MASTER 1

FRIDAY 6 March 7.30pm Federation Concert Hall

Marko Letonja conductor INTERVAL Michelle DeYoung mezzo-soprano To mark the opening of the Hobart 2015 Simon O’Neill tenor season, complimentary sparkling wine Including musicians from the Australian will be served at interval. National Academy of Music Duration 20 mins LEDGER The Madness and Death of King Ludwig MAHLER The Song of the Earth Duration 10 mins () WAGNER Das Trinklied vom Jammer der Erde “Siegfried’s Rhine Journey” from (The Drinking Song of the Earth’s Sorrow) Götterdämmerung Der Einsame im Herbst (The Lonely Man in Autumn) Duration 13 mins Von der Jugend (Of Youth) WAGNER Von der Schönheit (Of Beauty) “Ride of the Valkyries” from Die Walküre Der Trunkene im Frühling Duration 6 mins (The Drunken Man in Spring) Der Abschied (The Farewell) Duration 60 mins

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Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 11 Marko Letonja Michelle DeYoung SIMON O’NEILL

Marko Letonja is Chief Conductor Michelle DeYoung has performed with A native of New Zealand, Simon O’Neill and Artistic Director of the Tasmanian many of the world’s leading orchestras has established himself as one of the Symphony Orchestra, and Music Director and opera companies, including the finest tenors on the international stage. ; Lyric Opera of of the Orchestre Philharmonique de Notable roles have included Jenik (The Chicago; Houston Grand Opera; Seattle Strasbourg. Born in Slovenia, he studied at Bartered Bride) and Walther von Stolzing Opera; Washington Concert Opera; the Academy of Music in Ljubljana and the Glimmerglass Opera; Berlin State Opera; (The Mastersingers of Nuremberg) at the Vienna Academy of Music. He was Music Paris Opera; Basel Opera; New York Royal Opera House, Covent Garden; High Director of the Slovenian Philharmonic Philharmonic; Boston Symphony Orchestra; Priest (Idomeneo) with the Metropolitan Orchestra from 1991 to 2003 and Music The ; ; Sergei (Lady Macbeth of Mtsensk) Director and Chief Conductor of both the Philharmonic; Vienna Philharmonic; BBC with Opera Australia; and the title roles Symphony Orchestra and the Opera in Symphony Orchestra; Royal Philharmonic in Lohengrin at the and Basel from 2003 to 2006. He was Principal Orchestra; Philharmonia Orchestra; Sao with the Vienna State Opera. Guest Conductor of Orchestra Victoria in Paulo Symphony Orchestra; and the He has performed the role of Siegmund 2008 and made his debut with the TSO Royal Concertgebouw Orchestra. Her (Die Walküre) at Teatro alla Scala, Berlin the following year. He took up the post many roles include Fricka, Sieglinde and Waltraute (); State Opera, Hamburg State Opera and of Chief Conductor and Artistic Director Kundry (Parsifal); Venus (Tannhäuser); Deutsche Oper Berlin, as well as the of the Tasmanian Symphony Orchestra Brangäne (Tristan and Isolde); Dido (Les complete Ring cycle with the Staatskapelle at the start of 2012. Marko Letonja has Troyens); Eboli (Don Carlos); Amneris Berlin at the BBC Proms. Concert highlights worked with many orchestras in Europe (Aïda); Marguerite (The Damnation of include The Song of the Earth with James including the Munich Philharmonic, Vienna Faust); Judith (Bluebeard’s Castle); Gertrude Levine and The Met Orchestra at Carnegie Symphony and the Orchestra Filarmonica (Hamlet); Jocasta (Oedipus Rex); and the Hall; Der Freischütz with Sir della Scala, Milan; and in many renowned title roles in Samson and Delilah and The opera houses, such as the Vienna State Rape of Lucretia. She also sang the role of and the London Symphony Orchestra; Opera, Berlin State Opera, La Scala, Milan, the Shaman in the world première of Tan Mahler’s Symphony No 8 at the Sydney and the Semper Oper, Dresden. He has Dun’s The First Emperor at the Metropolitan Opera House with Vladimir Ashkenazy; also conducted at the Arena di Verona. His Opera. Her recordings include Mahler’s and Beethoven’s Symphony No 9 for the engagements in Australia have included Kindertotenlieder and Symphony No 3 reopening of London’s Royal Festival with Michael Tilson Thomas and the San the West Australian Symphony Orchestra Hall. Simon O’Neill is an alumnus of the Francisco Symphony, which was awarded and productions for Opera Australia University of Otago, Victoria University the 2003 Grammy Award for Best Classical of Wellington, the Manhattan School of and the West Australian Opera. Future Album; with Sir Colin Davis and the engagements include the Grand Théâtre de London Symphony Orchestra, winner of the Music and the Juilliard Opera Center. He Genève, Mozarteum Orchestra, Salzburg, 2002 Grammy Awards for Best Classical Album is a Fulbright Scholar and the recipient of Berlin Radio Orchestra and a return and Best Opera Recording; and The Song of the 2005 Laureate Award from the Arts appearance at the Vienna State Opera. the Earth with the Minnesota Orchestra. Foundation of New Zealand.

