QSummertime

Felicity Lott & Graham Johnson SummertimeQ ‘Summertime’ – the first song heard in Gershwin’s Porgy and Bess at its opening in 1936 colours, sounds dissolve as the gardens of the night begin to flower. Notre amour – is perhaps the piece of music which, beyond all others, lays a bridge between the (c.1897, words by Armand Sylvestre) compares the lovers’ feelings to the perfumes worlds of popular and classical music, its evocation of the lazy Carolina heat proving carried on the breeze, the songs of the morning, the forest’s mysteries. irresistible to audiences (and arrangers) of every stripe. But composers have been It’s surprising that at least some of Samuel Barber’s 50-odd songs have not entered hymning summer for as long as written records can testify: one of the earliest known of the repertoire as mainstream classics: their vocal lines are often radiantly lovely all pieces of secular music is the 13th-century round Sumer is icumen in. (Barber himself was a fine baritone). ‘Sure on this Shining Night’, No.3 of the Four The earliest song of summer in this recital is Where the Bee Sucks, written by Thomas Songs, Op.13 (1937-40), sets James Agee’s poem ‘Description of Elysium’: In the ‘Star- Arne for Shakespeare’s The Tempest in 1746. Schubert’s An Silvia (1826) is another made shadows’ of the evening, ‘High summer holds the earth. Hearts all whole’. ‘The Shakespeare setting (originally of a German translation; here Shakespeare’s text is Monk and his Cat’ (from the Ten Hermit Songs, Op.29 of 1952-53), uses an adaptation restored). The other Schubert song, Auf dem Wasser zu singen (1823), sets a poem by by W.H. Auden of a text by an anonymous Irish author of the eighth or ninth century: Friedrich Leopold, Count of Stolberg-Stolberg, which tells of a boat gliding along the the monk contemplates the division of labour that distinguishes him from Pangur, his rippling water as the soul glides ‘on joy’s soft shimmering waves’. cat, the one entrapping mice, the other fathoming a problem. The free translations by German Romanticism identified strongly with nature, and images of natural growth in Edward Fitzgerald (1809-83) of the Rubályát of the twelfth-century Persian poet Omar spring and summer were readily seen as metaphors for human emotions. In Robert Khayyám (the robái is a quatrain popular in Persian poetry) were first published in Schumann’s ‘Der Nussbaum’, the third song in his cycle Myrthen, Op.25 (1840), the 1859 and soon became popular, going through a number of further editions in the winds whisper tales of love around a greening nut-tree; the words are by Julius Mosen. remaining decades of the 19th century. Liza Lehmann’s song cycle In a Persian Garden And in Brahms’s ‘Meine Liebe ist Grün (No.5 of the Songs and Romances, Op.63, written (1896), for four voices and piano, sets four of Edward Fitzgerald’s famous translations; in 1873-74), the poet – Felix Schumann, son of Robert and Clara, and Brahms’s godson ‘Ah Moon of my Delight’ is the first of them. – declares that his love is as green as the lilac bush. Brahms would have expected Clara British composers following less exotic paths are well represented in this recital. When Schumann to examine this song with especial interest: is it a coded message? one considers Elgar’s substantial output for chorus – in his mighty oratorios and in a A recurrent theme in the French poets whose words are sung here is light – its absence generous quantity of partsongs – it’s surprising that he wrote so few solo songs and and its return. Théophile Gauthier’s texts in Hector Berlioz’s 1840-41 song-cycle Les that the success of his orchestral song-cycle Sea Pictures didn’t tempt him into further Nuits d’Été make much play of images of night, but ‘Villanelle’, the opening song, and song-writing, with or without orchestra. One might reasonably imagine, then, that the ‘l’Île inconnue’, the final one, offer buoyant contrasts. In the first the poet salutes the solo songs he did compose would be better known; The Shepherd’s Song, Op.16 No.1 passing of winter with a call to return to nature; in the second he asks his lady where (1892), to a text by Barry Pain (1864-1928), is one of the few to achieve popularity. would like to travel, and tempts her with all manner of exotic locations. Gabriel It shares its folk song-like character 0 and its summer imagery – with Frank Bridge’s Fauré’s Clair de lune, Op.46 No.2 (a Verlaine setting from 1887) sees the lover’s soul as Go not, happy day, a 1916 setting of a poem from Tennyson’s Maud (also set by Liszt an evening landscape ‘charmed by masquers and revellers’, their songs mingling with and Arthur Somervell). Delius’s ‘To Daffodils’ (from Four Old English Songs of 1915-16) the calm moonlight; in Soir, Op.83 No.2 (from 1894, to a text by Albert Samain, now sets a Herrick text, its