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Choral Arrangements by Clytus Gottwald Pieces from Sieben frühe Lieder 15. Die Nachtigall [2.33] 1. Die zwei blauen Augen [5.24] 16. Im zimmer [1.03] 2. Soupir [3.43] 17. Traumgerkrönt [2.39]

3. Des pas sur la neige [3.33] Trois Fragments du Miroir de Jésus André Caplet 18. Présentation [2.54] Zwei Studien zu & Isolde Richard 19. Agonie au Jardin [1.47] 4. Im Treibhaus [6.08] 20. Résurrection [2.51] 5. Traume [4.17] 21. Oh! mi babbino caro [2.51] Vier Lieder 6. Und willst du deinen Liebsten sterben sehen [1.40] 22. Soupir Claude Debussy [2.39] 7. Das verlaßene Mägdlein [3.01] 23. Ich bin der Welt abhanden gekommen Gustav Mahler [5.29] 8. Auf ein altes Bild [2.19] 9. Der Gärtner [1.41] Total [68.23] 10. Les Angélus Claude Debussy [2.48]

Vier frühe Lieder 11. Tief von fern [1.14] The Rodolfus Choir 12. Heiter [1.15] Directed by Ralph Allwood 13. Der Tod [0.59]

14. Sommerabend [3.04] www.signumrecords.com 102Booklet 22/5/07 22:58 Page 5

Choral Arrangements basis for his First Symphony, which was completed generation, yet, while taking on board the in 1888. Die zwei blauen Augen is the fourth and harmonic developments of the mid-late nineteenth by Clytus Gottwald last song in this cycle; the music of this song was century, he nonetheless remained firmly rooted in the source of much of the material of the the song-writing tradition of Schubert and Following a notable career as a choral director, they relied heavily upon the financial assistance Symphony’s third movement (famous for its ironic Schumann. Relatively few of his songs exist in composer and musicologist, Clytus Gottwald (b.1925) of a number of well-heeled admirers. One such treatment of Frère Jaques in the style of a funeral orchestral versions, especially compared to his has, in the last 25 years, turned his attention to was Otto Wesendonck, a retired silk merchant, march), in particular the F major middle section, contemporary Mahler, for example. The four complex and masterly choral arrangements of who provided Wagner with generous support from which is based on the latter half of the song. By somewhat contrasting songs set here were not works from the late nineteenth and early twentieth 1852, and, in April 1857, furnished the Wagners contrast, Ich bin der Welt abhanden gekommen was conceived as a cycle by Wolf (though all but the century, of which many are included in this with a small house near to the villa into which he always conceived as an orchestral song, and is first are from his 1888 collection of Mörike settings), programme. His approach to the choral medium and his wife Mathilde were shortly to move. one of five settings of Ruckert written in 1901-2. but nonetheless represent him at the peak of his is a highly symphonic one. In most of the Around this time a love affair began to develop Mahler’s reading of the poem instils in it a art, and provide the scope for imaginative choral arrangements performed here the choir is divided between Wagner and , which compelling sense of isolation and longing (without readings.sehen In Und willst du deinen Liebsten sterben up into no less than sixteen parts, spread across was eventually to find its artistic expression in Mahler’s music to guide us we might be tempted , the richness of Wolf’s chordal accompaniment the spectrum of voices, and Gottwald’s careful Tristan und Isolde. In the meantime she sent him to read the poem as somewhat self-satisfied!) is brought out with increased counterpoint in blending and balancing of the different voice- a set of five poems which she had written, which which, in the original orchestration is beautifully Gottwald’s 16-part setting, which reflects well the types result in a highly subtle, yet varied palate. Wagner set to music in 1857-8. Of these five conveyed through fairly small orchestral forces. fairly abstract tone of the poem. The word-painting , two found their way into the This beautiful simplicity of scoring lends itself is more direct in Das verlaßene Mägdlein, where (1813-1883) is well-known as one completed : Im Treibhaus provided material particularly well to choral adaptation; the finished the crowing of the cock is almost more successfully of the most important figures in the history of for the opening scene of Act III, while Träume was result is breathtakingly effective. depicted by the upper voices of the choir than the opera, which he believed to be the ultimate form of the starting point for the love duet in Act II. piano in the original solo song. Auf ein altes Bild artistic expression. Indeed, he wrote comparatively The reputation of the composer Hugo Wolf (1860- is a poetic reflection on a late medieval painting few works of any substance which were not in If, for Wagner, music found its ultimate expression 1903) rests almost exclusively on his gifts as a of the Virgin and Child; here Gottwald has some way associated with one of his ‘Music in the context of Music Drama, Gustav Mahler song-writer; indeed, he was arguably the most intensified the of Wolf’s chordal, hymn- important composer of lieder in the latter half of like piano accompaniment by choosing a 12th Dramas’. As their title suggests, the two ‘Studies (1860-1911)eines fahrenden is rememberedGesellen primarily as a for Tristan und Isolde’ performed here in symphonist - though his legacy of orchestral lieder the nineteenth century. His understanding and century Latin hymn celebrating the Virgin and arrangement are no exception. Having fled is also substantial. Indeed, the song cycle Lieder interpretation of poetry, and the imagination and Child, to which Wolf’s accompaniment is set, while Dresden after the Revolution in 1849, Wagner and , originally written in sensitivity of his piano accompaniments, are the and altos sing the song melody. his wife arrived in Zurich, where, for some years, 1883-5 and orchestrated in the 1890s, formed the perhaps unrivalled amongst composers of his Likewise, in the final song, Der Gärtner, Gottwald

