FRANZ SCHUBERT : DER EINSAME ILKER ARCAYÜREK

ILKER ARCAYÜREK tenor SIMON LEPPER piano FOREWORD TRACK LISTING FRANZ SCHUBERT (1797 –1828) Schubert and the feeling of solitude have been my companions for many years. We can 1 Frühlingsglaube D 686 03’13 find ourselves alone as the result of many different circumstances in life – unhappiness 2 Nachtstück D672 05’51 in love, a bereavement, or simply moving to another country. For me, however, being 3 Sehnsucht D879 02’46 alone has never meant being ‘lonely’. 4 Schäfers Klagelied D121 03’36 As in Schubert’s song Der Einsame , I try to enjoy the small things in life, and, 5 Der Musensohn D764 02’14 especially in those times when I am alone, to consciously take time out of 6 Romanze zum Drama ‘Rosamunde’ D797/3b 03’49 everyday life and reflect on my own experiences. I find that making music is 7 Der Schiffer D536 02’00 a particularly good way of occupying myself in moments of solitude. 8 Der Jüngling an der Quelle D300 01’45 9 Über Wildemann D884 02:19 A running brook, a broken heart, the bitter-sweet release of death – few 10 Abendstern D806 02’29 composers have succeeded in setting these varied images to music as Drei Gesänge des Harfners D478 transparently as Schubert did. His diverse emotional and musical world had 11 i Wer sich der Einsamkeit ergibt 04’03 me under its spell from an early age. This developed into such a thirst for 12 ii Wer nie sein Brot mit Tränen a ß 04’46 more that now I can hardly wait to sing works by Schubert that are new to 13 iii An die Türen will ich schleichen 02’21 me. I let myself be guided by these feelings and try to bring them together 14 Der Einsame D800 04’02 in my singing in a sincere and unaffected way. For only then, when I myself 15 An die Laute D905 01’51 am moved by the music, can I reach the listener. 16 Nacht und Träume D827 04’06 17 Die Liebe hat gelogen D751 02’53 As it is my first album, this recording is particularly special to me. In 18 Rastlose Liebe D 138 01’25 Simon Lepper I have found a wonderfully sensitive duo partner who 19 Schwanengesang D744 03’06 has been accompanying and supporting me since 2012. I 20 An den Mond D193 03’03 would like to thank our generous hosts Mary and David 21 Meeres Stille D216 02’16 Bowerman, the production team, and particularly BBC 22 Am Flusse D766 01’47 Radio 3 and the New Generation Artists scheme, who 23 Wandrers Nachtlied II D768 02’26 introduced me to Champs Hill Records. The friendly environment at Champs Hill created the perfect setting Total time: 68’12 for a heartfelt recording.

Co-production with BBC Radio 3 New Generation Artists scheme Produced and edited by Matthew Bennett Engineered by Dave Rowell Recorded on 3rd January & 23-25th February 2017 in the Music Room, Champs Hill, West Sussex, UK Photos of Ilker Arcayuerk g Janina Laszlo Executive Producer for Champs Hill Records: Alexander Van Ingen Label Manager for Champs Hill Records: Joanna Wilson PROGRAMME NOTE

Loneliness is the theme that links all the songs on this CD, and we begin with Goethe quotes the beginning of Der Musensohn in his autobiography Dichtung und Frühlingsglaube , a song which Hermann Hesse in The Glass Bead Game saw as an Wahrheit (part 4, chapter 16) as exemplifying the way in which his poetical effusions archetypal expression of longing; soon after the publication of Uhland’s poem in 1812, used to pour out of him. He describes how he would wake up in the middle of the several of the lines were accorded Geflügelte Worte status by Georg Büchmann in his night and rush to his desk in order to write down poems such as ‘Der Musensohn’ celebrated Book of Quotations – and the poem’s popularity soared still further when that were already fully formed in his brain; and how he preferred to use a pencil, Schubert wrought his magic on Uhland’s verse in September 1820. Johann Mayrhofer, since the scratching of the quill would disturb his ‘somnambulistic writing’. Having the poet of 47 Schubert songs, worked in Vienna as a book censor and shared flitted his indefatigable way through the landscape, the son of the muses asks when lodgings with Schubert for a while in the Wipplingerstraße, from the autumn of 1818 he too will rest ‘in his beloved’s embrace’ – an image of the lonely Schubert springs until the winter of 1820, during