imagery of fading beauty perfectly suiting Delius’s languid forgotten, but set by Koechlin, Respighi, Casella and Schmitt) the lovers see lines, musical language. Quilter’s Now sleeps the Crimson Petal (Op.3 No.2), another Tennyson setting, has been a 1. Summertime High summer holds the earth. Hearts all whole. recital favourite since its first publication in 1904, the year of its composition; Love’s Summertime, Sure on this shining night and the livin’ is easy, Philosophy, to a text by Shelley, shares an opus number with it (it is Op.3 No.1), I weep for wonder wand’ring far alone Fish are jumpin’, although it was written a year later and published separately. There’s more confusion Of shadows on the stars and the cotton is high; possible from the name of the poet of A Brown Bird Singing, Haydn Wood’s setting of On this shining night. Oh, your daddy’s rich, which was published in 1922: Richard Rodney Bennett, alias Royden Barrie (d.1948). and your ma is good-lookin’, James Agee ‘Sleep’, from the Woman Hater (1607) by John Fletcher (1579-1625), is one of four so hush, little baby, don’t you cry. Fletcher settings (including the better-known Take, O take those lips away) written by 3. The Shepherd’s Song One of these mornings, you’re going to rise up Phillip Heseltine under his pseudonym, Peter Warlock. Warlock was fond of Elizabethan Down the dusty road together singing… poetry, though in Sleep (1922) he stuck to his own musical language. By contrast, Homeward pass the hurrying sheep, Then you’ll spread your wings, and you’ll take to Stupid with the summer weather, Vaughan Williams’s setting (c.1901) of Shakespeare’s with his lute (from Henry the sky. Too much grass and too much sleep, VIII, Act IV, scene I) – which has attracted a number of composers, among them Gurney, But ‘til that morning, there’s a-nothin’ can harm you, I, their shepherd, sing to thee German, MacFarren, Sullivan and, more recently, William Schumann – echoes the formality With daddy and mammy standin’ by. That summer is a joy to me. of the Elizabethan lute-song. The Trellis brings together two names one wouldn’t generally associate: John Ireland and Aldous Huxley; indeed, it was the only Huxley text George Gershwin Down the shore rolled waves all creamy SUMMERTIME (from PORGY AND BESS) that Ireland set. And within Cole Porter’s ‘The Tale of an Oyster’ (from Fifty Million With the flecked surf yesternight; Music and Lyrics by George Gershwin, Du Bose Heyward, I swam far out in starlight dreamy, Frenchmen, 1929) one has to look hard for a summer connection, too: my conclusion is Dorothy Heyward and Ira Gershwin. 1935 (renewed 1962) George Gershwin Music, Ira Gershwin In moving waters cool and bright, that, since the song involves regurgitation of its eponymous bivalve, we must assume Music and Du Bose and Dorothy Heyward Memorial Fund, I, the shepherd, sing to thee USA. I love the strong life of the sea. there was no ‘r’ in the month and thus is set some time between May and August. Warner/Chappell Music Ltd, London W6 8BS GERSHWIN, GEORGE GERSHWIN and IRA GERSHWIN are The recital ends with a sequence of prayers and lullabies. Bernstein’s My House, the other trademarks of Gershwin Enterprises. And upon the hillside growing American contribution to this recital, comes from the incidental music he wrote for a PORGY AND BESS is a registered trademark of Porgy and Where the fat sheep dozed in shade, Bess Enterprises. Bright red poppies I found blowing, new production of J.M. Barrie’s Peter Pan in 1950. The Little Road to Bethlehem by Lyrics reproduced by permission of IMP Ltd Drowsy, tall and loosely made, All Rights Reserved. Michael Head, to a text by Margaret Rose and published in 1946, seems to exhibit some I, the shepherd, sing to thee temporal confusion: it’s plainly a carol, but it talks of sunset and the lambs coming How fair the bright red poppies be. 2. Sure on this Shing Night – images of summer both. The gently twee Vespers from A.A. Milne’s When We Were To the red-tiled homestead bending Sure on this shining night Very Young (1924) is set by Harold Fraser-Simson, better known for the Maid of the Winds the road, so white and long Of Star-made shadows round, Mountains. And John Rutter’s The Lord Bless You and Keep You, written for the funeral of Day and work are near their ending Kindness must watch for me Sleep and dreams will end my song. a beloved teacher and friend, has rapidly become a favourite all around the globe in This side the ground. settings for chorus and orchestra, mixed chorus or - just as effective in its honesty and I, the shepherd, sing to thee: This late year lies down the north. In the dreamtime answer me. simplicity – voice and piano. All is healed, all is health. Martin Anderson, 2002 Barry Pain 4 Clair de Lune Now folds the lily all her sweetness up, She excels each mortal thing Dites, la jeune belle And slips into the bosom of the lake: Upon the dull earth dwelling: Où voulez-vous aller? Votre âme est un paysage choisi So fold thyself, my dearest, thou, and slip To her let us garlands bring. Que vont charmants masques et bergamasques, Menez-moi, dit la belle, Into my bosom and be lost in me. Jouant du luth et dansant, et quasi Eduard von Bauernfeld after William Shakespeare A la rive fidèle Tristes sous leurs déguisements fantasques! Lord Alfred Tennyson Où l’on aime toujours. Cette rive, ma chère, Tout en chantant sur le mode mineur 7 Where the Bee Sucks On ne la connaît guère L’amour vainqueur et la vie opportune. 