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has provided a reading of the poem which draws written in the same year, of which his own setting Anton Webern (1883-1945) and Alban Berg (1885- Sommerabend, the -sounding 6/8 metre attention to the impossibility of the love of the of Soupir is also included in arrangement on this 1935) are best known as the two pupils of Arnold holds sway, though the simplicity of expression of gardener for the princess who rides past on her disc. Both composers responded to Mallarmé’s words Schoenberg whose twelve-tone compositions, the solo voice and piano in Webern’s original song horse, both through his own poetry, to which he in a fairly adventurous way. For Debussy this along with those of their teacher, came to define is replaced in the choral arrangement by a richer sets Wolf’s cantering accompaniment, but also resulted in the alternation of unusually dissonant the . The songs presented sense of reverie and longing. through the slow-moving line, which with the use of sparse textures (in the here, however, are all youthful works, particularly Youthful Songs symbolises, in Gottwald’s words, ‘the barrier, which originalla neige there are several phrases sung by solo so in the case of Webern, who was still in his teens The three songs by Alban Berg which are rigidly and insurmountably separates the worlds voice alone without accompaniment). Des pas sur when he wrote the earliest of his Eight early songs presented here, however, are taken from Seven of master and servant’. was originally composed in 1909, not as (1901-4), of which four are performed here in , written between 1905-8, which a song but as a piano piece, published a year later arrangement. All four originals are brief and Berg selected and orchestrated in 1932. These Of the three works by Claude Debussy (1862- in the first book of Préludes. In this arrangement, concise utterances, though beautiful; one might songs, a little more substantial than Webern’s, 1918) performed here, only two were originally Clytus Gottwald has chosen words by Rilke and be tempted to feel that Gottwald’s choral are rooted in a chromatic late-romantic tonal songs for voice and piano. Les Angélus dates from Mallarmé which seem to suit both the idea and the arrangements make them altogether weightier language. In 1910 Schoenberg commented that 1891 - relatively late in his oeuvre of chansons, notes of Debussy’s music. pieces. While in Tief von fern, the chordal the young Berg had initially seemed ‘unable to though before his most groundbreaking orchestral simplicity of Webern’s original piano accompaniment compose anything other than songs’. The highly and piano music was written - Debussy very much If the adventurousness of Debussy’s Mallarmé is maintained in the choral version, Heiter, by vocal and often contrapuntal approach to started off as a song composer. It nonetheless settings can be found in his use of plain textures contrast, represents a fairly liberal arrangement. instrumental writing which characterises Berg’s displays a number of the hallmarks typical of and obscure harmonies, in the settings by Maurice In the arranger’s own words, ‘this song has been early work is certainly in evidence in these songs, his harmonic style. Pentatonic and whole-tone Ravel (1875-1937) it is primarily to be found in interpreted… from the viewpoint of the more evenZimmer in their 1932 orchestrated versions, making harmonies mingle, while the melody - a fairly the refinement of his instrumentation - in their mature Webern. The setting was not transcribed them ideal for choral adaptation. The simple aimless one at that - in turn emerges from and original version they are scored for piccolo, , based on its harmonic substance, but rather it phrases and imitative texture of the charming Im recedes back into the accompanimental texture, a , clarinet, piano and string quartet. was reduced to one of its intervallic structures’. might well be considered to display the feature that is particularly well brought out in Gottwald has reflected this to a certain degree in The result is an arrangement which, though it sort of vocal traits of which Schoenberg complained; Gottwald’s arrangement for six upper voices. the arrangement performed here; at two points he follows the overall harmonic and melody shape of Die Nachtigall contains more pianistic elements in Soupir, by contrast, is a late song, the first of the calls upon certain sections of the choir to whistle the song, is rather more contrapuntal and sparse the accompaniment, though bears choral treatment Trois Poèmes de Mallarmé, written in 1913 - their parts - no mean feat given the complexity of in sonority than the original. The original well with little adaptation. Traumgekrönt, the coincidentally, since, unbeknown to Debussy, his harmonies. Like Debussy’s, the harmonies are atmosphere is rather more easily maintained in longest song of the three, held particularly fond Ravel had set two of the same poems in his own sophisticated in their , but invariably the short but intense Der Tod, where the full memories for the composer, as it was written setting of Trois Poèmes de Stéphane Mallarmé, resulting in colour, warmth and sonority. dynamic range and tessitura is exploited, while in during the courtship of his wife-to-be, Helene