which period Nachtstück was composed. After the to mind playing his music at the Schubertiaden while his friends dance the evening wonderful prelude – a sort of polyphonic nocturne in miniature – we see an old man away. There is a sadness in the final bars, suggested by the pianissimo marking in who, feeling death upon him, steps into the moonlit night and prays for peace. The the last verse, and an exquisite ritardando on ‘Busen’. trees and grasses wish him well, and the song ends with an extraordinary passage The Romanze zum Drama ‘Rosamunde’ , though not strictly a Lied, was included by that depicts the onset of death, as the music moves from E flat, via D flat, to the Peters in Volume 6 of his selection of Schubert songs. The Romance actually comes tranquility of C major. Johann Gabriel Seidl (1804 –1875) was a friend of Schubert, from Schubert’s incidental music to Wilhelmine von Chézy’s play that was staged at and spent much of his life in Vienna as curator, schoolmaster, book-censor, poet and the Theater an der Wien on 23 December 1823. The performance was a flop (there’s a civil servant. He was responsible for modernising the text of the Austrian national fascinating account of the fiasco by Moritz von Schwind) and the play has been lost. anthem, and published poems both in dialect and High German, including a long and Fortunately, Schubert’s nine numbers of incidental music survive, including Der touching poem written the day before Schubert’s funeral, entitled ‘Meinem Freunde Vollmond strahlt auf Bergeshöhn . The Romance was sung in the play by Axa, Princess Franz Schubert!’ Schubert set eleven of his poems, including Sehnsucht (1826), which Rosamunde’s ‘old protectress’ (Rosamunde had, on a whim of her father’s, been with its cold rush of triplets and D minor shifts to D major anticipates ‘Erstarrung’ brought up as a shepherdess), and it was with Axa that Rosamunde sought refuge as from Winterreise . Goethe’s Schäfers Klagelied , written in the spring of 1801, was she attempted to win back her throne. The wonderful melody that seems to suggest based on a folksong he had heard at a party: ‘Da droben auf jenem Berge’. He was so the glint of the moon on the heath made a great impression on Wilhelmine von impressed by the tune that he decided to write a poem of his own to fit it. Schubert’s Chézy who, in a letter of 2 February 1824 to a Dresden friend, wrote of ‘the early masterpiece was composed in 1814, when he had not yet turned 17. C minor delightful melodies’ composed by Schubert for Axa’s romance. And in a letter printed turns in the central verses to A flat major/minor; then suddenly, with a succession of in the Wiener Zeitschrift für Kunst, Literatur, Theater und Mode on 13 January 1824 sforzandi , we are in the midst of the storm – in nature and the poet’s heart. Richard she called Schubert’s incidental music to Rosamunde ‘glorious’, ‘sublimely melodious’ Capell, writing of the song in Schubert’s Songs (Duckworth, 1928), calls it ‘dainty, and ‘indescribably moving and profound’. amusingly dainty’, an apt description of Zelter’s version but not Schubert’s, which is surely a cry from the heart. Mayrhofer was at heart a melancholic, convinced that only belief in an ideal world could make terrestrial misery bearable. In many of his poems Death is seen as a palliative for earthly sorrow, but there are exceptions, one of which, Der Schiffer , Adelheid and Cäcilie Tychsen, the daughters of a celebrated orientalist and describes a boatman confronting and conquering the raging storm. The poet archaeologist. Neither sister returned his affection, and though he was forbidden to symbolically expresses his belief in the ideals of Greek antiquity, and his conviction enter their home, he poured out his obsession in verse that often deludedly depicts that man, if he has lofty ideals, can fashion his own destiny. Schubert rises his love as requited. The last of the Schulze poems to be composed was Über magnificently to the challenge. The marking is ‘geschwind und feurig’ (swift and Wildemann . From high above the mountain village, trudging through forests and fiery) and there is no let up from start to finish, as the boatman/poet seeks to tame snow, the poet looks down into the sunny valley below, with its green fields and