12 13 James Ledger (born 1966) Richard Wagner (1813-1883)

The Madness and Death of King Ludwig The Madness and Death of King Ludwig is “Siegfried’s Rhine Journey” from scored for a large ensemble of 17 brass Götterdämmerung, Day Three of Der Ring James Ledger wrote his first orchestral instruments, percussion and eight double des Nibelungen work, Indian Pacific, in 1996 and since basses. It begins low in the depths of the Back in the 1930s, English music scholar then his music has been programmed double basses and rises up – an idea that Donald Francis Tovey coined the term on a regular basis by all of the Australian parallels the opening of Das Rheingold, “bleeding chunks” to describe concert state symphony orchestras. He has the first opera in Wagner’s Ring cycle. performances of excerpts from Wagner’s been composer-in-residence with many The brass instruments enter in a slow, operas: “…bleeding chunks of butcher’s ensembles and institutions including stately fashion and build to a huge climax. meat chopped from Wagner’s operas the Christchurch, Adelaide and West Then the first of two Ring quotations can and served up on Wagner nights as Australian Symphony Orchestras, and the be heard: the music that describes the ‘Waldweben’ [Forest Murmurs] and Australian National Academy of Music. “Acceptance of Destiny” from Act II of Die ‘Walkürenritt’ [Ride of the Valkyries].” It is His compositions have twice been named Walküre. From this blossoms some very hard to see “bleeding chunks” as anything Orchestral Work of the Year in the APRA/ frenetic and troubled music that climaxes but a term of derision, but Tovey’s point was Richard Wagner AMC Art Music Awards, and his song-cycle with three-note brass chords that appear as that Wagner’s music should not be judged, Conversations with Ghosts, co-written “towers”. Now the second Ring quotation and found wanting, on the basis of excerpts with Paul Kelly, won an ARIA award. He is is heard: the prelude to Das Rheingold, the substantial losses of the inaugural performed in concert, but ought to be currently a lecturer in composition at the which emerges between these towers Bayreuth Festival; in this, the trip was a given full consideration within its original, University of Western Australia. before forming fully into the Rhine Journey failure.) large-scale, musico-dramatic context. The composer writes: music from Götterdämmerung. This music Wagner not only composed the music for eventually descends into chaos and there While Wagner clearly wished for his music his dramas, he wrote the libretti as well Ludwig II, King of Bavaria from 1864 until emerge chords that fade in and out and dramas to be experienced in full – he even and, wherever possible, supervised set his death in 1886, was a champion of art overlap each other in a kind of cloud-like went so far as to have a theatre built, the and costume design, and took charge of and architecture. He had many castles built, formation. The piece concludes with three Bayreuth Festival Theatre, to provide the direction. He liked to have control over all including the fantastic Neuschwanstein. A pounding notes that allude, briefly, to a ideal viewing and listening conditions aspects of his works. He fashioned the plot patron of Richard Wagner, Ludwig helped funeral march. – he was not entirely averse to having of the Ring from a variety of Old German, the composer clear his debts in addition excerpts performed in concert. Indeed, he Norse and Icelandic sagas, weaving them to financing the construction of the The Madness and Death of King Ludwig conducted these kinds of concerts himself. into a parable about love and power and Bayreuth Festspielhaus and sponsoring the was commissioned by the West Australian For one thing, the “bleeding chunks” were the complications which arise when the two production of many of Wagner’s operas. Symphony Orchestra, which gave the first a way of bringing his music to a wider are in conflict. The basic message of the In fact, the interior of Neuschwanstein was performance on 7 March 2008 at Perth audience. (In contemporary terms, think of cycle might be said to be “power corrupts”. inspired by the same legends that Wagner Concert Hall. the countless number of people who have Wotan, the