6 Who is Sylvia? Where the bee sucks there suck I: Au pays des amours. Ils n’ont pas l’air de croire à leur Bonheur, Was ist Silvia, saget an, In a cow-slip’s bell I lie; Où voulez-vous aller? Et leur chanson se mêle au clair de lune, Dass sie die weite Flur preist? There I couch when owls do cry. La brise va souffler! Au calme clair de lune triste et beau, Schön und zart seh ich sie nahn, On a bat’s back [do I] fly Tell me, my young pretty, Qui fait rêver, les oiseaux dans les arbres, Auf Himmelsgunst und Spur weist, After summer merrily, Where would you like to go? Et sangloter d’extase les jets d’eau, Dass ihr alles untertan. Merrily, merrily shall I live now The sail unfolds its wing Les grands jets d’eau sveltes parmi les marbres. Under the blossom that hangs on the bough Ist sie schön und gut dazu? The breeze is coming up! Your soul is a chosen landscape Reiz labt wie milde Kindheit; William Shakespeare The oar is of ivory Charmed by masquers and revellers Ihrem Aug’ eilt Amor zu, The flag of silk Playing the lute and dancing and almost Dort heilt er seine Blindheit The rudder of fine gold 8 L’Île Inconnue Sad beneath their fanciful disguises! Und verweilt in süßer Ruh. For ballast I have an orange Dites, la jeune belle, For sail, an angel’s wing Darum Silvia, tön, o Sang, Even while singing, in a minor key, Où voulez-vous aller? For mate, a seraph. Of victorious love and fortunate living Der holden Silvia Ehren; La voile enfle son aile, They do not seem to believe in their happiness, Jeden Reiz besiegt sie lang, La brise va souffler! Tell me, my young pretty, etc. And their song mingles with the moonlight. Den Erde kann gewähren: L’aviron est d’ivoire Kränze ihr und Saitenklang! Would it be to the Baltic? The calm moonlight, sad and beautiful, Le pavillon de moire, To the Pacific Ocean? Which sets the birds in the trees dreaming, Who is Silvia? What is she, Le gouvernail d’or fin; To the Isle of Java? And makes the fountains sob with ecstasy, That all our swains commend her? J’ai pour lest une orange, Or else would it be to Norway The tall slender fountains among the marble statues! Holy, fair and wise is she; Pour voile une aile d’ange, To pluck the snow flower The heaven such grace did lend her, Pour mousse un séraphin. Or the Angsoka flower? Paul Verlaine That she might admired be. Dites, la jeune belle, etc. Tell me, my young pretty, Is she kind as she is fair? Est-ce dans la Baltique, Where would you like to go? 5 Now Sleeps the Crimson Petal For beauty lives with kindness. Dans la mer Pacifique, Lead me, said the lass, Now sleeps the crimson petal, now the white; Love doth to her eyes repair, Dans l’île de Java? To the faithful shore Nor waves the cypress in the palace walk; To help him of his blindness, Ou bien est-ce en Norvège, Where one loves forever. Nor winks the gold fin in the porphyry font: And being help’d, inhabits there. Cueillir la fleur de neige, That shore, my dear, The fire-fly wakens: waken thou with me. Then to Silvia let us sing, Ou la fleur d’Angsoka? Is hardly known at all That Silvia is excelling; In the realm of love. Where would you like to go? Joy of Heaven and the peace of the grove And all the sights that rise from the earth, They whisper of a bridegroom and of the coming year. The breeze is coming up! Is breathed by the soul in the reddening light. It seems to my impassioned heart, are told The maiden listens, the tree rustles; By your eyes raised towards the sky, so sadly and Yearning, hoping, she sinks smiling into sleep Ah, time vanishes on dewy wing Théophile Gautier so sweetly! and dream. For me, on the rocking waves; , time will vanish with shimmering wings Albert Victor Samain Julius Mosen 9 Auf dem Wasser zu Singen Again, as yesterday and today, English translation: Isabelle Battioni English translation: Emily Ezust Mitten im Schimmer der spiegelnden Wellen Until I, on higher more radiant wing, Gleitet, wie Schwäne, der wankende Kahn: Myself vanish to the changing time. 11 Der Nussbaum 12 Meine Liebe ist Grün Ach, auf der Freude sanftschimmernden Wellen Meine Liebe ist grün wie der Fliederbusch, Friedrich Leopold, Graf zu Stolberg-Stolberg Es grünt ein