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LINN, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ UK t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e: [email protected] Franz Schubert (1797 – 1828) Franz Schubert Winterreise Winterreise, Op.89, D.911 Peter Harvey baritone 1 Gute Nacht 2 Die Wetterfahne piano 3 Gefrorne Tränen 4 Erstarrung 5 Der Lindenbaum 6 Wasserflut 7 Auf dem Flusse 8 Rückblick 9 Irrlicht 10 Rast 11 Frühlingstraum 12 Einsamkeit 13 Die Post 14 Der greise Kopf 15 Die Krähe 16 Letzte Hoffnung 17 Im Dorfe 18 Der stürmische Morgen 19 Täuschung 20 Der Wegweiser 21 Das Wirtshaus 22 Mut 23 Die Nebensonnen 24 Der Leiermann

2 3 Franz Schubert (1797 – 1828) : Winterreise, Op.89, D.911 one has the impression of drawing into oneself, essential to the portrayal of the inner drama of the piece. Another consequence of the light stringing is that lower Winterreise is a song cycle with which I have been fascinated since long before I transpositions can be used without risk of muddying the sound. This gave us greater started to have serious notions of singing. The bitter-sweet musical language and freedom to use key relationships which adhere more closely to Schubert’s original bleak text chimed well with my adolescent self, and, much later in life, I find that scheme, which is at odds with common practice, where the standard ‘medium voice’ it still resonates. Having worked so much in the world of ‘historical performance’, editions employ a mixture of transposed and untransposed keys. We were thus able for this recording it was natural to look afresh at how we might approach the piece. to preserve a subliminal aspect of the work’s beauty – the colour of the silence Certain decisions were easy to take – the use of a , for instance – but between the songs, and the frisson generated at the first chord of the following others, such as which transpositions to adopt (baritones sing the songs in lower keys piece. An example would be the resolution of the silence between ‘Der Wegweiser’ than the original, which had a tenor voice in mind), whether to reinstate Müller’s (F minor) and ‘Das Wirtshaus’ (Eb major), whose particular poignancy is lost without text in the places where Schubert modified it, and how to order the songs, were this sinking downwards into the major key. interesting questions to consider. It was interesting to consider Schubert’s various subtle changes to Müller’s text. In using a copy of an 1823 Brodmann piano (by David Winston) for this recording, our They tend towards a tauter expression, removing any suggestion of comic overtones intention was to recreate something of the sound world Schubert would have known. or misconstructions, which Schubert clearly felt were of some importance, since on Rather than using equal temperament, the instrument was tuned in a modified two occasions his alterations break the rhyme scheme. In ‘Der Wegweiser’ Müller’s form of Valotti temperament, favouring keys with fewer sharps and flats, whilst third verse begins: “Weiser stehen auf den Straßen” – by the roads – which Schubert accommodating more extreme ones. Working on Winterreise with a fortepiano was changes to “Wegen” – by the ways – ensuring that the Wanderer is still fixed firmly a revelation, for such an instrument proves marvellously flexible, with dynamics and in the wilderness; in ‘Im Dorfe’ the villagers simply sleep, where Müller has them colours unavailable to the modern grand piano – indeed, the piano is capable of snore, which carries the risk that an overzealous interpreter might distract from such extremes of pianissimo that the sounds of certain keyboard and pedal actions the austerity of the scene with a comical portrayal of the word. There seems every ocasionally become audible. Our focus throughout this recording has been to convey reason to trust Schubert’s instincts with regard to these minor, but considered, the spirit of a real performance, and to tell the story with honesty and immediacy. modifications. Even the title itself was abbreviated by Schubert from Die“ Winterreise” In doing so, we were inspired by the special sound qualities made possible in using to simply “Winterreise”, omitting the definite article in a way which makes fora such an instrument, so haunting and far removed from the powerful, strong tones briefer, bolder title, and possibly also hints that this is more than a literal account of a modern instrument. of a single journey, and has a wider, symbolic meaning. The order in which Müller The combination of light strings and dampers means that the strings can be allowed published, and in which Schubert encountered and then set the poems, is mentioned to reverberate in a highly atmospheric way, while the ‘moderator’ (a subtly adjustable elsewhere, but from a musical perpective, the logic of Schubert’s sequence of songs felt muffler) allows the singer to sing in a way which would be difficult to balance is incontestable, and it is with an inexorable sense of direction that this drama of an with a modern instrument, creating a sense of performing for an intimate audience. increasingly disordered mind unfolds. Considering these practical questions helps In singing Winterreise, no matter what size the hall, there are many moments when determine the broad nature of a performance; ultimately, however, the overriding