ruler of the gods, brings about chose for his operas, in particular that of © James Ledger never sat through a Wagner opera but his downfall and the downfall of the entire Lohengrin. The fascination Ludwig had with know “The Ride of the Valkyries” thanks to world, through his unscrupulous behaviour these fairy tales formed a large part of his This is the first performance of this work by the its use in the film Apocalypse Now.) In the and lust for power. Siegfried, the nominal known eccentricities and may have led to Tasmanian Symphony Orchestra. run-up to the world première of Wagner’s hero of the cycle, is Wotan’s grandson (a his downfall. On 10 June 1886, the state of four-opera saga Der Ring des Nibelungen fact of which he is unaware) and, as such, is Bavaria sent a psychiatrist, Bernhard von (The Nibelung’s Ring, known popularly unable to carry out his redemptive mission Gudden, to examine Ludwig. The king was as the Ring) at Bayreuth in 1876, the as he is not a free and independent figure. declared insane and promptly deposed composer conducted a concert in Vienna of from office. The following day, the bodies of selected excerpts from Götterdämmerung In “Siegfried’s Rhine Journey” the horn- both Ludwig and von Gudden were found (Twilight of the Gods, the final opera in the playing Siegfried bids farewell to his floating in Lake Starnberg. tetralogy), including the excerpt performed beloved Brünnhilde (who happens to be his aunt, a fact of which he is also unaware!), When I was asked by the West Australian here, “Siegfried’s Rhine Journey”. In 1877 crosses the ring of fire that surrounds Symphony Orchestra to write a fanfare for Wagner conducted a series of concerts in Brünnhilde’s rock and journeys down the an all-Wagner program, I was drawn by this London’s Royal Albert Hall which consisted Rhine in his quest for adventure. What the real-life saga. The mystery of how Ludwig entirely of “bleeding chunks” from his guileless Siegfried doesn’t realise is that his met his demise has never really been operas. (The point of this trip was less quest is going to end in catastrophe. solved. Based on what I’ve read, whether to bring his music to the attention of the he was in fact insane is also debatable. British public than to raise funds to offset Robert Gibson © 2015

14 15 Richard Wagner and everyday life, and an acute sense of our limited time in that world. “It is filled (1860-1911) with indefinable sadness and longing “Ride of the Valkyries” from Die Walküre, yet ultimately it is not depressing,” says Day One of Der Ring des Nibelungen Das Lied von der Erde Michael Kennedy. The most famous of all of Wagner’s (The Song of the Earth) The Song of the Earth was originally “bleeding chunks” is the “Ride of the Das Trinklied vom Jammer der Erde conceived as a song cycle. Alma Mahler Valkyries”, which is from the start of Act III (The Drinking Song of the Earth’s Sorrow) wrote in her often unreliable memoirs that of Die Walküre (The Valkyrie), the second “at first [Mahler] wrote The Song of the Der Einsame im Herbst opera of the Ring. Earth as the ninth, but crossed the number (The Lonely Man in Autumn) out…it was a superstition of Mahler’s that Valkyries are daughters of Wotan. Flying Von der Jugend (Of Youth) no great writer of symphonies got beyond through the air on their horses, these Von der Schönheit (Of Beauty) his ninth.” Adorno has said: “symphonic intrepid women rescue heroes who have expansion bursts the limits of the song”. fallen on the battlefield and bring them to Der Trunkene im Frühling Formally the work recalls Mahler’s Third Valhalla, the fortress of the gods. But on (The Drunken Man in Spring) Symphony in its use of six movements of this occasion the valkyries are surprised Der Abschied (The Farewell) which the last is a long adagio preceded by to discover that their sister Brünnhilde is shorter intermezzos. not carrying a male warrior but, rather, a The Song of the Earth ends with repetition woman, Sieglinde, the mother of Siegfried. of the word “ewig” (forever) passing into GUSTAV MAHLER “Broadly speaking, the piece Wagner was an innovator in all sorts of silence in a haze of bells and plucked sounds. The incomparable English contralto expresses an intense love of the