seelen, Our souls in deep communion kiss, If I court moe women, you’ll couch with moe men! Leaving his wealth and ease, Küssen sich im Traum. In my dream … in my dream. Sing willow, willow, willow. A stubborn will to please, Ducdame, ducdame: Karl Kobald From Othello, Act IV, Scene 3 Here shall he see, Gross fools as he, And if he will come to me. Under the greenwood tree Who loves to lie with me.

From As You Like It, Act II, Scene 5

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r Blow, blow, thou winter wind. t When Birds do sing y - p Unvergänglichkeit, Op. 27 The Eternal After the poem by Eleonore van der Straaten Blow, blow thou winter wind, It was a lover and his lass, Thou art not so unkind With a hey, and a ho, and a hey nonino, y Unvergänglichkeit For Ever As man’s ingratitude; That o'er the green cornfields did pass. Thy tooth is not so keen In spring time, the only pretty ring time, Deine edlen weissen Hände Your precious white hands Because thou art not seen, When birds do sing, hey ding a ding a ding; Legen meine Seel’ zur Ruh’. Lay my soul to rest. Although thy breath be rude. Sweet lovers love the spring. Wenn sie meinen Scheitel segnen, As they bless me, closing my eyes, Heigh ho! sing heigh ho! unto the green holly: schliess’ ich meine Augen zu I quietly say: You. Most friendship is feigning, most loving mere folly: Between the acres of the rye, und sag’ nur leise: Du. Then, heigh ho! the holly! With a hey, and a ho, and a hey nonino, This life is most jolly. These pretty country folks would lie, Und Welten sinken in ein Nichts, Whole worlds come to nothing, In spring time, the only pretty ring time, die Meere rauschen dumpf und weit, Seas pound, dull, far away. Freeze, freeze thou bitter sky, When birds do sing, hey ding a ding a ding; Deine edlen weissen Hände sind mir Your precious white hands Thou dost not bite so nigh Sweet lovers love the spring. Unvergänglichkeit Are what’s for ever, You. As benefits forgot: Though thou the waters warp, This carol they began that hour, u Das eilende Bächlein The Rushing Brook Thy sting is not so sharp With a hey, and a ho, and a hey nonino, As friend remember’d not. How that a life was but a flower. Bächlein, wie du eilen kannst, Little stream, in such a hurry, Heigh ho! sing heigh ho! unto the green holly: In spring time, the only pretty ring time, rasch geschäftig, ohne Rast und Ruh’. Swift and busy without rest. Most friendship is feigning, most loving mere folly: When birds do sing, hey ding a ding a ding; Wie du Steinchen mit dir nimmst, Watching you wash down the pebbles, Then, heigh ho! the holly! Sweet lovers love the spring. schau’ dir gerne zu. That’s what I like doing best. This life is most jolly. And therefore take the present time Doch das Bächlein spricht zu mir, But the stream is talking to me, With a hey, and a ho, and a hey nonino, From As You Like It, Act II, Scene 7 “Siehst du, liebes Kind, “Do you see, my little friend, For love is crownéd with the prime. wie die Welle eilt und rast, How the waves are rushing onward, In spring time, the only pretty ring time, und vorüber rinnt? Racing past you without end? When birds do sing, hey ding a ding a ding; Sweet lovers love the spring.