Nussbaum vor dem Haus, Gleitet die Seele dahin wie der Kahn; Duftige breitet er blättrig die Blätter aus. Und mein Lieb ist schön wie die Sonne, Denn von dem Himmel herab auf die Wellen 10 Soir Viel liebliche Blüten stehen daran, Die glänzt wohl herab auf den Fliederbusch Tanzet das Abendrot rund um den Kahn. Und füllt ihn mit Duft und mit Wonne, Voici que les jardins de la nuit vont fleurir. linde Winde kommen, sie herzlich zu umfahn. Meine Seele hat Schwingen der Nachtigall Über den Wipfeln des westlichen Haines Les lignes, les couleurs, les sons deviennent vagues; Es flüstern je zwei zu zwei gepaart, Und wiegt sich in blühendem Flieder, Winket uns freundlich der rötliche Schein; Vois! Le dernier rayon agonise à tes bagues, niegend, beugend, zierlich zum Kusse die Und jauchzet und singet vom Duft berauscht Unter den Zweigen des östlichen Haines Ma soeur, entends-tu pas quelque chose mourir? Häuptchen zart. Viel leibestrunkene Lieder. Säuselt der Kalmus im rötlichen Schein; Sie flüstern von einem Mägdelein, Mets sur mon front tes mains fraîches comme une Freude des Himmels und Ruhe des Haines Das dächte di Nächte und Tage lang, eau pure, My love is green like the lilac bush, Atmet die Seel im errötenden Schein. Wusste ach! Selber nicht was. Mets sur mes yeux tes mains douces comme And my beloved is fair like the sun! Sie flüstern, sie flüstern, - wer mag verstehn so It shines upon the lilac bush Ach, es entschwindet mit tauigem Flügel des fleurs, gar leiseweis? And fills it with fragrance and delight. Mir auf den wiegenden Wellen die Zeit; Et que mon âme où vit le gout secret des pleurs. Flüstern vom Bräutigam und nächstem Jahr, My soul has wings of the nightingale Morgen entschwinde mit schimmerndem Flügel Soit comme un lys fidèle et pale à ta ceinture! Vom nächsten Jahr. And floats in the blossoming lilac, Wieder wie gestern und heute di Zeit, C’est la pitié qui pose ainsi son doigt sur nous, Das Mägdlein horchet, es rauscht im Baum, And shouts and sings, overcome by the fragrance, Bis ich auf höherem strahlendem Flügel Et tout de que la terre a de soupirs qui montent, Sehnend, wähnend sinkt es lächelnd im Schlaf Many songs that are drunk with love. Selber entschwinde der wechselnden Zeit. Il semble, qu’à mon coeur enivré, le racontent und Traum. Felix Schumann In the middle of the shimmer of the Tes yeux levés au ciel, si tristes et si doux! A nut stands greenly in front of the house, reflecting waves Now gardens of the night begin to blossom, Fragrantly and airily spreading out its leafy 13 Ah, Moon of my Delight Glides, as swans do, the wavering boat; Lines colours, sounds become indistinct; branches. Ah, moon of my delight, [that knows] no wane, Ah, on joy’s soft shimmering waves See! On your rings the last ray is fading, Many lovely blossoms does it bear; The moon of Heav’n is rising once again: Glides the soul along like the boat; My sister, do you not hear something dying? Gentle winds come to caress them. How oft hereafter rising shall she look Then from Heaven down onto the waves They whisper, paired two by two, Through this same garden after me – in vain! Dances the sunset all around the boat. Place on my brow your hands fresh as pure water, Gracefully inclining their tender heads to kiss. Place on my eyes your hands sweet as flowers, They whisper of a maiden And when thyself with shining foot shall pass Over the treetops of the western grove And let my soul, where dwells the secret essence Among the guests star-scatter’d on the grass, Waves, in a friendly way, the reddish gleam; Who thinks day and night long of tears, Of… but alas! She does not herself know. And in thy joyous errand reach the spot Under the branches of the eastern grove Be like a lily, faithful and pale at your waist Where I made one – turn down an empty glass! Murmur the reeds in the reddish light; They whisper – who can understand such a It is compassion, which thus places its finger soft song? Edward Fitzgerald from The Rubályát of Omar Khayyám upon us, (LXXIV-LXXV), after Hakim Omar Khayyám 14 Notre Amour Our love is a sacred thing, Et le daim, au miroir des sources 16 The Monk and his Cat Like the mysteries of the woods, Admirant son grand bois penché; Notre amour est chose légère, Pangur, white Pangur, Where an unknown soul quivers, Comme les parfums que le vent Puis chez nous, tout heureux, tout aises, How happy we are Where silences have voices. Prend aux cimes de la fougère, En paniers, en laçant nos doigts, Alone together, Scholar and cat. Pour qu’on les respire en rêvant; Our love is an infinite thing, Revenons, rapportant des fraises, Each has his own work to do daily; Notre amour est chose légère! Like the paths of the sunsets, Des bois. For you it is hunting, for me study. Where the sea, joined to the skies, Your shining eye watches the wall; Notre amour est chose