ways, especially in the field of orchestration. physical world through images of More than any composer before him, he Kathleen Ferrier was once unable to sing Mong Kao-Jen’s describes the beauties this without weeping. Conductor Bruno wine, love, the moon and everyday brought the brass section of the orchestra life.” of evening. A second section reduces the into greater prominence. Rather than Walter is supposed to have said, “My dear orchestral sound to almost nothing as simply adding colour now and then, Miss Ferrier, if we were all as professional as night falls and the poet waits for his friend The first song, The Drinking Song of the Wagner had the brass instruments take you we would all be in tears.” Walter knew to whom he must bid farewell. Mahler Earth’s Sorrow, wastes no time in signalling on crucially important roles, frequently the power of this music. It was he that the introduces a mandolin (the poet’s “lute”) in the power and subtlety of Mahler’s art. We driving the thematic material, as in this composer had asked of this work, “Is it at a way which manages to be self-consciously hear a muscular fanfare from the horns, particular excerpt. The “Valkyries’ Motif” all bearable?” exotic without being kitsch. This section flutter-tonguing in the flutes, and the is propelled by the brass section, with In 1907 Mahler had been diagnosed as leads to an ecstatic section of anticipation. audacious use of the tenor’s high register Wagner augmenting the total number of having a heart condition. In addition, Then the orchestra plays a long passage at full volume. The text laments that in brass instruments (bass trumpet, horns, machinations at the Vienna State Opera without the singer, based on the emotive the face of the eternity of earth and sky trombones etc) with each repetition of the caused him to resign as Director, his four- “turn” sounded by the oboe at the start of we have less than a hundred years each thematic unit. But Wagner didn’t just use year-old daughter died, his mother-in-law the movement. to enjoy it, so should do so with wine and the brass instruments for their bluster; some suffered a heart attack, and his wife, Alma, music. The final section is based on a poem by of his most effective passages are for muted collapsed under the emotional strain. Wang Wei, heavily modified and extended and hushed brass. The Lonely Man in Autumn is a long slow Mahler had been given a copy of The by Mahler himself. The friend arrives and movement. It begins with a three-note motif Staging the “Ride of the Valkyries” posed Chinese Flute by Hans Bethge (1876- takes a ritual farewell drink. He explains from the oboe which in fact pervades the all sorts of problems for Wagner, and 1946). Bethge’s renditions of 83 Chinese that he must ride in search of his homeland. whole work. continues to be problematic today. In the poems were German versions of French A whole-tone chord seems to dissolve inaugural Bayreuth production of 1876, the translations. Mahler made significant Of Youth is the first of the three short in the air, introducing the final moments, illusion of airborne maidens on horseback alterations and interpolations to the seven intermezzos which bridge the extended where “the dear earth everywhere blooms was achieved through the use of magic poems he chose to set in The Song of the slow movements. Of Beauty presents a in spring”. These elements take on a lantern slides. Earth. Neither poetry nor music claims to be tableau of young women picking flowers comforting and redemptive quality. Adorno and young men riding horses. The said that the music “weeps without reason Robert Gibson © 2015 authentically Chinese; philosopher Theodor Adorno argued that the work “grows “drunken man” of the fifth song is perhaps like one overcome by remembrance…” No eloquent through inauthenticity”. the same one introduced in the first; if life is wonder Kathleen Ferrier wept too. but a dream, he is now a happier drunk. Broadly speaking, the piece expresses Gordon Kerry © 2002 an intense love of the physical world The Farewell is almost as long as the other through images of wine, love, the moon movements combined and sets two poems. This is the first performance of this work by the Tasmanian Symphony Orchestra.