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Nahowski, and he quotes Rilke’s poem in a letter only after the war did he devote himself fully to Texts written to her immediately after he had finished composition. Le Miroir de Jésus, a cantata written the song. They were married in 1910. in 1923, based on poems by Henri Ghéon and 1. Die zwei blauen Augen The Two Blue Eyes Of My Darling steeped in Catholic mysticism, can be reckoned Gustav Mahler The fame of Giacomo Puccini (1858-1924), like amongst his finest works. The original scoring is (from Lieder eines fahrenden Gesellen) that of Wagner, rests on his work as a composer of for mezzo , female voices, harp and opera, though he belongs to the Italian opera strings. Each of the movements of the cantata Die zwei blauen Augen von meinem Schatz, The two blue eyes of my darling - tradition rather than the German; he is popularly contains a musical ‘title piece’, and these have Die haben mich in die weite Welt geschickt. they have sent me into the wide world. thought of as Verdi’s successor. The familiar been retained in Gottwald’s arrangements of three Da mußt ich Abschied nehmen vom I had to take my leave of this well-beloved place! Oh! mio babbino caro is from the fairly burlesque of the eighteen movements, one from each of the allerliebsten Platz! O blue eyes, why did you gaze on me? one-act opera Gianni Schicchi, a late work first three parts of the cantata, which relate respectively O Augen, blau! Warum habt ihr mich angeblickt? Now I will have eternal sorrow and grief. performed in New York in December 1918, whose to the incarnation, suffering and glory of Jesus Christ. Nun hab ich ewig Leid und Grämen! was inspired by a reference in Danté’s Divine Comedy. In the aria, Lauretta © Matthew O’Donovan Ich bin ausgegangen in stiller Nacht, I went out into the quiet night melodramatically threatens to throw herself from In stiller Nacht wohl über die dunkle Heide. well across the dark heath. the Ponte Vecchio into the Arno if her father will Hat mir niemand ade gesagt, ade! To me no one bade farewell. not consent to her marriage to the man she loves. Mein Gesell war Lieb und Leide! Farewell! My companions are love and sorrow! The compositions of André Caplet (1878-1925) Auf der Straße steht ein Lindenbaum, On the road there stands a linden tree, have tended to be somewhat overshadowed by Da hab ich zum erstenmal im Schlaf geruht! those of his elder contemporary Debussy, to whom Unter dem Lindenbaum, der hat and there for the first time I found rest in sleep! he owed a great deal in terms of stylistic Seine Blüten über mich geschneit, Under the linden tree influence. In turn, Debussy admired Caplet’s work Da wußt ich nicht, wie das Leben tut, that snowed its blossoms onto me - and the two men became good friends. Debussy War alles, ach, alles wieder gut! I did not know how life went on, wasSaint even Sébastien happy to delegate to Caplet the Alles! Alles! Lieb und Leid! and all was well again! orchestration of a significant part of Le martyre de Und Welt und Traum! All! All, love and sorrow in 1911, and he conducted the and world and dream! first performance. Indeed, it was initially as a gifted conductor that Caplet gained recognition; Translation: Emily Ezust

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2. Soupir Sigh un flocon de neige creva to burst on my disgruntled brow, que de l’ongle … that the nail … Mon âme vers ton front où rêve, o calme sœur, My soul rises towards your face, oh calm sister, La mort Death unn automne jonché de taches de rousseur, where an autumn lies dreaming, covered with freckles, leur joue du violon, plays the , et vers le ciel errant de ton œil angélique monte and towards the restless sky of your angelic eye, du violon de glace, the violin of ice, la mort … death … comme dans un jardin mélancolique, as in a melancholy garden, Que contre elle ne protégé from him a flame within fid´le un blanc jet d’eau soupier vers l’Azure! a white sighs faithfully towards the azure! pas une flame au dedans. gives no protection.