the wild forces of nature. Schubert gives almost palpable expression to this mighty ripening meadows. This is the most violent of the Schulze songs, and the cause of struggle in the harmonic clashes at ‘Ich peitsche die Wellen mit mächtigem Schlag’ the poet’s commotion is mentioned at the end of stanza 3 (‘Und ach! nur Eine/Ihr (‘I lash the waves with powerful strokes’) and at the same point in each subsequent Herz verschließt’). But as in ‘Erstarrung’, there are lines of retrospective happiness, verse. He pits the marcato bass octaves against the rapid, flowing semiquavers, and and Schubert responds in verse 4 by allowing the voice to luxuriate in A major, the we seem to see the boat’s prow scatter the spray heavenward. key of so many of Schubert’s happy songs of love and springtime. Only in the final Johann Gaudenz von Salis-Seewis (1762 –1834) was a Swiss nobleman who in 1789 verse does winter return, more furious than before. made a tour of Germany during which he met Goethe, Schiller, Herder and other Back to Mayrhofer with Abendstern , a poem that voices the homosexual poet’s literary figures of importance. Schubert set thirteen of his poems, the most popular loneliness and isolation, and his inability to procreate (‘I sow, but see no shoots’). of which, Der Jüngling an der Quelle , was probably composed in 1821. There is no The poem takes the form of a dialogue, almost as if Mayrhofer were seeking a more hypnotic song in all Schubert. The poem tells us that the young man had come solution to his predicament: one voice urges him to immerse himself in the world, to the brook to seek consolation and respite from the girl who does not respond to the other suggests that this is impossible, and hints at why. Schubert wrote this his advances – but the brook’s ‘Schlummergeräusch’ (sleepy murmurings) and the wonderful song in March 1824 between the A minor and D minor string quartets, and ‘flispernden Pappeln’ (‘whispering poplars’) awaken nothing but love, and sigh her the key keeps veering between A minor and A major; for one moment the warmth of name (Luise). It must have been the murmuring brook and the whispering poplars the major key is attained – but the ecstasy is ephemeral, minor reasserts itself and that inspired the purling semiquavers of the right hand; the vocal line is repetitive, the poet is left to reflect with resignation on his solitude. as befits a song that deals with the obsession of love, but at the end of the phrase It was in Weimar that Goethe started his novel Wilhelm Meisters theatralische describing how the boy’s love is roused (‘wecket die Liebe nur auf’), the voice leaps Sendung that later developed into Wilhelm Meisters Lehrjahre . It contains several of an octave with remarkable psychological penetration, as the young man is jolted out Goethe’s finest lyric poems – the songs sung by Mignon, Philine and the Harper that of his reverie. have reached a wider audience through the songs of Beethoven, Schubert, Schumann Ernst Schulze, the poet of ten Schubert songs, was one of literature’s most celebrated and Wolf. Some knowledge of the context of the Harper’s songs within the novel is stalkers. Sexually mature at an earlier age than most of his contemporaries at school, needed to understand them properly. The Harper, of noble Italian birth, had been he vented his frustration in poetry, which eventually led to the hundred poems of his destined by his father for the Church; having spent some time in a monastery, he Poetisches Tagebuch (Verse Diary), which were almost entirely inspired by his love for returned home after his father’s death and struck up a friendship with Sperata. The friendship developed into an illicit affair: she turned out to be his sister, and the composer, music critic and editor who lived in Vienna for a while during 1822, when child of their incestuous union was Mignon. He fled to Germany where he was he made Schubert’s acquaintance. Schubert set four of his poems, of which An die devoured by guilt and despair (he refers to his incest in the final line of ‘Wer nie sein Laute is arguably the best known. This exquisite little serenade, marked ‘etwas Brot mit Tränen aß’). Schubert, Schumann and Wolf all approached these poems – the geschwind’ and punctuated with lute-like arpeggios in