4 5 requirement is to enter into this barren landscape with all the imagination one can possesses of his sweetheart. The poetic stand-bys of blossom, flowers and lush muster, taking a journey into what one hopes will otherwise remain rarely visited grass have greater weight for bearing the opposite of their usual meaning – these recesses of one’s own mind. emblems of spring are dead, withered or imaginary. Two animals carrying particular inverted symbolism appear in the narrative: the crow, vulture-like, becomes an ironic For Winterreise is as much a psychological journey as a literal one. The narrative, such symbol of constancy (‘Die Krähe’); the various dogs, hardly in the spirit of man’s best as it is, is simply told: the protagonist has apparently been living in the household of friend, symbolise rejection, first baying as he leaves at the start of his journey (‘Gute his beloved; it would seem that he has been there as a tutor of some kind – a poet Nacht’), then denying him any welcome in the village (‘Im Dorfe’), and finally, as they or musician, perhaps – who has become entangled with his young charge. Despite snarl around the organ-grinder (‘Der Leiermann’), foreshadowing what we imagine her love for him, and the mother’s apparent approval, the father evidently has other will be his permanent marginalisation from society. plans for his daughter. He leaves out of necessity, and as a Wanderer – that Romantic archetype – sets out on a harrowing journey where he finds no consolation, either Isolation is the central theme in Winterreise; fellow humans are conspicuous by in human company, the natural world, or religion. It ends with him contemplating their absence and the only speech – other than his own mutterings – is the imagined a bleak future where he is left to wander alone and without hope. This is the bare beckoning by the linden tree (‘Der Lindenbaum’). The cottage where he seeks outline, but it is remarkable, during the course of the whole work, how hazy and refuge in ‘Rast’, and where, presumably, he sees the frost on the window-panes two-dimensional this external reality remains. We are given no hint as to the name, (‘Frühlingstraum’) and fails to receive any letters (‘Die Post’), seems to contain no character or appearance of the Wanderer’s sweetheart, and the world around him is hint of the charcoal-burner himself. However, ‘Das Wirtshaus’ brings a shadowy represented by a series of images – a river, a tree, a leaf a crow, and so forth – whose sense of human presence; in this poignant song, the graveyard is ironically likened interest lies not in any intrinsic characteristics they possess, rather in the symbolic to an inn, as he considers finding repose there in death. He is surely contemplating meaning he projects onto them. He repeatedly sees a likeness (‘Bild’) of himself suicide, but as a suicide he would be denied a christian burial – hence there being and his state of mind reflected in this inanimate, frozen world (‘Auf dem Flusse’ and no room at the inn. Clearly, this is what leads to his rejection of religion in ‘Mut’, ‘Mut’, for instance), and finds significance in everything he beholds (the wind in ‘Die the following song. However, does Schubert perhaps add another layer to Müller’s Wetterfahne’, for instance, and again, playing with his hopes in ‘Letzte Hoffnung’). meaning? The chordal piano accompaniment, with its descant counter-melody Thus, the featureless, snow-shrouded outer world is held up as a frozen mirror to the in the second verse, is suggestive of a service taking place within (or, somewhat turmoil of his vivid inner one. gothically, of a lone organist playing). As he stands listening to (or just imagining) In this gloomy landscape there is a frequent subversion of conventional poetical the sounds coming from the church, the sense of exclusion is deepened by imagery. ‘White’ represents cold and death since it is now the opposite of ‘green’; Schubert: the Wanderer has not only lost his faith; he turns away realising that almost everything light or bright has negative connotations – the illusory nature he can no longer be a part of the human society that the church also represents. of the will-’o-the-wisp and the beckoning light in ‘Täuschung’, the glorious light As though too painful to contemplate, even the image of his beloved is absent he finds so oppressive in ‘Einsamkeit’ and the final yearning for darkness in‘Die until the penultimate song, ‘Die Nebensonnen’, when he finally sees a vision of Nebensonnen’. In the icy surroundings he ironically cherishes the fact that his her eyes in a ‘parhelion’ (a rare and short-lived phenomenon where two additional heart is frozen (in ‘Erstarrung’), since, like a locket, it contains the only image he mirages of the sun appear, reflected in ice crystals suspended in the atmosphere).

6 7 His bitter realisation that her eyes have no more reality for him than these ‘mock coming to the attention of Antonio Salieri, he was awarded a choral scholarship in suns’ proves cathartic. When, wild and dishevelled, he acts on his defiant decision 1808 to attend the Imperial Seminary in Vienna, known as the Stadtkonvikt, where to face the world again (in ‘Mut’), the person who draws his attention is a vagrant the choristers of the Court Chapel were schooled. organ-grinder, ignored by all but the dogs. This old man – the only other human being to appear in the entire song-cycle – is the journey’s final, telling symbol. In Through his time in the seminary, where he remained until 1813, he was to become him, does the Wanderer not finally see his truest likeness yet: a vision of his future exposed to the gamut of secular as well as sacred music, and it was here that he self, his aged Doppelgänger? first encountered works by the Viennese masters of the day, and in particular opera and song. Following an unsatisfactory period of three years training to be a teacher © Peter Harvey, 2010 and then working at his father’s school, Schubert turned to composition full time, only teaching when necessary to fund his activities as a composer. His musical Winterreise D.911 represents one of Franz Schubert’s towering achievements maturity came early, arguably from the age of around twenty but, despite this, as a composer. It was with this particular work, alongside his other song cycles, recognition of his music was lean throughout his lifetime, and not often heard in Die schöne Müllerin D.795 and Schwanengesang D.957, that he single-handedly public concerts. Few of his works were published during his lifetime and he had redefined the Lieder genre. Indeed, the three cycles arguably form the greatest only short periods of prosperity, often living a meagre existence, close to poverty. accomplishment of the entire tradition, and the comparatively young age at which The majority of his work became more widely known through a regular series of Schubert wrote these works of intense musical maturity makes the attainment Schubertiades – informal evenings that took place mainly in private houses, where all the more impressive. The earliest of the three cycles, Die schöne Müllerin, Schubert performed much of his own music, and in particular his song cycles. was composed in just his twenty-seventh year, while the latter two cycles were Of the many theories surrounding the cause of Schubert’s premature death, one composed at the ages of thirty and thirty-one – which were, sadly, to be the final of the most commonly held beliefs is that he had been suffering from syphilis for two years of his life. some years by the time of his death, although that was not the official verdict that was reached. One thing that is certain is that his health was beginning to fail as For a composer whose life was cut so tragically short, Schubert was nothing less he approached his late twenties and his thoughts of death and what was to follow, than hugely prolific. Along with the three song cycles mentioned above, he wrote influenced some of his greatest works, and particularly his final two song cycles. some 600 Lieder – a body of work whose importance and value is difficult to overestimate – as well as making vital contributions to a number of other genres The penultimate of these cycles, Winterreise (or Winter Journey), is an extensive in the form of chamber and instrumental music, symphonies, operas and religious setting of texts that are a descriptive and narrative monologue of a spurned lover works. The variety of his output reflects the range of circles in which Schubert had who sets out in the dead of night on a journey of sorrow, leaving his intended been present from the earliest days of his musical training. Born and brought up in behind. It was Schubert’s second cycle that set texts by the poet Wilhelm Müller a reasonably affluent part of Vienna his musical talent became evident at an early (1794-1827), the first being his earliest song cycle, Die schöne Müllerin, the story age and was nurtured by his father, an amateur musician. However, it was through of a young man who falls in love with a woman who is considered to be above his the church that Schubert gained the bulk of his musical education and, after station. While Schubert had only limited renown during his own lifetime, this first