16 17 Das Trinklied vom Jammer der Erde The Drinking Song of the Earth’s Sorrow Ich weine viel in meinen Einsamkeiten. I weep much in my solitude. Der Herbst in meinem Herzen währt zu lange. The autumn in my heart has lasted too long. Schon winkt der Wein im gold’nen Pokale, The wine is already beckoning in the golden Sonne der Liebe, willst du nie mehr scheinen, Sun of love, won’t you ever shine again doch trinkt noch nicht, erst sing’ ich euch ein goblet, um meine bittern Tränen mild aufzutrocknen? to gently dry my bitter tears? Lied! but do not drink yet – first, I will sing you a song! Das Lied vom Kummer The song of sorrow Von der Jugend Of Youth soll auflachend in die Seele euch klingen. shall resound laughingly in your soul. Wenn der Kummer naht, When sorrow draws near, Mitten in dem kleinen Teiche In the middle of the small pool liegen wüst die Gärten der Seele, the gardens of the soul will lie desolate, steht ein Pavillon aus grünem stands a pavilion of green welkt hin und stirbt die Freude, der Gesang. joy and song will wilt and die. und aus weissem Porzellan. and white porcelain. Dunkel ist das Leben, ist der Tod. Dark is life, dark is death. Wie der Rücken eines Tigers Like the back of a tiger Herr dieses Hauses! Lord of this house! wölbt die Brücke sich aus Jade the jade bridge arches Dein Keller birgt die Fülle des goldenen In your cellar is stored the richness of golden zu dem Pavillon hinüber. across to the pavilion. Weins! wine! Hier, diese Laute nenn’ ich mein! Here, this lute I call my own! In dem Häuschen sitzen Freunde, In the little house sit friends, Die Laute schlagen und die Gläser leeren, Strumming on the lute and emptying glasses – schön gekleidet, trinken, plaudern, beautifully dressed – drinking, chatting; das sind die Dinge, die zusammen passen. these are the things that go together. manche schreiben Verse nieder. many are writing verses down. Ein voller Becher Weins zur rechten Zeit A full glass of wine at the proper moment ist mehr wert, als alle Reiche dieser Erde! is worth more than all the riches of this world! Ihre seidnen Ärmel gleiten Their silk sleeves slip Dunkel is das Leben, ist der Tod! Dark is life, dark is death. rückwärts, ihre seidnen Mützen back, their silk caps hocken lustig tief im Nacken. are perched merrily down on their necks. Das Firmament blaut ewig und die Erde The heavens are forever blue and the earth wird lange fest steh’n und aufblüh’n im Lenz. will long stand firm and bloom in spring. Auf des kleinen Teiches stiller On the small pool’s still Du aber, Mensch, wie lang lebst denn du? But you, Man, how long will you live then? Wasserfläche zeigt sich alles surface, everything appears Nicht hundert Jahre darfst du dich ergötzen Not a hundred years are you allowed to enjoy wunderlich im Spiegelbilde. strangely upside down. an all dem morschen Tande dieser Erde! all the rotten triviality of this earth! Seht dort hinab! Im Mondschein auf den Look down there! In the moonlight, on the Alles auf dem Kopfe stehend Everything is standing on its head Gräbern graves in dem Pavillon aus grünem in the pavilion of green hockt eine wildgespenstische Gestalt. crouches a wild, ghostly figure – und aus weissem Porzellan; and white porcelain. Ein Aff ist’s! Hört ihr, wie sein Heulen It is an ape! Hear how its howls wie ein Halbmond steht die Brücke, The bridge stands like a half moon, hinausgellt in den süssen Duft des Lebens! resound piercingly in the sweet fragrance of umgekehrt der Bogen. Freunde, its arch inverted. Friends, Jetzt nehmt den Wein! Jetzt ist es Zeit, life! schön gekleidet, trinken, plaudern. beautifully dressed, are drinking and chatting. Genossen! Now take the wine! Now is the time, friends! Leert eure gold’nen Becher zu Grund! Empty your golden goblets to the bottom! Von der Schönheit Of Beauty Dunkel ist das Leben, ist der Tod! Dark is life, dark is death! Junge Mädchen pflücken Blumen, Young girls pick flowers, Der Einsame im Herbst The Lonely Man in Autumn