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Jeder Tropfen ist ein Tag, Each drop represents a day, p Unvergänglichkeit s O Mistress Mine jede Welle gleicht dem Jahr! Each wave sees a year roll on, Text as for track y Und du stehst am Ufer nur, You just standing at the bank side, O mistress mine, where are you roaming? a g Songs of the Clown, Op. 29 sagst dir still: Es war.” Saying quietly, There it’s gone!” - O stay and hear, your true love’s coming Text from William Shakespeare’s Twelfth Night That can sing both high and low. i Das schlafende Kind The Sleeping Child a Come away death Trip no further, pretty sweeting; Wenn du schläfst, ich segne dich, Kind, As you sleep I bless you, child, Come away, come away, death, For Journeys end in lovers’ meeting, segne dich in deinen Kissen. Bless you lying on your pillow. And in sad cypress let me be laid; Ev’ry wise man’s son doth know. Wenn du lächellst hell im Traum. When you’re smiling in your dreams, Fly away, fly away, breath; möchte ich fragen: darf ich wissen, Oh, how much I wish I knew, I am slain by a fair cruel maid. What is this love? ‘Tis not hereafter; was ein Englein dir jetzt sang? What did the angel sing to you? My shroud of white, stuck all with yew, Present mirth hath present laughter; O prepare it! What’s to come is still unsure. Doch ich will dich träumen lassen, But I’ll leave you to your dreaming, My part of death, no one so true nichts ist schöner als der Traum, Nothing’s better than a dream. Did share it. And in delay there lies no plenty; Und du sollst auch niemals wissen, But I hope you’ll never know, Then come kiss me, sweet and twenty; dass auch das Glück nur ein Traum. That this happiness, also, is but a dream. Not a flower, not a flower sweet, Youth’s a stuff will not endure. On my black coffin let there be strown; o Stärker als der Tod Stronger than Death Not a friend, not a friend greet From Twelfth Night, Act II, scene 3. My poor corpse, where my bones shall be thrown: Nimm meinen schwarzen Dornenkranz Rid me of this crown of thorns, A thousand, thousand 2 sighs to save, d Adieu, Good Man Devil Aus meinem weissen Haar, This heavy crown of black and painful thought. Lay me, O where Den Kranz der dunklen Schmerzgedanken. Let joyous vines wreathe my grey head True lover never find my grave, I am gone, sir, Lass um mein müdes Haupt In splendid colour, and I’ll be taught, To weep there! And anon, sir, Weinlaub der Freude ranken. Love wields more power than being dead. I’ll be with you again, Es soll das Rebenblatt mich lehren in a trice, Durch seine Pracht und durch sein Rot, Like to the old vice, Dass Liebe eine grosse Macht Your need to sustain. Und stärker noch als selbst der Tod. Who with dagger of lath

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In his rage and his wrath, But when I came, alas! to wive, h - ; Fünf Lieder, Op. 38 Five Songs Cries, aha, to the devil, aha, ha, ha! With hey, ho, the wind and the rain, Like a mad lad, By swaggering could I never thrive, h Glückwunsch Good Luck Wish Pare thy nails, dad. For the rain it raineth every day. Adieu, good man devil. Ich wünsche dir Glück, I wish you well, A great while ago the world begun, Ich bring dir die Sonne in meinem Blick. I bring you sunlight in my eye. From Twelfth Night, Act IV, scene 2. With hey, ho, the wind and the rain, Ich fühle dein Herz in meiner Brust; I feel your heart within my breast; But that’s all one, our play is done, es wünscht dir mehr als eitel Lust. I wish you more than idle joy. f Hey, Robin And we’ll strive to please you every day. Es fühlt und wünscht: die Sonne scheint My wish is for the sun to shine auch wenn dein Blick zu brechen meint. Even if your eyes are full of tears. Hey, Robin, jolly Robin, From Twelfth Night, Act V, scene 1. Tell me how thy lady does. Es wünscht dir Blicke so sehnsuchtslos I wish your eye so without want My lady is unkind, perdy. als trügest du die Welt im Schoss. As if you owned the whole wide world. Hey, Robin, jolly Robin, Es wünscht dir Blicke so voll Begehren I wish your eye filled with desire Tell me why is she so? als sei die Erde neu zu gebären. As were the world to be reborn. She loves another, another. Es wünscht dir Blicke voll der Kraft I wish your eye filled with the strength die aus Winter sich Frühling schafft. That out of winter makes the spring. From Twelfth Night, Act IV, scene 2. Und täglich leuchte durch dein Haus And every day, in every room g For the rain, it raineth every day aller Liebe Blumenstrauss. Let the light of my love bloom.