8 9 and second of his cycles gained some recognition, both becoming mainstays of his 1. Gute Nacht Schreib’ im Vorübergehen regular Schubertiades from the time of their composition. Ans Tor dir: Gute Nacht, Fremd bin ich eingezogen, Damit du mögest sehen, The twenty-four songs of Winterreise were composed in two clear sections: the Fremd zieh’ ich wieder aus. An dich hab’ ich gedacht. first twelve were completed in February of 1827 with the remaining twelve penned Der Mai war mir gewogen in October of the same year. This process of composition reflects how the poems Mit manchem Blumenstrauß. Good Night themselves first appeared; Müller published the initial twelve in a periodical during Das Mädchen sprach von Liebe, Die Mutter gar von Eh’, - A stranger I arrived, 1823 and later published the collection again in 1824 with a further twelve poems As a stranger I depart. interspersed between the original twelve. Schubert first encountered the initial Nun ist die Welt so trübe, Der Weg gehüllt in Schnee. May favoured me collection in the periodical, and when he came to compose the cycle some years With many a bouquet of flowers. later he was to set the first twelve poems in their original order of 1823. It’s unclear Ich kann zu meiner Reisen when Schubert actually encountered the remainder of the poems from 1824 and, Nicht wählen mit der Zeit, The girl spoke of love, as a result, it has been suggested that he may have first considered Winterreise Muß selbst den Weg mir weisen Her mother even of marriage - as a song cycle consisting only of the first dozen poems, and as a much shorter In dieser Dunkelheit. Now the world is so bleak, work. It would appear that Schubert formed a second part to the cycle in place Es zieht ein Mondenschatten My path shrouded in snow. of Müller’s revised sequence for the poems, using his own preferred order for the Als mein Gefährte mit, The hour of this journey later twelve poems. Und auf den weißen Matten Is not of my choosing; Such’ ich des Wildes Tritt. I must find my own way © Adam Binks, 2010 Was soll ich länger weilen, In this darkness. Daß man mich trieb’ hinaus? A moonshadow Laß irre Hunde heulen Is my travelling companion, Vor ihres Herren Haus! And in the white meadows Recorded at St Martin’s Church, East Woodhay, Berks Die Liebe liebt das Wandern - th I seek out the tracks of deer. from 16-18 February 2009 Gott hat sie so gemacht - Produced and engineered by Philip Hobbs Von einem zu dem andern. Why should I tarry longer, Post-production by Julia Thomas, Finesplice, UK Fein Liebchen, gute Nacht! Merely to be driven out? Cover photograph by Peter Harvey Let the crazed dogs howl Photographs of Peter Harvey by Eric Richmond Will dich im Traum nicht stören, Before their master’s house. Photograph of Gary Cooper by Chris Stock Photography Wär’ schad’ um deine Ruh’. Peter Harvey in the mountains by Gordon Erlandson Sollst meinen Tritt nicht hören - Design by John Haxby Sacht, sacht die Türe zu!

10 11 Love loves to wander – The Weathercock Frozen Tears Soll denn kein Angedenken God made it so – Ich nehmen mit von hier? The wind plays with the weathercock Fom one to the other; Frozen tears fall Wenn meine Schmerzen schweigen, On my lovely sweetheart’s house. Goodnight, my darling. From my cheeks; Wer sagt mir dann von ihr? In my deluded state I thought How could I not have noticed I would not disturb your dreams It was mocking the poor fugitive. That I have been weeping? Mein Herz ist wie erstorben, Nor spoil your repose, Kalt starrt ihr Bild darin; He should have noticed it earlier, You shall not hear my footsteps, Ah, tears, my tears, Schmilzt je das Herz mir wieder, That sign set above the house, Nor – hush! – as I close the door. Are you really so lukewarm Fließt auch ihr Bild dahin! Then he would never have hoped That you freeze to ice As I pass by, I write To find a faithful woman within. Like cool morning dew? Numbness On your gate: Goodnight, Inside, the wind plays with people’s hearts, That you might see And yet you spring, In vain I search the snow As it plays on the roof, just not so loudly. I was thinking of you. Scalding, from my breast, For some trace of her footsteps, What do they care for my suffering? As if you wished to melt Where, her arm through mine, Their child is a rich bride. 2. Der Wetterfahne The entire winter’s ice! She wandered through the green fields.