Vers l’Azur attendri d’Octobre pale et pur, Towards the softened azure of an October pale and clear, Text: Ranier Maria Rilke & Stéphane Malarmé qui mire aux grands basins sa langueur infinie. which regards its endless languor in the great pools. Translation By John Coombs

On the stagnant water, where the faded agony of leaves 4 - 5. Zwei Studien zu Tristan & Isolde Sur l’eau morte où la fauve agonie des feuilles stirs in the wind and draws a cold furrow, Richard Wagner erre au vent et creuse un froid sillon, the yellow sun drags itself out in a long ray. se trainer le soleil jaune d’un long rayon. 1. Im Treibhaus In the Greenhouse Text: Stéphane Mallarmé from Trois Poèmes de Stéphane Mallarmé Translation: Earl Rosenbaum Hochgewölbte Blätterkronen, Baldachine High-arched crowns of leaves, emerald canopies, von Smaragd, you children of distant regions, tell me, Kinder ihr aus fernen Zonen, saget mir, why do you lament? 3. Des pas sur la neige Footprints in the snow warum ihr klagt? Silently you bend the branches, Claude Debussy Schweigend neiget ihr die Zweige, painting symbols in the air, and of suffering mute witness, mallet Zeichen n die Luft In winter murderous death sweet fragrance ascending. En hiver, la mort meurtrière und der Leidenstummer Zeuge, enters into the houses; In yearning desire you spread wide your arms entre dans les maisons; steiget aufwärts süßer Duft. he seeks the sister, the father, and, caught up in delusion, elle cherche la sœur, le père, Weit in sehnendem Verlangen breitet et leur joue du violon. and plays the violin for them; embrace the desolate void, devastating horror. Quelque hiver sur mon front morose Some winter left a snowflake ihr die Arme aus Well I know, poor plant, one fate we share, und umschlinget wahnbefangen though illuminated by light and brightness, öde Leere, nichten Graus.

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Wohl ich weiß es, arme Pflanze ein Geschicke our home is not here! Schnee die Blüten küsst, that to a never foreseen bliss they greet teilen wir, And as happily the sun parts the day’s idle lustre, dass zu nie geahnter Wonne sie der neue Tag the new day, ob umstrahlt von Licht und Glanze, unsre Heimat he, who truly suffers, begrüßt, that they grow, that they blossom, ist nicht hier! shrouds himself in the darkness of . dass sie wachsen, dass sie blühenm träumend dreamingly giving their fragrance, Und wie froh die Sonne scheidet von des Tages It becomes still, a murmur weaving, spenden ihren Duft, gently fading away on your breast leerem Schein, filling anxiously the dark room. sanft an deiner Brust verglühen und dann sinken and then sinking into the grave. hüllet der, der wahrhaft leidet, sich in Schweigens Heavy drops I see suspended on the in die Gruft. Dunkel ein. green seams of leaves. Text: Mathilde Wesendonck Stille wirds, ein säuselnd Weben füllet band den Translation: Earl Rosenbaum dunklen Raum. 6 - 9. Vier Lieder - Hugo Wolf Schwere Tropfen she ich schweben an der Blätter grünem Saum. 1. Und willst du deinen Liebsten sterben sehen And if you want to see your dearest die

2. Träume Dreams Und willst du deinen Liebsten sterben sehen, And if you want to see your dearest die, so trage nicht dein Haar gelockt, du Holde, then do not wear your hair so curly, you fair one, Sag, welch wunderbare Träume halten meinen Tell me, what wonderful dreams keep encircling lass von den Schultern frei sie niederwehen, let it blow down freely from the shoulders, Sinn umfangen, my mind, wie Fäden sehn sie aus von purem Golde. they look like threads of pure gold. dass sie nicht wie leere Schäume sind in odes which, like nothing but idle froth, have dissolved Nichts vergangen? in an empty void? Wie golden Fäden, die der Wind bewegt, Like golden threads which the wind blows, Träume, die in jeder Stunde, jedem Tage Dreams, which flourish more beautifully every schön sind die Haare, schön ist, die sie trägt! beautiful the hair, beautiful is she who wears it. hour, every day Golden threads, silk threads, countless, schooner blühn Goldfäden, Seidenfaden, ungezählt, and with their message from haven pass through beautiful the hair, beautiful is she who combs it. und mit ihrer Himmelskunde selig durchs schön sund die Haare, schön ist, die strählt! Gemüte ziehn? the soul? Träume, die wie hehre Strahlen in die Seele Dreams, which like rays sublime sink into the soul, Text: Anonymous to paint eternally a picture there: sich versenken, all forgotten, remembering! dort ein ewig Bild zu malen: Dreams, as spring sun kissed the blossoms from Allvergessen, Eingedenken! the snow, Träume, wie wenn Frühlingssonne aus dem