charmante, When verdant spring again approaches, Falls asleep beneath the inclining suns. My feeble eye is fixed on a book. Comme les chansons du matin, When winter’s chills have disappeared, You rejoice when your claws entrap a mouse; Où nui regret ne se lamente, Our love is an eternal thing, Through the woods we shall stroll, my darling, I rejoice when my mind fathoms a problem. Où vibre un espoir incertain; As all that a victorious god The fair primrose to cull at will. Pleased with his own art Notre amour est chose charmante! Has touched with the fire of his wing, The trembling bright pearls that are shining, Neither hinders the other; As all that comes from the heart. Each morning we shall brush aside; Notre amour est chose sacrée, Thus we live ever We shall go to hear the gay thrushes Comme les mystères des bois, Without tedium and envy. Armand Silvestre Singing. Où tressaille une âme ignorée, English translation: Isabelle Battioni Pangur, white Pangur, Où les silences ont des voix; The flowers are abloom, my darling, How happy we are Notre amour est chose sacrée! Of happy lovers ‘tis the month; Alone together, Scholar and cat. 15 Vilanelle And the bird his soft wing englossing, Notre amour est chose infinie, W.H. Auden Quand viendra la saison nouvelle, Sings carols sweet within his nest. Comme les chemins des couchants, Quand auront disparu les froids, Où la mer, aux cieux réunie, Tous les deux nous irons, ma belle, Come with me on the mossy bank, 17 Go Not, Happy Day S’endort sous les soleils penchants; Pour cueillir le muguet aux bois. Where we’ll talk of nothing else but love, And whisper with thy voice so tender: Go not, happy day, Notre amour est chose éternelle, Sous nos pieds égrénant les perles Always. From the shining fields, Comme tout ce qu’un dieu vainqueur Que l’on voit, au matin trembler, Go not, happy day, A touché de feu de son aile, Nous irons écouter les merles Far, far off let our footsteps wander, Till the maiden yields. Comme tout ce qui vient du coeur; Siffler. Fright’ning the hiding hare away, Rosy is the West, Notre amour est chose éternelle! While the deer at the spring is gazing, Rosy is the South, Le printemps est venu, ma belle; Admiring his reflected horns. Our love is a light thing Roses are her cheeks, C’est le mois des amants béni; And a rose her mouth. Like the scents that the breeze Et l’oiseau, satinant son aile, Then back home, with our hearts rejoicing, Takes from the tips of the ferns, Dit [ses] vers au rebord du nid. And fondly our fingers entwined, When the happy yes For us to breath in dreaming. Lets return, let’s return bringing fresh wild berries Falters from her lips, Oh! Viens donc sur ce banc de mousse, Wood-grown. Pass and blush the news Our love is a charming thing, Pour parler de nos beaux amours, Like morning songs, Over glowing ships; Et dis-moi de ta voix si douce: Théophile Gautier Over blowing seas, Where no sorrow laments, Toujours! English translation: Samuel Byrne Where stirs an uncertain hope. Over seas at rest, Loin, bien loin égarant nos courses, Pass the happy news, Faisons fuir le lapin cache, Blush it thro’ the West; [Till the red man’s babe 19 Orpheus with his Lute ‘The Trellis’ from COLLECTED POETRY OF ALDOUS HUXLEY by Could go a-winging to you, Leap, beyond the sea.] Aldous Huxley originally published by Chatto & Windus. To you. Orpheus with his lute made trees Reprinted by permission of the Random House Group Limited the Estate of Mrs Laura Huxley. By permission of Blush from West to East, And the mountain-tops that freeze, the Huxley Estate. Royden Barrie Blush from East to West, Bow themselves, when he did sing: Words and Music by Haydn Wood and Royden Barrie. Till the West is East, 1992 Marlowlynn Ltd. To his music, plants and flowers 21 Love’s Philosophy Blush it thro’ the West. Ever [spring]; as sun a showers Rosy is the West, The fountains mingle with the River There had made a lasting spring. 23 The Lark in the Clear Air Rosy is the South, And the Rivers with the Ocean, Dear thoughts are in my mind Roses are her cheeks, Everything that head him play, The winds of Heaven mix for ever And my soul soars enchanted, And a rose her mouth. Even the billows of the sea, With a sweet emotion; As I hear the sweet lark sing Hung their heads, and then lay by. Nothing in the world is single; Lord Alfred Tennyson, from Maud All things by a love divine In the clear air of the day. In sweet music is such art: In one [another’s being] mingle. For a tender beaming smile Killing care and grief of heart To my hope has been granted, 18 To Daffodils Why not I with thee? Fall asleep, or, hearing, die. And tomorrow she shall hear Fair daffodils, we weep to see See the mountains kiss high Heaven All my fond heart would say. You haste away so soon; William Shakespeare (1564-1616), And the waves clasp one another; I