Der Wind spielt mit der Wetterfahne 3. Gefrorne Tränen 4. Erstarrung I want to kiss the ground, Auf meines schönen Liebchens Haus. To pierce the ice and snow Gefrorne Tropfen fallen Da dacht’ ich schon in meinem Wahne, Ich such’ im Schnee vergebens With my hot tears, Von meinen Wangen ab: Sie pfiff’ den armen Flüchtling aus. Nach ihrer Tritte Spur, Until I can see the earth. Ob es mir denn entgangen, Wo sie an meinem Arme Er hätt’ es eher bemerken sollen, Daß ich geweinet hab’? Durchstrich die grüne Flur. Where shall I find a blossom? Des Hauses aufgestecktes Schild, Where shall I find green grass? Ei Tränen, meine Tränen, So hätt’ er nimmer suchen wollen Ich will den Boden küssen, The flowers have died, Und seid ihr gar so lau, Im Haus ein treues Frauenbild. Durchdringen Eis und Schnee The grass is withered. Daß ihr erstarrt zu Eise Mit meinen heißen Tränen, Der Wind spielt drinnen mit den Herzen Wie kühler Morgentau? Bis ich die Erde seh’. Am I to take no keepsake Wie auf dem Dach, nur nicht so laut. Away from here, then? Und dringt doch aus der Quelle Was fragen sie nach meinen Schmerzen? Wo find’ ich eine Blüte, Once my anguish falls silent, Der Brust so glühend heiß, Ihr Kind ist eine reiche Braut. Wo find’ ich grünes Gras? Who shall remind me of her? Als wolltet ihr zerschmelzen Die Blumen sind erstorben, Des ganzen Winters Eis! Der Rasen sieht so blaß.

12 13 My heart is as if dead, Nun bin ich manche Stunde Now I am many hours When the grass is about to appear, Her image lies frozen within: Entfernt von jenem Ort, Distant from that place, A mild breeze wafts this way; Were my heart ever to thaw, Und immer hör’ ich’s rauschen: And still I hear its rustling: The ice cracks into pieces, Her image, too, would melt away. Du fändest Ruhe dort! “There you would find peace!” And the soft snow melts away.

Snow, you know of my yearning, 5. Der Lindenbaum The Linden Tree 6. Wasserflut Tell me, where does your course take you? Am Brunnen vor dem Tore By the well at the gate Manche Trän’ aus meinen Augen If you simply follow my tears – Da steht ein Lindenbaum; There stands a linden tree; Ist gefallen in den Schnee; The brook will soon welcome you in. Ich träumt’ in seinem Schatten In its shade I dreamed Seine kalten Flocken saugen Together you shall pass through the town, So manchen süßen Traum. Many a delightful dream. Durstig ein das heiße Weh. In and out of lively streets; Ich schnitt in seine Rinde I carved into its bark Wenn die Gräser sprossen wollen If you should sense my scalding tears, So manches liebe Wort; So many words of love; Weht daher ein lauer Wind, There you will find my beloved’s house. Es zog in Freud’ und Leide In both joy and suffering Und das Eis zerspringt in Schollen Zu ihm mich immer fort. I felt ever drawn to it. Und der weiche Schnee zerrinnt. 7. Auf dem Flusse

Ich mußt’ auch heute wandern Today, too, I had to pass by Schnee, du weißt von meinem Sehnen, Der du so lustig rauschtest, Vorbei in tiefer Nacht, In the dead of night. Sag’, wohin doch geht dein Lauf? Du heller, wilder Fluß, Da hab’ ich noch im Dunkel And even in the darkness Folge nach nur meinen Tränen, Wie still bist du geworden, Die Augen zugemacht. I closed my eyes. Nimmt dich bald das Bächlein auf. Gibst keinen Scheidegruß.

Und seine Zweige rauschten, And its branches rustled Wirst mit ihm die Stadt durchziehen, Mit harter, starrer Rinde Als riefen sie mir zu: As though calling to me: Muntre Straßen ein und aus; Hast du dich überdeckt, Komm her zu mir, Geselle, “Come here, my friend, Fühlst du meine Tränen glühen, Liegst kalt und unbeweglich Hier find’st du deine Ruh’! Here you shall find peace.” Da ist meiner Liebsten Haus. Im Sande ausgestreckt.

Die kalten Winde bliesen The cold wind blew Flood Waters In deine Decke grab’ ich Mir grad’ in’s Angesicht; Straight into my face, Mit einem spitzen Stein Der Hut flog mir vom Kopfe, My hat flew from my head, Many a tear from my eyes Den Namen meiner Liebsten Ich wendete mich nicht. But I did not turn from my path. Has fallen into the snow. Und Stund’ und Tag hinein: Its cold flakes thirstily Drink in the searing pain.

14 15 Den Tag des ersten Grußes, My heart, in this brook Backward Glance Bin gewohnt das Irregehen, Den Tag, an dem ich ging; Do you now recognise your own likeness? ‘s führt ja jeder Weg zum Ziel; Um Nam’ und Zahlen windet Does not a similar torrent rage The soles of my feet burn, Unsre Freuden, unsre Leiden, Sich ein zerbroch’ner Ring. Beneath its surface? Though I walk on ice and snow; Alles eines Irrlichts Spiel! I will not pause for breath Mein Herz, in diesem Bache 8. Rückblick Until I can no longer see the steeples. Durch des Bergstroms trockne Rinnen Erkennst du nun dein Bild? Wind’ ich ruhig mich hinab, Ob’s unter seiner Rinde Es brennt mir unter beiden Sohlen, I stumbled against every stone, Jeder Strom wird’s Meer gewinnen, Wohl auch so reißend schwillt? Tret’ ich auch schon auf Eis und Schnee, Such was my hurry to be out of the town; Jedes Leiden auch sein Grab. Ich möcht’ nicht wieder Atem holen, From every house, the crows threw At the River Bis ich nicht mehr die Türme seh’. Snowballs and hailstones at my hat. Will-o’-the-wisp

You, who so lustily roared, Hab’ mich an jedem Stein gestoßen, How different was your welcome, Into the mountain’s deepest chasms You clear, wild river, So eilt’ ich zu der Stadt hinaus; You inconstant town! A will-o’-the-wisp has lured me; How quiet you have become, Die Krähen warfen Bäll’ und Schloßen At your sparkling windows How to find a way out Offering no parting word. Auf meinen Hut von jedem Haus. The lark and nightingale sang in contest. Does not weigh on my mind.