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2. Das verlaßene Mägdlein The deserted maiden O gloriosa virginum, sublimes: O Queen of all the Virgin Choir, exalted: qui te creavit, parvulum Who with pure milk from thy own breast Früh, wann die Hähne krähn, Early, when the roosters crow, lactente nutris ubere. Thy own Creator didst supply. eh die Sternlein schwinden, before the stars begin to fade, Quod Heva tristis abstulit, What man hath lost in hapless Eve, muss ich am Herde stehn, I mast stand by the hearth, tu reddis almo germine: Thy sacred womb to man restores; must light the fire. muss Feuer zünden. Intrent ut astra flebilis, Thou to the sorrowing here beneath caeli recludis cardines. Hast open’d Heaven’s eternal doors. Schön ist der Flammenschein, The glowing flames are beautiful, Tu Regis alti janua; Hail, O refulgent Hall of light; es springen die Funken, the sparks fly, Most noble among all. I look into it, Arbor una nobilis. ich schaue so darein, The royal standards are raised, lost in sorrow. Vexilla Regis prodeunt, in Leid versunken. the mystery of the Cross shines. fulget cruces mysterium. Suddenly, it comes to me, [Anonymous, 12th Century] Plötzlich, da kommt es mir, faithless boy, Text: Eduard Mörike & Anonymous treuloser Knabe, that this night 4. Der Gärtner The Gardener dass ich die Nacht von dir I dreamed of you. geträumet habe. Then tear after tear rolls down, On her favourite horse, as white as the snow, Träne auf Träne dann stürzet hernieder, thus the day draws near, Auf ihrem Leibrösslein, so weiß wie der Schnee, the most beautiful princess rides through the so kommt der Tag heran, o ging er wieder! oh, he leaves again! die schönste Prinzessin reit’t durch die Allee. Der Weg, den das Rösslein hintanzet so hold, road. Text: Eduard Mörike der Sand, den ich streute, er blinket wie Gold! The path that the horse prances down gracefully, Du rosenfarbs Hütlein wohl auf und wohl ab, the sand that I scattered, glistens like gold! To an old Picture o wirf eine Feder verstohlen herab! Your rose-coloured hat, which bobs up and down, cast me a feather, furtively. 3. Auf ein altes Bild Und willst du dagegen eine Blüte von mir, And if you want, in exchange, a flower from me, In green landscape summer blossoms, nimm tausend für eine, nimm alle dafür! [Eduard Mörike] take a thousand for one, take them all in return! In grüner Landschaft Sommerflor, by cool water, rushes and reeds, bei kühlem Wasser, Schilf und Rohr, seem how the Child, so free from sin, plays freely on the Virgins lap! Ein Sommertag, voll Blumenduft, A summer day, full of blossoms’ fragrance, schau wie das Knäblein sünderlos And there in forest, blissfully voll Vogelsang, reizendem Farbenklang, full of birdsong, charming, colourful sounds, frei spielet auf der Mutter Schoß! ah, already grows the Cross’s trunk! ein Sommertag hell, die Blümelein am Quell a bright summer day, flowers by the spring Und dort im Walde wonnesam, ach, grünet schon des [EduardKreuzes Mörike] Stamm! - 14 - - 15 - 102Booklet 22/5/07 22:58 Page 17