pflücken Lotosblumen an dem Uferrande. pick lotus flowers at the edge of the shore. Zwischen Büschen und Blättern sitzen sie, Among bushes and leaves they sit, Herbstnebel wallen bläulich überm See, Blue autumn mists undulate over the lake, sammeln Blüten in den Schoss und rufen gathering blossoms in their laps and calling vom Reif bezogen stehen alle Gräser; the grass is standing stiff with frost; sich einander Neckereien zu. to one another teasingly. man meint, ein Künstler habe Staub von Jade one might think an artist had strewn jade dust über die feinen Blüten ausgestreut. over the fine blossoms. Gold’ne Sonne webt um die Gestalten, Golden sunlight weaves among the figures, spiegelt sie im blanken Wasser wider. mirroring them in the shiny water. Der süsse Duft der Blumen ist verflogen; The flowers’ sweet fragrance has flown away; Sonne spiegelt ihre schlanken Glieder, The sun reflects their slender limbs, ein kalter Wind beugt ihre Stengel nieder. a cold wind bends their stems low. ihre süssen Augen wider, their sweet eyes, Bald werden die verwelkten, gold’nen Blätter Soon the wilted golden leaves und der Zephyr hebt mit Schmeichelkosen and the zephyr with playful flattery lifts der Lotosblüten auf dem Wasser zieh’n. of lotus flowers will drift upon the water. das Gewebe ihrer Ärmel auf, the fabric of their sleeves, Mein Herz ist müde. Meine kleine Lampe My heart is weary. My little lamp führt den Zauber wafting the magic erlosch mit Knistern, es gemahnt mich an den has gone out with a splutter; it reminds me of ihrer Wohlgerüche durch die Luft. of their fragrance through the air. Schlaf. sleep. Ich komm’ zu dir, traute Ruhestätte! I am coming to you, cosy resting place! Ja, gib mir Ruh’, ich hab’ Erquickung not! Yes, give me rest – I have need of refreshment.

18 19 O sieh, was tummeln sich für schöne Knaben O look how the handsome lads are romping Der Abschied The Farewell dort an dem Uferrand auf mut’gen Rossen, around weithin glänzend wie die Sonnenstrahlen; there along the shore on their lively steeds, Die Sonne scheidet hinter dem Gebirge. The sun departs behind the mountains. schon zwischen dem Geäst der grünen Weiden shining out like sunbeams; In alle Täler steigt der Abend nieder In all the valleys, evening descends trabt das jungfrische Volk einher! already among the branches of the green willows, mit seinen Schatten, die voll Kühlung sind. with its shadows, full of coolness. Das Ross des einen wiehert fröhlich auf the fresh young band are trotting closer! O sieh! wie eine Silberbarke schwebt O look! Like a silver boat, und scheut und saust dahin, The horse of one whinnies merrily der Mond am blauen Himmelssee herauf. the moon floats on the blue sky-lake above. über Blumen, Gräser wanken hin die Hufe, and shies and dashes away; Ich spüre eines feinen Windes Weh’n I feel a fine wind wafting sie zerstampfen jäh im Sturm die hingesunk’nen over flowers and grass, hooves are dancing, hinter den dunklen Fichten! behind the dark spruces. Blüten. trampling up a sudden storm of fallen blossoms. Hei! Wie flattern im Taumel seine Mähnen, Ah, how their manes flutter in a frenzy, Der Bach singt voller Wohllaut durch das Dunkel. The brook sings in full voice through the darkness. dampfen heiss die Nüstern! how hot their nostrils steam! Die Blumen blassen im Dämmerschein. The flowers stand out palely in the glow of evening. Gold’ne Sonne webt um die Gestalten, The golden sun weaves among the figures, Die Erde atmet voll von Ruh’ und Schlaf. The earth breathes, full of peace and sleep, spiegelt sie im blanken Wasser wider. mirroring them in the shiny water. Alle Sehnsucht will nun träumen, and all yearning wishes to dream now. die müden Menschen geh’n heimwärts, Weary folk go home, Und die schönste von den Jungfrau’n sendet And the fairest of the young women sends um im Schlaf vergess’nes Glück to learn again in sleep lange Blicke ihm der Sehnsucht nach. long gazes of yearning after him. und Jugend neu zu lernen! forgotten