With a hard, unyielding crust, Wie anders hast du mich empfangen, The broad linden trees were in blossom, I am used to losing my way, You have covered yourself, Du Stadt der Unbeständigkeit! The clear water channels rushed gaily, All paths lead to our destination; And lie cold and motionless, An deinen blanken Fenstern sangen And ah, a maiden’s eyes shone brightly – Our joys, our woes - Stretched out across the sand. Die Lerch’ und Nachtigall im Streit. And you were lost, my friend! Nothing but a will-o’-the-wisp’s game.

With a sharp stone, Die runden Lindenbäume blühten, As that day comes to mind Along a dry river-bed I carve into your surface Die klaren Rinnen rauschten hell, I long to look back once more, I calmly make my way down; The name of my beloved, Und ach, zwei Mädchenaugen glühten. - I long to stagger back, All rivers reach the sea, The hour, and the day: Da war’s geschehn um dich, Gesell! And stand silently before her house. And every sorrow, its grave.

The day of our first greeting, Kömmt mir der Tag in die gedanken, 9. Irrlicht 10. Rast The day of my parting: Möcht’ ich noch einmal rückwärts sehn. Around the name and the numbers Möcht’ ich zurücke wieder wanken, In die tiefsten Felsengründe Nun merk’ ich erst wie müd’ ich bin, Twists a broken ring. Vor ihrem Hause stille stehn. Lockte mich ein Irrlicht hin; Da ich zur Ruh’ mich lege; Wie ich einen Ausgang finde, Das Wandern hielt mich munter hin Liegt nicht schwer mir in dem Sinn. Auf unwirtbarem Wege.

16 17 Die Füße frugen nicht nach Rast, And you, my heart, so wild and so rash Die Augen schließ’ ich wieder, Again I close my eyes, Es war zu kalt zum Stehen; In the struggle and the storm, Noch schlägt das Herz so warm. My heart still beats so warmly. Der Rücken fühlte keine Last, Only now, in the silence, do you feel Wann grünt ihr Blätter am Fenster? You leaves on the window, Der Sturm half fort mich wehen. The serpent stir itself to sting! Wann halt’ ich mein Liebchen im Arm? when will you turn green? When shall I hold my darling in my arms? In eines Köhlers engem Haus 11. Frühlingstraum Dream of Spring Hab’ Obdach ich gefunden. 12. Einsamkeit Doch meine Glieder ruhn nicht aus: Ich träumte von bunten Blumen, I dreamed of brightly coloured flowers, Wie eine trübe Wolke So brennen ihre Wunden. So wie sie wohl blühen im Mai; Just as they bloom in May; Durch heitre Lüfte geht, Ich träumte von grünen Wiesen, I dreamed of green pastures, Auch du, mein Herz, in Kampf und Sturm Wenn in der Tanne Wipfel Von lustigem Vogelgeschrei. Of joyful birdsong. So wild und so verwegen, Ein mattes Lüftchen weht: Fühlst in der Still’ erst deinen Wurm Und als die Hähne krähten, But when the cocks crowed, So zieh’ ich meine Straße Mit heißem Stich sich regen! Da ward mein Auge wach; My eyes awoke: Dahin mit trägem Fuß, Da war es kalt und finster, All was cold and dark, Durch helles, frohes Leben Rest Es schrieen die Raben vom Dach. And ravens shrieked from the rooftop. Einsam und ohne Gruß. Only now do I notice how weary I am, Doch an den Fensterscheiben, But there on the window-panes, Ach, daß die Luft so ruhig! As I lay myself down to rest; Wer malte die Blätter da? Who painted those leaves? Ach, daß die Welt so licht! Walking kept my spirits up Ihr lacht wohl über den Träumer, Well might you laugh at the dreamer Als noch die Stürme tobten, On inhospitable roads. Der Blumen im Winter sah? Who saw flowers in winter. War ich so elend nicht. My feet asked for no rest, Ich träumte von Lieb’ um Liebe, I dreamed of my love being returned, It was too cold for standing still; Von einer schönen Maid, Of a beautiful maiden, Loneliness My back felt no burden, Von Herzen und von Küssen, Of embracing and kissing, As a gloomy cloud The storm helped blow me along. Von Wonne und Seligkeit. Of rapture and bliss. Drifts across a clear sky In a charcoal-burner’s tiny cottage Und als die Hähne krähten, But when the cocks crowed, When a faint breeze stirs I have taken refuge. Da ward mein Herze wach; My heart awoke; In the tops of the fir trees: But my limbs find no repose, Nun sitz’ ich hier alleine Now I sit here alone, So I make my way, So searing is the pain. Und denke dem Traume nach. Reflecting on my dream. With dragging feet, Through a life of light and joy Alone and shunned.