When that I was and a little tiny boy, Richard Dehmel (1863 - 1920) With hey, ho, the wind and the rain, A foolish thing was but a toy, j Der Kranke The Sick Man For the rain it raineth every day. Soll ich dich denn nun verlassen, Is it time for me to leave you, But when I came to man’s estate, Erde, heit’res Vaterhaus? Earth, happy home of all my fathers? With hey, ho, the wind and the rain, Herzlich Lieben, mutig Hassen, Heart-felt love, intrepid hatred, ‘Gainst knaves and thieves men shut their gate, ist denn alles, alles aus? Are they really, truly past? For the rain it raineth every day. - 20 - - 21 - 160Booklet2 20/3/09 13:02 Page 23

Vor dem Fenster durch die Linden At the window, through the lime trees Wie ein Echo tönt die Weise: Echo-like, repeats the theme: spielt es wie ein linder Gruss Breezes play a gentle greeting, ‘Mein Lieb kehrt nicht zurück!’ ‘My love’s not coming back!’ Lüfte, wollt ihr mir verkünden, Do they really mean to tell me, dass ich bald hinunter muss? Soon my Maker I’ll be meeting? Howard Koch (1902 - 1995)

Liebe ferne blaue Hügel, Blue and distant my dear mountains, stiller Fluss im Talesgrün, Quiet river in the vale, l Old English Song ; My Mistress’ Eyes ach, wie oft wünscht ich mir Flügel How I missed the wings to take me über euch hinweg zu zieh’n! Soaring over hill and dale! Now hark, all you gallants! My Mistress’ eyes are nothing like the sun; Your ears I would tease, Coral is far more red than her lips’ red; Da sich jetzt die Flügel dehnen, Now Death’s Angel’s wings are straining, With a song of Lord Essex If snow be white, why then her breasts are dun; schaur’ ich in mich selbst zurück; I recoil into myself; In the fight of Cadiz! If hairs be wires, black wires grow on her head. und ein unbeschreiblich Sehnen Indescribable is the yearning zieht mich zu der Welt zurück. That draws me back to all life’s worth. How he scuppered them Spaniards I have seen roses damask’d, red and white, And hacked on their spleen, But no such roses see I in her cheeks; Josef von Eichendorf (1788 - 1857) For the glory of England And in some perfumes is there more delight And Elizabeth, our queen! Than in the breath that from my mistress reeks. k Alt-Spanisch Old Spanish We’ve rounded the port, boys, I love to hear her speak, yet well I know Steht ein Mädchen an dem Fenster, A girl, standing at her window, The cannons they roar, That music hath a far more pleasing sound; in die Ferne schweift ihr Blick. Looks as far as she can see. The sea’s full of corpses I grant I never saw a goddess go, Blass die Wangen, schwer ihr Herze, Her cheeks are pale, and heavy-hearted And Spain is no more. My mistress when she walks, treads on the ground: singt sie von entschwund’nem Glück: She sings of happiness departed: ‘Mein Lieb kehrt nicht zurück!’ ‘My love’s not coming back!’ They bobbed on the tide, boys, And yet, by heaven, I think my love as rare, The fat and the lean, As any she belied with false compare. Der Abend dämmert sacht, Evening draws in gently, For the glory of England ein Stern ersehnt die Nacht A star yearns for the night And Elizabeth, our queen. Sonnet 130, by William Shakespeare Und im Winde klinget leise And in the wind, quite softly, Eine bange Traummusik, Music from a fearful dream, Traditional Folksong