shall tell her all my love, As yet the early-rising sun from Henry VIII, Act III scene I No sister-flower would be forgiven All my soul’s adoration, Has not attain’d his noon. If it disdained its brother; And I think she will hear Stay, stay And the sunlight clasps the earth 20 The Trellis And will not say me nay. Until the hasting day And the moonbeams kiss the sea: Thick-flowered is the trellis It is this that gives my soul Has run What [are all these kissings] worth That hides our joys All its joyous elation, But to the evensong, If thou kiss not me? From prying eyes of malice As I hear the sweet lark sing And, having pray’d together, we And all annoys, In the clear air of the day. Will go with you along. Percy Bysshe Shelley And we lie rosily bowered. We have short time to stay, as you, Text: trad. Irish Through the long afternoons 22 A Brown Bird Singing We have as short a spring; And evenings endlessly As quick a growth to meet decay, All through the night there’s a little brown 24 Drawn out, when summer swoons Sleep As you, or anything. bird singing, In perfume windlessly, Come, sleep, and with thy sweet deceiving We die, Singing in the hush of the darkness and the dew. Sounds our light laughter. Lock me in delight awhile; As your hours [do,] and dry Would that his song through the stillness could Let some pleasing [dream] beguile Away, go winging, With whispered words between All my fancies, that from thence Like to the summer’s rain, Could go winging to you, And silent kisses. [I may feel] an influence, Or as the pearls of morning’s dew, To you. None but the flowers have seen All my powers of care bereaving. Ne’er to be found again. Our white caresses All through the night-time my lonely heart is singing Flowers and the bright-eyed birds. Sweeter songs of love than the brown bird ever knew. Tho’ but a shadow, but a sliding, Robert Herrick Would that the song of my heart could go a-winging, Let me know some little joy. Aldous Huxley We, that suffer long annoy, Are contented with a thought He murmured, “I haven’t a single qualm, 27 The Little Road to Bethlehem The cold’s so cold, and the hot’s so hot. Thro’ an idle fancy wrought: For I’ve had a taste of society, Oh! God bless Daddy – I quite forgot. As I walk down the road O let my joys have some abiding. And society has had a taste of me.” I sit up some If I open my fingers a little bit more, Wise little oyster. John Fletcher, from The Woman Hater, 1607 The lambs were coming homeward one by one I can see Nanny’s dressing-gown on the door. Cole Porter I heard a sheepbell softly calling them It’s a beautiful blue, but it hasn’t a hood. Along the little road to Bethlehem Oh! God bless Nanny, and make her good. 25 The Tale of an Oyster THE TALE OF AN OYSTER Music and Lyrics by Cole Porter Beside an open door as I drew night Mine has a hood, and I lie in bed, Down by the sea lived a lonesome oyster, 1966 Cole Porter Music Inc. USA I heard sweet Mary Ev’ry day getting sadder and moister. Warner/Chappell Music Ltd. London W6 8BS And pull the hood right over my head, A He found his home life awf’lly wet, Lyrics reproduced by permission of IMP Ltd. And I shut my eyes, and I curl up small, She sang about the lambs at close of day And longed to travel with the upper set. All Rights Reserved And nobody knows that I’m there at all. And rocked her tiny boy among the hay Poor little oyster. Oh! Thank you God, for a lovely day. 26 My House Fate was kind to that oyster we know, Across the air the silver sheepbell rang And what was the other I had to say? When one day the chef from the Park Casino Will you build me a house? The lambs are coming home sweet Mary sang I said “Bless Daddy”, so what can it be? Saw that oyster lying there, A house that really will be mine! You’re a star of gold Oh! Now I remember. God bless Me. And said “I’ll put you on my bill of fare.” Then let me give you my design You’re a star of gold Lucky little oyster. A simple scheme of the house I dream of. Is shining in the sky Little Boy kneels at the foot of the bed, See him on his sliver platter, Build my house of wood, So sleep, my little baby Droops on the little hands, little gold head. Watching the queens of fashion chatter. Build my house of stone, Go lullaby Hush! Hush! Whisper who dares! Hearing the wives of millionaires build my house of brick and mortar; Christopher Robin is saying his prayers. As I walk down the road Discuss their marriages and their love affairs. make the ceilings strong, I sit up some A.A. Milne Thrilled little oyster. strong against the storm, The lambs were coming homeward one by one From When We Were Very Young A.A. Milne. Copyright See that bivalve social climber shelter when the days grow shorter; I heard a sheepbell softly calling them under the Berne Convention. Feeding the rich Mrs. Hoggenheimer, but build my