18 19 Oh, that the air should be so tranquil! Ah yes, the post comes from the town However, it soon melted away; O crow, you strange creature, Oh, that the world should be so bright! Where I had a dear sweetheart, Once again I have black hair, Will you not desert me, then? Even when the storms were raging, My heart! Though my youthfulness horrifies me - Or do you soon mean to seize I was not as wretched as this. How much further until the grave? My carcass as carrion? Would you like to look in over there Between sunset and dawn 13. Die Post And enquire how things are going, Well, this wandering My heart? Many a head has turned grey. Cannot continue much longer. Von der Straße her ein Posthorn klingt. Who would believe it? Mine has not, Crow - let me finally behold Was hat es, daß es so hoch aufspringt, 14. Der greise Kopf Despite this whole journey. Constancy unto the grave! Mein Herz? Der Reif hat einen weißen Schein 15. Die Krähe 16. Letzte Hoffnung Die Post bringt keinen Brief für dich. Mir übers Haar gestreuet; Was drängst du denn so wunderlich, Da glaubt’ ich schon ein Greis zu sein Eine Krähe war mit mir Hie und da ist an den Bäumen Mein Herz? Und hab’ mich sehr gefreuet. Aus der Stadt gezogen, Manches bunte Blatt zu sehn, Ist bis heute für und für Und ich bleibe vor den Bäumen Nun ja, die Post kommt aus der Stadt, Doch bald ist er hinweggetaut, Um mein Haupt geflogen. Oftmals in Gedanken stehn. Wo ich ein liebes Liebchen hat, Hab’ wieder schwarze Haare, Mein Herz! Daß mir’s vor meiner Jugend graut - Krähe, wunderliches Tier, Schaue nach dem einen Blatte, Wie weit noch bis zur Bahre! Willst mich nicht verlassen? Hänge meine Hoffnung dran; Willst wohl einmal hinübersehn Meinst wohl, bald als Beute hier Spielt der Wind mit meinem Blatte, Und fragen, wie es dort mag gehn, Vom Abendrot zum Morgenlicht Meinen Leib zu fassen? Zittr’ ich, was ich zittern kann. Mein Herz? Ward mancher Kopf zum Greise. Wer glaubt’s? und meiner ward es nicht Nun, es wird nicht weit mehr gehn Ach, und fällt das Blatt zu Boden, The Post Auf dieser ganzen Reise! An dem Wanderstabe. Fällt mit ihm die Hoffnung ab; Krähe, laß mich endlich sehn Fall’ ich selber mit zu Boden, From the road a post-horn sounds. The Aged Head Treue bis zum Grabe! Wein’ auf meiner Hoffnung Grab. Why should that make you leap, A sprinkling of hoarfrost My heart? The Crow Last Hope Has turned my hair white; The post brings no letter for you. I rejoiced to think A crow was with me Here and there, on the trees, Why should you swell so strangely, I was already an old man. As I left the town, A few colourful leaves remain, My heart? And to this day it has constantly And often, lost in thought, Circled around my head. I stand before the trees.

20 21 I gaze a particular leaf, But by morning all has vanished. And fiery red flames Ah, anyone as wretched as I Pinning my hopes on it; And so they are content with their lot, Flicker among them; Is happy to fall for such a pretty fantasy, And should the wind play with my leaf, And hope, if anything were missing That’s what I call a morning Which, far from the ice I tremble, oh, how I can tremble. from their dreams, To suit my mood! and the horror of the night, To find it on their pillows another time. Shows him a bright, warm house Ah, and if the leaf should fall to the ground, In the sky my heart sees With it sink my hopes; Go on, bark at me, you wakeful dogs, A likeness of itself - And a loving soul within – I myself fall to the ground, Deny me rest in this hour of slumber! It is nothing but the winter, Mere delusion is some consolation. And weep on the grave of my hopes. I am done with dreaming. The winter, cold and wild! Why should I linger amongst the sleeping? 20. Der Wegweiser 17. Im Dorfe 19. Täuschung 18. Der stürmische Morgen Was vermeid’ ich denn die Wege, Es bellen die Hunde, es rasseln die Ketten; Ein Licht tanzt freundlich vor mir her, Wo die andern Wandrer gehn, Es schlafen die Menschen in ihren Betten, Wie hat der Sturm zerrissen Ich folg’ ihm nach die Kreuz und Quer; Suche mir versteckte Stege, Träumen sich manches, was sie nicht haben, Des Himmels graues Kleid! Ich folg’ ihm gern und seh’s ihm an, Durch verschneite Felsenhöhn? Tun sich im Guten und Argen erlaben: Die Wolkenfetzen flattern Daß es verlockt den Wandersmann. Umher in matten Streit. Habe ja doch nichts begangen, Und morgen früh ist alles zerflossen. Ach! wer wie ich so elend ist, Daß ich Menschen sollte scheun, - Je nun, sie haben ihr Teil genossen, Und rote Feuerflammen Gibt gern sich hin der bunten List, Welch ein törichtes Verlangen Und hoffen, was sie noch übrig ließen, Ziehn zwischen ihnen hin; Die hinter Eis und Nacht und Graus, Treibt mich in die Wüstenein? Doch wieder zu finden auf ihren Kissen. Das nenn’ ich einen Morgen Ihm weist ein helles, warmes Haus, So recht nach meinem Sinn! Weiser stehen auf den Wegen, Bellt mich nur fort, ihr wachen Hunde, Und eine liebe Seele drin - Weisen auf die Städte zu. Laßt mich nicht ruhn in der Schlummerstunde! Mein Herz sieht an dem Himmel Nur Täuschung ist für mich Gewinn! Und ich wandre sonder Maßen Ich bin zu Ende mit allen Träumen, Gemalt sein eignes Bild - Ohne Ruh’ und suche Ruh’. Was will ich unter den Schläfern säumen? Es ist nichts als der Winter, Delusion Der Winter kalt und wild! Einen Weiser seh’ ich stehen In the Village Ahead of me dances a friendly light, Unverrückt vor meinem Blick; The Stormy Morning I follow it back and forth; Eine Straße muß ich gehen, Dogs are barking and rattling their chains; I follow it gladly, but see Die noch keiner ging zurück. The villagers are asleep in their beds, See how the storm has rent That it would lure a wanderer astray. Dreaming of things they do not possess, The grey mantel of the sky! Seeking relief in dreams both good and bad; Tattered clouds flutter Hither and thither in a weary struggle.