almost every bar, is sung by loneliest in all Goethe – in different ways. The pathological nature of the Harper’s the lover outside his sweetheart’s window – pianissimo , so that the neighbours character is portrayed by Wolf through intense chromaticism, tortuous melody, daring won’t hear. dissonances and a seeming absence of tonality; Schumann paints his portrait with the Matthäus von Collin (1779 –1824), the poet of Nacht und Träume , was 18 years older help of manic splashes of sound and virtuoso pianistic flourishes. Schubert’s way in than Schubert, and a reasonably successful dramatist, poet and critic, who qualified his Gesänge des Harfners is simpler: plaintive, heartrending melodies, all in A minor, as a lawyer at the University of Vienna, spent some time in the capital as censor, his key of disenchantment and derangement that he was also to use in ‘Der Leiermann’. and ended up working in the ministry of finance. Von Collin’s poetry inspired three Goethe’s Wer sich der Einsamkeit ergibt throbs with an obsessive ‘ei’ assonance, other masterpieces, ‘Der Zwerg’, ‘Wehmut’ and the duet ‘Licht und Liebe’, and since present not just in the key words ‘Einsamkeit’ and ‘Einsamen’, but in virtually every his poems were not published until 1827, the songs must have been set from line. This conveys a remarkable feeling of loneliness which Schubert intensifies in the manuscript. Perhaps ‘Nacht und Träume’, which is only 8 lines long, was written postlude’s gently falling chromatic bass. An die Türen will ich schleichen seems to especially for Schubert, even though a near identical version was later to appear in foreshadow the opening song of Winterreise ; the crotchets have the same melancholy von Collin’s dramatic fragment Fortunats Abfahrt nach Zypern . From what must have tread as those in ‘Gute Nacht’, and both songs originally bore the idiosyncratic been a flimsy, seemingly insignificant piece of paper, containing a poem that is marking: mäßig, in gehender Bewegung . Perhaps the bleakest of Schubert’s three nothing special in itself, Schubert created one of his greatest masterpieces. With its Harper songs is Wer nie sein Brot mit Tränen aß in which, following Goethe’s narrative, dark semiquavers, it looks like night on the page, and bears the sole dynamic pp. he makes the old man repeat each verse. The effect of this and the sforzandi of the Beautiful tone and an unwavering legato are required, and though Schubert’s original postlude is as chilling as anything in Schubert. marking is langsam , the pulse must be maintained. The second verse brings with it Carl Lappe, a schoolmaster in Stralsund, lived on the island of Rügen (famed for an intensification of rapture: B modulates to G, and the singer cries out with Caspar David Friedrich’s wonderful painting ‘Chalk Cliffs on Rügen’). His poems were swelling tone for night to remain. Die Liebe hat gelogen is Schubert’s most searing published in Gedichte (1801), Sämmtliche poetische Werke (1836) and Blüte des Alters song of unrequited love – a feeling he captures miraculously in the (1841). Schubert set 3 of his poems: two solo songs (‘Im Abendrot’ and ‘Der Einsame’), crotchet/quaver/quaver figuration, the great distance between the voice and piano and ‘Flucht’ for male-voice quartet. Despite the lonesome title and the fact that parts and the syncopated motif of sobbing in the central section. The poet Platen, in Schubert at the time of composition was in hospital (according to his first biographer, full Karl August Georg Maximilian, Graf von Platen-Hallermünde, suffered from a Kreissle), Der Einsame is a song of great contentment; as the poet reflects on the day sense of loneliness and isolation throughout his short life. A nobleman, he served as he has just spent, we hear the chirp of the nocturnal crickets in the little semiquaver an officer in the army from 1814 –18 – a career quite unsuitable for a gay and figure that surfaces intermittently throughout the song. Friedrich Rochlitz was a writer, eccentric dreamer. Having left the army, he studied literature and language at university, sought success as a playwright, failed, and then turned his back on as the sailor is becalmed. Both poems refer to a voyage that Goethe made in 1787 on Germany and spent the rest of his life in