happiness and youth. Ihre stolze Haltung ist nur Verstellung. Her proud attitude is only a pretence. Die Vögel hocken still in ihren Zweigen. The birds crouch silently in their branches. In dem Funkeln ihrer grossen Augen, In the flash of her large eyes, Die Welt schläft ein! The world falls asleep! in dem Dunkel ihres heissen Blicks in the darkness of her hot glance, schwingt klagend noch die Erregung ihres the excitement of her heart leaps after him, Es wehet kühl im Schatten meiner Fichten. It blows coolly in the shadows of my spruce. Herzens nach. lamenting. Ich stehe hier und harre meines Freundes. I stand here and wait for my friend; Ich harre sein zum letzten Lebewohl. I wait for his last farewell. Der Trunkene im Frühling The Drunken Man in Spring Ich sehne mich, o Freund, an deiner Seite I yearn, my friend, to enjoy at your side die Schönheit dieses Abends zu geniessen. the beauty of this evening. Wenn nur ein Traum das Leben ist, If life is only a dream, Wo bleibst du? Du lässt mich lang allein! Where have you got to? You leave me alone for warum denn Müh’ und Plag’? why then the misery and torment? Ich wandle auf und nieder mit meiner Laute so long! Ich trinke, bis ich nicht mehr kann, I drink until I can drink no more, auf Wegen, die von weichem Grase schwellen. I wander up and down with my lute, den ganzen, lieben Tag! the whole, dear day! O Schönheit! O ewigen Liebens, Lebens on paths swelling with soft grass. trunk’ne Welt! O beauty! O world drunk with eternal love and life! Und wenn ich nicht mehr trinken kann, And when I can drink no more, weil Kehl’ und Seele voll, because my stomach and soul are full, Er stieg vom Pferd und reichte ihm den Trunk He dismounted and handed him the cup so tauml’ ich bis zu meiner Tür I stagger to my door des Abschieds dar. Er fragte ihn, wohin of parting. He asked him where und schlafe wundervoll! and sleep amazingly well! er führe und auch warum es müsste sein. he would go, and also why it must be. Er sprach, seine Stimme war umflort: Du, mein He spoke, his voice was choked: My friend, Was hör ich beim Erwachen? Horch! What do I hear when I awake? Listen! Freund, on this earth, fortune has not been kind to me! Ein Vogel singt im Baum. A bird is singing in the tree. mir war auf dieser Welt das Glück nicht hold! Where do I go? I will go, wander in the Ich frag’ ihn, ob schon Frühling sei. I ask him whether it is spring – Wohin ich geh’? Ich geh’, ich wand’re in die Berge. mountains. Mir ist als wie im Traum. it’s like a dream to me. Ich suche Ruhe für mein einsam Herz. I seek peace for my lonely heart. Ich wandle nach der Heimat, meiner Stätte. I walk in search of my homeland, my own place. Der Vogel zwitschert: ‘Ja! Der Lenz The bird twitters, ‘Yes! Spring Ich werde niemals in die Ferne schweifen. I will never stray far afield. ist da, sei kommen über Nacht!’ is here, it has come in the night!’ Still ist mein Herz und harret seiner Stunde! My heart is quiet and awaits its hour! Aus tiefstem Schauen lauscht’ ich auf, With deep concentration I listen, der Vogel singt und lacht! the bird sings and laughs! Die liebe Erde allüberall The dear earth everywhere blüht auf im Lenz und grünt aufs neu! blooms in spring and grows green afresh! Ich fülle mir den Becher neu I fill my goblet again Allüberall und ewig Everywhere and for ever, und leer’ ihn bis zum Grund and drain it to the bottom blauen licht die Fernen, distant places have blue skies, und singe, bis der Mond erglänzt and sing, until the moon shines ewig, ewig! for ever, for ever! am schwarzen Firmament! in the dark firmament! Original German texts: Hans Bethge adapted Und wenn ich nicht mehr singen kann, And when I can sing no more, by Gustav Mahler so schlaf’ ich wieder ein. I fall asleep again. English translations: Symphony Australia © 2003 Was geht mich denn der Frühling an!? What does Spring have to do with me, then? Lasst mich betrunken sein! Let me be drunk!

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