22 23 The Signpost Sind denn in diesem Hause 22. Mut 23. Die Nebensonnen Die Kammern all’ besetzt? Why do I avoid the paths Bin matt zum Niedersinken, Fliegt der Schnee mir in’s Gesicht, Drei Sonnen sah ich am Himmel stehn, Where the other travellers walk, Bin tödlich schwer verletzt. Schüttl’ ich ihn herunter. Hab’ lang und fest sie angesehn; And seek out hidden tracks Wenn mein Herz im Busen spricht, Und sie auch standen da so stier, Through snow-bound crags? O unbarmherz’ge Schenke, Sing’ ich hell und munter. Als wollten sie nicht weg von mir. Doch weisest du mich ab? I have done no wrong, Nun weiter denn, nur weiter, Höre nicht, was es mir sagt, Ach, meine Sonnen seid ihr nicht! That I should shun the company of men; Mein treuer Wanderstab! Habe keine Ohren; Schaut andern doch in’s Angesicht! What foolish desire Fühle nicht, was es mir klagt, Ja, neulich hatt’ ich auch wohl drei; Drives me into the wilderness? The Inn Klagen ist für Toren. Nun sind hinab die besten zwei.

By the paths stand signposts To a churchyard Lustig in die Welt hinein Ging’ nur die dritt’ erst hinterdrein! Pointing to the towns. My way has brought me; Gegen Wind und Wetter! Im Dunkeln wird mir wohler sein. But I wander ceaselessly, Here I shall stay a while, Will kein Gott auf Erden sein, Denied rest, always seeking rest. I thought to myself. Sind wir selber Götter! The Mock Suns One signpost I see Three suns I saw in the sky, You green wreaths Courage Fixed clearly before my gaze; Could well be signs Long and hard I gazed at them; I must travel a road Inviting weary travellers If the snow flies in my face, Standing there so fixedly, Along which no one yet returned. Into the cool inn. I simply shake it off. They seemed unwilling to leave me. If my heart speaks within my breast, Ah, you are not my suns; 21. Das Wirtshaus Is every room in this house I sing brightly and merrily. Already taken, then? Stare into the faces of others! Auf einen Totenacker I am ready to drop with exhaustion I will not listen to what it says to me; Oh yes, lately I too had three; Hat mich mein Weg gebracht; And am mortally wounded. I have no ears to hear. But now the two best have set. Allhier will ich einkehren, I will not feel its suffering; Oh that the third would follow the others! Hab’ ich bei mir gedacht. O heartless tavern, Suffering is for fools. So you turn me away? The darkness would be welcome. Ihr grünen Totenkränze Onward then, ever onward, Cheerfully facing the world, Könnt wohl die Zeichen sein, My trusty staff! Despite the wind and the weather! Die müde Wandrer laden If there is no God on earth, In’s kühle Wirtshaus ein. Then we are gods ourselves!

24 25 24. Der Leiermann Bare-foot on the ice He staggers to and fro, Peter Harvey baritone Drüben hinterm Dorfe And his little bowl Steht ein Leiermann Remains forever empty. Peter Harvey studied music at Magdalen College, Oxford, and the Guildhall School of Und mit starren Fingern Music and Drama. Having initially set out to read French and German, his commitment Dreht er was er kann. No one wants to listen, to language has always been at the heart of his singing. Although he sings a wide No one pays him any heed, repertoire, he has become especially associated with music from the High Baroque, Barfuß auf dem Eise And the dogs snarl and the works of J.S. Bach in particular, in performances ranging from the minimalist Wankt er hin und her Around the old man. – such as with his own group, the Magdalena Consort, singing one voice per part – to Und sein kleiner Teller Bernard Haitink’s first performances of the St. Matthew Passion in 2008, with the Bleibt ihm immer leer. And yet he lets it happen, Boston Symphony Orchestra. Everything, as it will, Keiner mag ihn hören, He plays, and his barrel-organ With the English Baroque Soloists and the Monteverdi Choir, directed by Sir John Keiner sieht ihn an, Is never once still. Und die Hunde knurren Eliot Gardiner, he was a key participant in the Bach Cantata Pilgrimage, recordings of Um den alten Mann. Strange old man! which include the celebrated solo cantata Ich habe genug and Ich will den Kreuzstab Am I to go with you? gerne tragen, which were chosen as the recordings of choice by Radio France’s ‘La Und er läßt es gehen, Will you play your organ tribune des Critiques de Disques’ and the BBC’s ‘Building a Library’ respectively. A Alles wie es will, To my songs? long-standing soloist with Paul McCreesh’s Gabrieli Consort, he sang Adam in their Dreht, und seine Leier recording of Haydn’s Creation (winner of a Grammy Award), and also sings in their Steht ihm nimmer still. Translations © Peter Harvey, 2010 recordings of Bach’s St Matthew Passion, Handel’s Solomon and the Monteverdi Wunderlicher Alter, Vespers, and in venues including the Châtelet (Paris), Lincoln Center (New York) and Soll ich mit dir gehn? the Barbican (London). Another long-term collaboration is with The King’s Consort Willst zu meinen Liedern (concerts in Manchester’s Bridgewater Hall; The Sage, ; London’s Wigmore Deine Leier drehn? Hall) in their many recordings, which include the Monteverdi Vespers, music by Bach’s predecessors, Michael Haydn’s and Dies Irae under Robert King, and most The Organ-grinder recently, Handel’s Parnasso in Festa, directed by Matthew Halls. He has recorded Buxtehude and early Bach with the Purcell Quartet, and with London Baroque he Over there, behind the village recently issued a disc of Rameau’s secular cantatas (BIS). He has appeared with the Stands an organ-grinder Sixteen (BBC Proms, Spain, Brazil) and sings regularly with the Orchestra of the Age And with numb fingers of Enlightenment under Ivan Fischer and Gustav Leonhardt, with concerts in London, He plays as best he can. Europe and the Far East.