und Duft in der Luft, Blumen am Weg, and perfume in the air, flowers on the path, 10. Les Angélus The Angleus der Liebste mein, wo weilt er doch, my dearest, mine, where does he linger, yes, Claude Debussy o brausende, drängende Seligkeit du, oh you rushing, hurtling bliss, ach, vorbei ist die alte, die fröhliche Zeit, ah, the old, happy times have passed, Cloches chrétiennes pour les matines, Christian bells for matins, doch weit von hier, durch Meere getrennt, indeed, far from here, divided by oceans, Sonnant au coeur d’espérer encore! Ringing so the heart can hope again! weilt er doch jetzt; Herz erschrick, yet he lingers still; heart is frightened, Angelus angelisés d’aurore! Angelus angelised by the dawn! gedenket des Tags, da Abschied uns sang, think of the day, when of parting sang Helas! Où sont vos prières câlines? Alas, where are your tender prayers? verworrener Ström verworrener Gang, confused streams confused walk, und in schwankenden Wogen das and in rolling waves the ship moves out of sight; Vous étiez de si douce folies! You were of such sweet follies! Schiff sich verliert; Et chanterelles d’amour prochaines! as the summer day, full of mild air, filled with the Singing of approaching love! wie Sommertag, voll lauer Luft, voll Finkenschlag, Aujourd’hui souveraine est ma peine. song of a finch, Today it is my pain that reigns. die Blümelein, der Liebste, ach, wo weilt er doch, Et toutes matines abolies. little flower, my dearest, ah, And the matins are all banished. gedenket der Zeit, but where does he linger, ach Mütterlein mein, nur dir allein vertraut ich es, Je ne vis plus que d’ombre et de soir; doe goldene Zeit, die Wolken ziehn hin, think of the time, Les las angelus pleurent la mort, I live only in shadow and evening; o Menschenkind, was schaudert dich, ah dear mother mine, only to you alone can I Et là dans mon coeur résigné, dort The weary Angelus lament death, gedanke der Zeit, confide it, La seule veuve de tout espoir. And there in my resigned heart, sleeps der Wasserfall dort, mit hellem Schall, the golden time, the clouds passing on, The lone widow of all hope. ein kühlender Hort. oh soul, why do you shudder? Think of the time, Text: Grégoire Le Roy Horch! Hörnerklang! Ach so hoffnungshell, the waterfall there, roaring clearly, a cool refuge. Translation: Matt Hall Täuschung ists, nur rauscht der Wald Hear! Horn calls! Ah, so hopefully bright, verwirrend, aus einsamen Tiefen it is deceptive, only the forest rustles 11 - 14. Vier frühe Lieder rufts dunkel und traurig ein leises „vorbei"! confusing, from the lonely depths Anton Webern [Clytus Gottwald] calls dark and sorrowfully a soft "it’s over"! Text: Eduard Mörike & Clytus Gottwald 1. Tief von fern Below, from afar Translations: Earl Rosenbaum Aus des Abends weißen Wogen From the white waves of evening taucht ein Stern; a star appears; tief von fern below, from afar, kommt der junge Mond gezogen. trails the young moon. - 16 - - 17 - 102Booklet 22/5/07 22:58 Page 19

Tief von fern, Below, from afar 4. Sommerabend Summer Evening aus des Morgens grauen Wogen, from the gray waves of morning, langt der große Bogen the great arc Licht! In sanftem Glühen steht die Flur entzündet. Light! the meadow is afire, softly gleaming. nach dem Stern. reaches towards the star. Kein Laut, der dieses Friedens Lauschen bricht, No sound disturbs this peace in slumber, in ein Gefühl ist alles hingem¨ndet. all is merged in one emotion. Text: Richard Dehmel Auch meine Seele sehnt sich nach der Nacht My sould longs also for the night und nach des Dunkels taugeperltem Steigen, and for steep paths of darkness pearled with dew, 2. Heiter Serene und nach des Dunkels taugeperltem Steigen, and wants only to listen how in splendor of roses, und will nur lauschen, wie in Rosenpracht the dark, heavenly hours glow in silence. Mein Herz ist wie ein See so weit, My heart is as big as the sea, die dunklen Himmelsstunden leuchtend schweigen. drin lacht dein Antlitz sonnenlicht in it your face laughs sunlit Translations By Earl Rosenbaum in tiefer süßer Einsamkeit, in deep, sweet seclusion, Text: Wilhelm Weigand wo leise Well’ an Well’ sich bricht. where wave upon wave gently breaks. Ist’s Nacht, ist’s Tag? Ich weiß es nicht. Is it night, is it day? I do now know. 15 - 17. Pieces from Sieben frühe Lieder Lacht doch auf mich so lieb und lind Your sunlit face (1905 - 1908) Alban Berg dein sonnenlichtes Angesicht, smiles at me so soft and gentle, und selig bin ich wie ein Kind. 1. Die Nachtigall The Nightingale and I am happy as a child.

Text: Das macht, es hat die Nachtigall It happened because the nightingale Die ganze Nacht gesungen; sang the whole night long; 3. Der Tod Death Da sind von ihrem s¨¨ßen Schall, from her sweet call, Da sind in Hall und Widerhall from the echo and re-echo, Ach, es ist so dunkel in des Todes Kammer, Oh, it is so dark in Death’s chamber, Die Rosen aufgesprungen. roses have sprung up. tönt so traurig, wenn er sich bewegt sounds so sad when he moves Sie war doch sonst ein wildes Blut, She was but recently a wild blossom, und nun aufhebt seinen schweren Hammer and now raises his heavy hammer Nun geht sie tief in Sinnen, and now she walks, deep in thought; und die Stunde schlägt. Trägt in der Hand den Sommerhut and strikes the hour. she carries her summer hat in her hand, Und duldet still der Sonne Glut enduring quietly the heat of the sun, Text: Matthias Claudius Und Weiß nich, was beginnen. knowing not what to begin.