house of love, Published by Egmont Books Limited and used with Along the little road to Bethlehem Think of his joy as he gaily glides and paint my house with trusting, permission. Down to the middle of her gilded insides. “Vespers” by A.A. Milne, from WHEN WE WERE VERY YOUNG and warm it with the warmth of your heart; Margaret Rose by A.A. Milne, illustrations by E.H. Shepherd, copyright Proud little oyster. make the floor of faith, 1924 by E.P. Dutton, renewed 1952 by A.A. Milne. Used by 1946 by Boosey & Co. Ltd. permission of Dutton Children’s Books, an imprint of After lunch Mrs. H. complains, make the walls of truth, Reproduced by permission of Boosey & Hawkes Music Penguin Putnam Books for Young Readers, a division of And says to her hostess, “I’ve got such pains. put a roof of peace above; Publishers Ltd. Penguin Putnam Inc. All rights Reserved. I came to town on my yacht today. only build my house of love. But I think I’d better hurray back to Oyster Bay.” 28 Vespers 29 The Lord Bless You and Keep You Scared little oyster. Leonard Bernstein Little Boy kneels at the foot of the bed, The Lord bless you and keep you: Off they go thru the troubled tide, 1950 Amberson Holdings LLC. Copyright renewed. Droops on the little hands little gold head. The Lord make his face to shine upon you, and be The yacht rolling madly from side to side. Leonard Bernstein Music Publishing Company LLC. Publisher. Hush! Hush! Whisper who dares! gracious to you: They’re tossed about ‘til that fine young oyster Christopher Robin is saying his prayers. The Lord lift up the light of his countenance upon Finds that it’s time he should quit his cloister, you, and give you peace. Up comes the oyster. God bless Mummy. I know that’s right. Back once more where he started from, Wasn’t it fun in the bath tonight? Text taken from Numbers 6:24-26 DAME FELICITY LOTT In Paris, at the Opera Bastille, Opera Comique, Chatelet and Palais Garnier she has Felicity Lott was born and educated sung Cleopatra, Fiordiligi, Countess Madeleine, the Marschallin and the title roles in in Cheltenham, read French at Royal La Belle Helene and La Grande Duchesse de Gerolstein. At the Metropolitan Opera, Holloway College, of which she is New York, she sang the Marschallin under and Countess Almaviva now an Honorary Fellow, and singing under James Levine. She recently sang Poulenc’s heroine in staged performances of at the , of La Voix Humaine at the Teatro de La Zarzuela, Madrid, the Maison de la Culture de which she is a Fellow and a Visiting Grenoble and the Opera National de Lyon. Professor. Her operatic repertoire She has sung with the Vienna Philharmonic and Chicago Symphony Orchestras under ranges from Handel to Stravinsky, Solti, the Munich Philharmonic under Mehta, the London Philharmonic under but she has above all built up her Haitink, Welser-Moest and Masur, the Concertgebouworkest under Masur, the Suisse formidable international reputation Romande and Tonhalle orchestras under Armin Jordan, the Boston Symphony under as an interpreter of the great roles Previn, the New York Philharmonic under Previn and Masur, the B.B.C. Symphony of Mozart and Strauss. At the Royal Orchestra with Sir Andrew Davis in London, Sydney and New York, and the Cleveland Opera House she has sung Anne Orchestra under Welser-Moest in Cleveland and Carnegie Hall. In Berlin she has sung Trulove, Blanche, Ellen Orford, Eva, with the Berlin Philharmonic under Solti and Rattle and the Deutsche Staatskapelle Countess Almaviva and under under Philippe Jordan. Mackerras, Tate, Davis and Haitink, the Marschallin. At the Glyndebourne A founder member of The Songmakers’ Almanac, Felicity has appeared on the major Festival her roles include Anne recital platforms of the world, including the Salzburg, Prague, Bergen, Aldeburgh, Trulove, Pamina, Donna Elvira, Edinburgh and Munich Festivals, the Musikverein and Konzerthaus in Vienna and the Oktavian, Christine (), Salle Gaveau, Musée d’Orsay, Opera Comique, Chatelet and Theatre des Champs Countess Madeleine () and Elysees in Paris. She has a particularly close association with the and the title role in Arabella. Her roles received the Wigmore Hall Medal in February 2010 for her significant contribution to at the Bavarian State Opera, Munich the hall. include Christine, Countess Almaviva, Her many awards include honorary doctorates at the Universities of Oxford, Countess Madeleine and the Loughborough, Leicester, London and Sussex and the Royal Academy of Music and Marschallin. For the Vienna State Drama in Glasgow. She was made a CBE in the 1990 New Year Honours and in 1996 Opera her roles include the was created a Dame Commander of the British Empire. In February 2003 she was Marschallin under Kleiber which she awarded the title of Bayerische Kammersängerin. She has also been awarded the has sung both