26 27 A fluent French speaker, Peter Harvey has worked for many continental groups, in particular the Chapelle Royale and Collegium Vocale of Ghent (Philippe Herreweghe), making recordings which include CPE Bach’s Auferstehung und Himmelfahrt Jesu (Opéra Garnier, Paris). He has sung with Christophe Rousset’s Les Talens Lyriques in the Opera at Versailles, whilst with Le Concert Spirituel, directed by Hervé Niquet, he has made countless recordings of the sacred repertoire of the French Baroque, Purcell’s Dido and Aeneas and King Arthur (Concertgebouw, Amsterdam, and Opéra Comique, Paris), and La Cambiale de Matrimonio (Slook) by Rossini. Recordings with Il Seminario Musicale and the French counter-tenor Gérard Lesne include such rarities as Scarlatti’s oratorio Sedecia, and Galuppi’s engaging Confitebor tibi Domine, and he has performed often with Jean-Claude Malgoire. His long association with the Swiss conductor Michel Corboz, has taken him throughout France, Portugal, Switzerland and Japan (Mendelssohn’s Elijah, Bach’s Passions), and produced various recordings, including two versions of the Requiem by Fauré, the latest of which won a ‘Choc de l’année’ in Le Monde de la Musique.

Peter is a frequent guest of the , with whom he has recorded Mozart’s Requiem, Bach’s Christmas Oratorio, B minor Mass and St. Matthew Passion, and for television, the little known St John Passion by Georg Gebel at the Amsterdam Concertgebouw. With Ton Koopman he has performed Bach in the Musikverein (Vienna), Théâtre des Champs Elysées (Paris), in Verona and Rome. In Germany he sings with the Akademie für alte Musik, Berlin, Stuttgart Bach Akademie, La Stagione, Frankfurt (Athalia, Handel Festival, Halle), and with Frieder Bernius’ Stuttgart Chamber Choir, with whom he recorded Handel’s Messiah.

He is returning increasingly to the Song repertoire, performing Schubert’s Winterreise with Roger Vignoles in festivals in Cambridge and Lugo, Spain. He has given recitals in festivals in Britain, Canada and France, and recorded Beethoven settings of Scottish folksongs with Jérôme Hantaï’s fortepiano trio (for Naïve). Other recitals include early Lieder with Laurence Cummings, Mozart in Barcelona and a programme of Songs and Lieder in London’s Purcell Room with Matthew Wadsworth (lute and 19th century guitar) and Gary Cooper.

28 29 Peter is founder and director of the Magdalena Consort, which focuses on the vocal for Channel Classics – of Haydn’s Late Piano Works – was “recommended without music of J.S. Bach, and has performed internationally in Santiago de Compostela, reservations!” (SA-CD.net). Spain, in the ‘Bach Church’ in Arnstadt, Germany, in Hungary, Istanbul and Britain, in programmes including music by J.S. Bach and Handel, and in Monteverdi’s Vespers of The duo partnership of Gary Cooper and has taken them worldwide. 1610 in the Cheltenham Festival. Their recordings with Channel Classics of Mozart’s Complete for Keyboard & Violin have received countless awards and accolades, including multiple Diapason d’Or www.peterharvey.com awards and Gramophone Editor’s Choices, and hailed as ‘benchmark’ recordings. The Gary Cooper piano duo’s concert & recording focus now extends to Beethoven, following performances at London’s . Gary Cooper is one of the foremost ambassadors of the and Gary is also an established conductor, having worked with many ensembles, most fortepiano – in particular, as an interpreter recently the Akademie für Alte Musik in Berlin, the Holland Baroque Society, the Irish of Bach and Beethoven’s music – and of Baroque Orchestra, and Ensemble Cordia in Italy; he also performs regularly in North period performance in general. Along with America where he directs the leading Canadian period instrument ensemble, Arion, countless performances worldwide he has in Montreal. Gary is an artistic director of the exciting Belgian period instrument made many recordings for TV, radio and CD, ensemble, B’Rock, directing orchestral and opera productions and recordings. Last including an award-winning CD of Bach’s year, Gary appeared at many major festivals such as the Flanders Festival, the Bruges, Well-Tempered Clavier. His diverse recital Utrecht, Potsdam and Innsbruck Early Music Festivals, and throughout the UK. repertoire ranges from the music of the Elizabethan Virginalists to the harpsichord Gary currently teaches harpsichord & fortepiano at the Royal Academy of Music, music of Bach and Scarlatti, from Mozart’s York University and the Royal Welsh College of Music & Drama, is Visiting Professor piano sonatas to the music of Dussek, of Fortepiano at the , and regularly holds master classes at Clementi, Beethoven and Mendelssohn. other teaching institutions such as McGill University in Montreal, as well as involving himself in summer courses, such as at the Accademia in Brunico, Italy. Gary is also Adding to an extensive discography, solo studying to be a Reiki healer. recording projects with Channel Classics include Bach’s complete solo Keyboard Concertos and the Goldberg Variations, “Something of a genius.” Mozart’s and Haydn’s Piano Variations, and Beethoven’s Diabelli Variations and the “Music-making rarely comes as impressive as this.” The Sunday Times late bagatelles, all on historic keyboards of the period. He recently recorded CPE Bach Concertos and Haydn Symphonies with the Canadian ensemble, Arion, and Avison’s keyboard quartets, with The . His first solo recording

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