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2. Im zimmer In the Chamber Trois Fragments du Miroir de Jésus André Caplet Herbstsonnenschein. Autumn sunlight. Der lieve Abend blickt so still herein. The lovely evening peers so quietly in. 1. Présentation Offering Ein Feuerlein rot A little red fire Knistert im Ofenloch und loht. crackles in the stove and flares up. Le lys entré dans l’averse blanc The lilly, struck by rain, So, mein Kopf auf deinen Knien, And with my head on your knee, n’en sortira pas plus blanc is scarcely whiter than before. So ist mir gut. I am contented. Ainsi la Vierge traverse Thus, the Virgin walks through Wenn mein Auge so in deinem ruht, When my eyes rest in yours, la cascade aux eaux d’argent. the silver schimmering waterfall. Wie leise die Minuten ziehn! Sur ses paumes rafraîchies, how gently do the minutes pass! With cleansed hands elle offrira la primeur she brings the firstborn Text: Johannes Schlaf du jardin de modestie as the fruit of her lowliness à son Epoux et Seigneur. to her spouse and Lord. 3. Traumgerkrönt Crowned in a Dream Le vieillard qui la salue Simeon, the old man, greets Maria, renonce à vivre à la vue he embraces the son, the Saviour, Das war der Tag der Weißen Chysanthemem, That was the day of the white chrysanthemums, du Fils attendu longtemps, as in a dream. Mir bangte fast vor seiner Pracht… I was almost intimidated by its glory… s’endormant dans son rêve, And as he passes away, Und dann, dann kamst du mir die Seele nehmen And then, then you came to take my soul montre à la mère le glaive he sees, as in a dream, the sword Tief in der nacht. deep in the night. qui fauchera ce printemps. that smites this spring. Mir was so bang, und du kamst lieb und leise, I was so worried, and you came so lovingly and Ich hatte grad im Traum an dich gedacht. quietly, I had just thought of you in a dream. Lumen ad revelationem gentium. A light to lighten the gentiles Du kamst, und leis’ wie eine Märchenweise You came, and softly the night resounded Erklang die Nacht. like a fairy tale song. 2. Agonie au Jardin Gethsemene Text: Dans sa maison la fenêtre ouverte, sur la colline qui fut si verte In her house, at the open window, à contempler au temps du bonheur, she looks out, upon that hill which once, la Mère aussi souffre in good fortune, seemed so green to her, l’agonie du Fils absent, the maternal heart suffers the suffering of her absent son, - 20 - - 21 - 102Booklet 22/5/07 22:58 Page 23

que son Père oublie. whom the Father forgot, Mi struggo e mi tormento! I fret and suffer torments! Et doit garder pour elle ses pleurs. but she holds back her tears. O Dio, vorrei morir! Oh God, I would rather die!

3. Résurrection Resurrection Babbo, pietà, pietà! Daddy, have pity, have pity! Babbo, pietà, pietà! Daddy, have pity, have pity Le troisème jour était proche ; The third day he was near. elle ne doutaut oas de kui, She did not doubt his word, le troisième jour était proche ; already, the third day had dawned, Ich bin der Welt abhanden gekommen I am lost to the world ayant prié toute la nuit her prayer lasted the whole night, Gustav Mahler elle respirait sous le porche ; then she stepped out of the door. Mère, le Maitre vit ! Ich bin der Welt abhanden gekommen, Mother, the Master lives! I am lost to the world La mere sanglote, sourit : Mit der ich sonst viele Zeit verdorben, The mother sobbed, smiling: with which I used to waste so much time, Je le savais déjà, dit-elle. Sie hat so lange nichts von mir vernommen, I had always known it, she said. It has heard nothing from me for so long Alleluia. Sie mag wohl glauben, ich sei gestorben! Alleluia. that it may very well believe that I am dead!