in Vienna and Japan. titles Officier de l’Ordre des Arts et des Lettres and Chevalier de l’Ordre National de la Légion d’Honneur by the French Government. photo: Trevor Leighton Trevor photo: GRAHAM JOHNSON Christoph Prégardien, Dame Margaret Price, Thomas Quastoff, Dorothea Graham Johnson is recognised as one of the Röschmann, , Christine Schaefer, Peter Schreier, Dame Elisabeth world’s leading vocal accompanists. Born in Schwarzkopf and Sarah Walker. Rhodesia, he came to London to study in His relationship with the Wigmore Hall is a special one. He devised and 1967. After leaving the Royal Academy of accompanied concerts in the hall’s re-opening series in 1992, and in its Music his teachers included Gerald Moore and centenary celebrations in 2001. He has been Chairman of the jury for the Geoffrey Parsons. In 1972 he was the official Wigmore Hall Song Competition since its inception. He is Senior Professor of pianist at Peter Pears’ first masterclasses at Accompaniment at the Guildhall School of Music and has led a biennial scheme The Maltings, Snape which brought him into for Young Songmakers since 1985. He has had a long and fruitful link with Ted contact with – a link which Perry and Hyperion Records for whom he has devised and accompanied a set of strengthened his determination to complete Schubert Lieder on 37 discs, a milestone in the history of recording. accompany. In 1976 he formed the A complete Schumann series is halfway completed, and there is an ongoing Songmakers’ Almanac to explore neglected French Song series where the complete songs of such composers as Chausson, areas of piano-accompanied vocal music; the Chabrier and Fauré are either already available, or in preparation. All these founder singers were Dame Felicity Lott, Ann discs are issued with Graham Johnson’s own programme notes which set new Murray DBE, Anthony Rolfe Johnson and standards for CD annotations. He has also recorded for Sony, BMG, Harmonia Richard Jackson – artists with whom he has Mundi, Forlane, EMI and DGG. Awards include the Gramophone solo vocal award established long and fruitful collaborations in 1989 (with Dame ), 1996 (Die schone Müllerin with Ian both on the concert platform and the Bostridge), 1997 (for the inauguration of the Schumann series with Christine recording studio. Some two hundred and fifty Schäfer) and 2001 (with Magdalena Kozena). He was The Royal Philharmonic Songmakers’ programmes were presented over Society’s Instrumentalist of the Year in 1998; in June 2000 he was elected a the years. Graham Johnson has accompanied member of the Royal Swedish Academy of Music. He is author of The such distinguished singers as Sir Thomas Songmakers’ Almanac; Twenty years of recitals in London, The French Song Allen, Victoria de los Angeles, Elly Ameling, Companion for OUP (2000), The Vocal Music of Benjamin Britten (Guildhall 2003) Arleen Auger, Ian Bostridge, Brigitte and Gabriel Fauré - the Songs and their Poets (2009). Fassbaender, , Thomas Hampson, Simon Keenlyside, Angelika He was made an OBE in the 1994 Queen’s Honours list and in 2002 he Kirchschlager, Philip Langridge, Serge was created Chevalier in the Ordre des Arts et Lettres by the French Government. Leiferkus, , Christopher He was also made an Honorary Member of the Royal Philharmonic Society in Maltman, Edith Mathis, Lucia Popp, February 2010. Summertime

1 Summertime (PORGY & BESS | GEORGE GERSHWIN) 2’20 2 Sure on this Shining Night (SAMUEL BARBER) 2’20 3 The Shepherd’s Song (EDWARD ELGAR) 2’49 4 Clair de Lune (GABRIEL FAURÉ) 3’06 5 Now Sleeps the Crimson Petal (ROGER QUILTER) 2’04 6 Who is Sylvia? (ROGER QUILTER) 2’48 7 Where the Bee Sucks (THOMAS ARNE) 1’40 8 L’Île Inconnue (HECTOR BERLIOZ) 3’35 9 Auf dem Wasser zu Singen (FRANZ SCHUBERT) 3’43 10 Soir (GABRIEL FAURÉ) 2’20 11 Der Nussbaum (ROBERT SCHUMANN) 1’35 12 Meine Liebe ist Grün (JOHANNES BRAHMS) 1’35 13 Ah Moon of my Delight (LIZA LEHMANN) 4’27 14 Notre Amour (GABRIEL FAURÉ) 2’08 15 Villanelle (HECTOR BERLIOZ) 2’18 16 The Monk and his Cat (SAMUEL BARBER) 2’34 17 Go Not, Happy Day (FRANK BRIDGE) 1’35 18 To Daffodils (FREDERICK DELIUS) 2’14 19 Orpheus with his Lute (RALPH VAUGHAN WILLIAMS) 2’23 20 The Trellis (JOHN IRELAND) 1’27 21 Love’s Philosophy (ROGER QUILTER) 1’27 22 A Brown Bird Singing (HAYDN WOOD) 2’29 23 The Lark in the Clear Air (TRAD. IRISH) 1’32 24 Sleep (PETER WARLOCK) 2’25 25 The Tales of an Oyster (COLE PORTER) 3’09 26 My House (LEONARD BERNSTEIN) 1’45 27 The Little Road to Bethlehem (MICHAEL HEAD) 2’32 28 Vespers (HAROLD FRASER-SIMSON) 2’19 29 The Lord Bless You and Keep You (JOHN RUTTER) 2’15

Dame Felicity Lott ~ soprano Graham Johnson ~ piano Produced by Mark Brown Engineered by Julian Milard Recorded at the Music Room, Champs Hill, Pulborough, Sussex, on the 6th - 9th April 2000 by kind permission of David & Mary Bowerman.