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BIOGRAPHIES

SARAH CONNOLLY

Born in County Durham, mezzo-soprano Sarah A prolific recording artist, her many discs include Connolly studied piano and singing at the Royal Purcell’s with the Orchestra of College of Music, of which she is now a Fellow. the Age of Enlightenment, with L’Orchestre des Champs-Élysées and She has performed with many of the world’s Herreweghe (winner of an Edison Award), Elgar’s leading opera companies, including , with the Bournemouth Symphony Bayerische Staatsoper, , Orchestra for Naxos (nominated for a Grammy Glyndebourne, Scottish Opera, Paris Opera and the Award) and her two recital discs ‘The Exquisite Metropolitan Opera. Highlights from her most recent Hour’ (also on Signum Records) and ‘Songs of season include her debut at the , Love and Loss’ have both won universal critical as Purcell’s Dido; her debut at the acclaim. She has also recorded the soundtrack, Liceu in Barcelona as Nerone; Romeo for Opera Fragments of a Prayer by Sir , for the North and a return to the Glyndebourne Festival as feature film ‘’. . Her future plans include returns to the ENO and to the Metropolitan Opera, New York. She studies with Gerald Martin Moore.

As well as frequent recitals in London and New www.sarah-connolly.com York, her many concert engagements include appearances at the Festival, Tanglewood Festival, BBC Proms, Vienna Konzerthaus, Philharmonie and the Amsterdam Concertgebouw with many of the world’s great orchestras. © Peter Warren

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WILLIAM DAZELEY IAIN BURNSIDE

The English baritone William Dazeley was born in Interweaving roles as pianist and Sony-Award- 1966 and is a graduate of Jesus College, winning radio presenter with equal aplomb, Iain Cambridge. He studied singing at the Guildhall Burnside (“pretty much ideal” BBC Music Magazine) School of Music and Drama, where he won several is also - as his Century Songs demonstrated - a prizes including the prestigious Gold Medal. He master programmer with an instinct for the telling won the 1989 Decca - Kathleen Ferrier Prize, the juxtaposition. His recordings straddle an exuberantly 1990 Royal Overseas League Singing Competition, eclectic repertoire ranging from Schoenberg and the 1991 Richard Tauber Prize and the 1991 Copland to Debussy and Judith Weir - with a Walther Gruner International Lieder Competition. special place reserved for the highways and byways of English Song, as his acclaimed Signum One of the leading baritones of his generation, he recordings of FG Scott and Herbert Hughes have has appeared with many of the world’s important proved. Other Signum releases include two opera houses, including the Royal Opera House, volumes of Beethoven songs with Ann Murray, Covent Garden, Glyndebourne Festival, Deutsche John Mark Ainsley and Roderick Williams, and Staatsoper Berlin, , Théâtre Britten Abroad with Mark Padmore and Susan du Châtelet, Opera North, Scottish Opera, Welsh Gritton. Naxos recordings feature Vaughan National Opera, Théâtre de , Aix-en- Williams, Ireland and the complete Finzi songs. Provence Festival, , , Pittsburgh Opera, among others. He currently presents ‘Iain Burnside’ on BBC Radio 3. Concert appearances have included appearances Distributed under license from the BBC. BBC is a trademark of the British Broadcasting Coroporation and is used under license. BBC © BBC 1996 with the Royal Flanders Philharmonic, City of Recorded at Potton Hall, 6th - 7th May 2007 and 26th - 27th May 2008. P 2009 Signum Records Ltd. Birmingham Symphony Orchestra, Monteverdi John Eliot Gardiner, Sir , Daniel C 2009 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Engineer - Mike Hatch Orchestra, BBC Symphony, , Barenboim, Sir , Leonard Slatkin, Producer and Editor - John H West Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact and London Symphony Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Christoph von Dohnányi, Ingo Metzmacher, Licences for public performances or broadcasting may be obtained from Phonographic Performance Orchestras. He has worked with leading Kazushi Ono and Michael Tilson Thomas. Cover Image - Shutterstock Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or Design and Artwork - Woven Design www.wovendesign.co.uk transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, conductors, including Philippe Herreweghe, Sir without prior permission from Signum Records Ltd. www.signumrecords.com SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected]

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