Text: Henri Ghéon Es ist mir auch gar nichts daran gelegen, Translations: Earl Rosenbaum Ob sie mich für gestorben hält, It is of no consequence to me Ich kann auch gar nichts sagen dagegen, Whether it thinks me dead; Oh! mi babbino caro from Gianni Schicchi Oh my dear daddy Denn wirklich bin ich gestorben der Welt. I cannot deny it, Giacomo Puccini for I really am dead to the world. Ich bin gestorben dem Weltgetümmel, O mio babbino caro, Oh my dear daddy Und ruh’ in einem stillen Gebiet! I am dead to the world’s tumult, mi piace è bello, bello; I love him, he is so handsome Ich leb’ allein in meinem Himmel, And I rest in a quiet realm! vo’andare in Porta Rossa I want to go to Porta Rossa In meinem Lieben, in meinem Lied! I live alone in my heaven, a comperar l’anello! to buy the ring! In my love and in my song! Sì, sì, ci voglio andare! Yes, yes, I mean it Text: Friedrich Rückert e se l’amassi indarno, And if my love were in vain Translation: Emily Ezust andrei sul Ponte Vecchio, I would go to Ponte Vecchio ma per buttarmi in Arno! and throw myself in the Arno!

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BIOGRAPHies wonderfully blended. It is fantastically in tune and very expressive, with a wide range of dynamics, sensitively employed. What does that leave out? Oh yes, balance - and that too is superb, and it The Rodolfus Choir has a quite extraordinary flexibility.

The Rodolfus Choir was founded in 1983. Its Past Times), one of music by C. H. H. Parry, www.rodolfuschoir.com members, aged up to 25, are chosen from including his Songs of Farewell and some part- students of the Eton Choral Courses. Each year songs, one of sacred music by the 18th-century these six summer courses attract some 350 young Austrian composer Johann Eberlin, one which singers, and of these a dozen or so of the best are features special choral arrangements of favourite invited to join the Rodolfus Choir. Many of the instrumental classics, "By Special Arrangement", singers are choral scholars, several are at music one of Christmas arrangements and carols and college, some are still at school, and many hope to one of German Romantic motets. In January 2000 make a career in music. They come from all over the choir gave a performance of the Bach B minor the country to sing for a few intensive days during mass with the Orchestra of the Age of the three main holidays. In recent years the choir Enlightenment broadcast on Classic FM, and in has concentrated on recordings and performances the summer of 2001 sang again in the Three within the UK, with the exception of a two-week Choirs Festival in Gloucester. Regular singing at tour of the US in 2005. It made a great impression festivals has recently included the Chiswick at the Gloucester Three Choirs Festival in 1989, Festival and the International Organ and Choral and since then has appeared at many other Festival in Dublin. important English Festivals. Clare Stevens wrote in March 2005, in ‘The Singer’: The choir has made six CDs on the Herald label, two of music by Francis Grier, one of choral music The sound of the Rodolfus Choir is like that of no by Arnold Bax and Pierre Villette, one of English other UK chamber choir that I can think of. It is © Will Cartwright-Hignett and Scottish folk-song settings (commissioned by fresh, because all the members are under 25, it is

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Ralph AllWood

Ralph Allwood is Precentor and Director of Music at Eton College. He was a pupil at Tiffin School, where he came under the influence of David Nield and Bruce Pullan, and graduated from Durham University in 1972 with the Eve Myra Kysh prize for music. He was later a member of the Choir of Recorded at Eton College Chapel, UK, January 1 - 3 & August 28 - 29, 2006 King’s College, Cambridge under Sir David Producer - Matthew O'Donovan Willcocks, then became Director of Music at Recording, Editing and Mastering Engineer - David Wright Pangbourne College. While Director of Music at Cover Image - Shutterstock Uppingham he founded the annual Eton Choral Design and Artwork - Woven Design www.wovendesign.co.uk Courses for prospective choral scholars.

P 2007 The copyright in this recording is owned by Signum Records Ltd. The five Eton Choral Courses, attended each year C 2007 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will by three hundred singers aged between 16 and 20. render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, The courses broadcast and record evensongs and recording or otherwise, without prior permission from Signum Records Ltd.

sequences for BBC Radio Three. He has conducted SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. choral courses in Taiwan, Sydney, Barcelona, +44 (0) 20 8997 4000 E-mail: [email protected] Harvard University, Boston, Kansas, Utrecht and www.signumrecords.com Vancouver. He has been musical director for Allwood © Tom National Youth Music Theatre musicals for ITV, Choir of the Year Competition and the Llangollen Granada and BBC2, and conducted on two International Eisteddfod. He has recently been occasions for the Edinburgh International Festival. made an honorary Fellow of the Royal School of Church Music and an honorary Associate of the Eton College Chapel Choir, which he directs, tours Royal Academy of Music. He also directs the abroad every year and have released seven Windsor and Eton Choral Society. recordings. He is an advisor for Novello and Co and for the Voices Foundation, and a judge for the www.ralphallwood.com

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