voluntary exile in Italy. His finest poetry (he his Italian Journey, when he crossed the sea from Naples to Sicily, and, on the return published Ghaselen in 1821 and Sonette aus Venedig in 1824) deserves a place in any journey, experienced a flat calm (perfectly caught by no fewer than 32 semibreve anthology of German verse. Rastlose Liebe was one of Schubert’s first songs to win chords in Schubert’s great song) and frightening storms. Schubert’s first version of public approval, as we learn from an entry in his diary, dated 13 June 1816, in which Goethe’s Am Flusse was composed in 1815, that remarkable year of song in which he he describes a concert at which he sang [sic.] the song to unreserved applause. wrote no fewer than 150 Lieder, while teaching in his father’s school in the ninth Goethe’s poetry, he modestly remarked, contributed greatly to the success. Bezirk. Goethe’s poem, written in 1768 reflects his obsession with Kätchen (‘Annette’) Schubert, of course, never composed a song-cycle by the name of Schwanengesang – Schönkopf in Leipzig, to which he refers in Dichtung und Wahrheit . The song is that was the title invented by Tobias Haslinger, when he published fourteen of marked wehmütig (sadly) – unsurprisingly, since the poet enjoins the river to bear his Schubert’s late songs in the spring of 1829. Schubert’s only ‘Schwanengesang’ Lieder songs of unrequited love into oblivion. The semiquavers, however, that Schubert were two settings of minor verse, one by Ludwig Kosegarten in 1815, and one by usually employs to depict the river, are here only sparingly used – as though he were Johann Senn, which he transformed into a miniature masterpiece in the autumn of more intent on conveying the numb sadness of the poet’s mood. It was not until 1822. Senn’s Schwanengesang dates from 1822, and is contemporary, therefore, with 1822 that Schubert returned to the poem a second time (the version recorded here), Schubert’s own poem, ‘Mein Gebet’ (‘My Prayer’), which pleads with Death to release a few months before the composition of Die Schöne Müllerin , and this time he him from physical torment. Although there’s a striking similarity between the two focusses not on the poet’s sadness but on the image of the rippling stream. poems, Senn’s is the more optimistic, as the swan, we are told, though terrified of There is no more frequently anthologized poem in the German language than Goethe’s dying, will sing ‘verklärungsfroh’ – joyously transfigured. Schubert expresses this ‘Ein gleiches’, which Schubert renamed Wandrers Nachtlied II (‘Über allen Gipfeln ’). ambivalent attitude towards death by alternating major and minor throughout the Goethe was actually known as ‘Der Wanderer’ among his family and closest friends song. Schubert’s setting of Ludwig Hölty’s An den Mond begins with a theme, deep in (see Dichtung und Wahrheit , Book 12), and this poem is undeniably autobiographical; the bass, that is somehow suggestive of night, while the undulating F minor the notion of impending death is suggested by the progression from large open arpeggios weave an arabesque of clouds about the moon which disappear, together spaces (‘Gipfeln’), via tree-tops (‘Wipfeln’), to the enclosed forest and the coffin. with the opening time-signature and key, during the two middle stanzas which recall There is no better example in all music of how a great poem, even though it is the happy times he spent with his beloved. But the pain is too great to bear, and the corrupted by Schubert’s repetition of certain words, can be recreated and perhaps cloud-veiling arpeggios return. even surpassed by a composer of genius.

Goethe’s Meeres Stille was first published, with ‘Glückliche Fahrt’, in Schiller’s Richard Stokes 2017 Musenalmanach for 1796. The two poems have always been printed together, since © Goethe clearly wished to display the contrasting ideas of stillness and movement. They can also be seen as exercises in the use of trochaic and dactylic metres – the Richard Stokes has recently published The Penguin Book of English Song : Seven Centuries of incessant trochees (long/short) of ‘Meeres Stille’ reflecting the stillness of the ocean, Poetry from Chaucer to Auden (Penguin Classics, 2016) SONG TEXTS

1 FRÜHLINGSGLAUBE (LUDWIG UHLAND) FAITH IN SPRING 3 SEHNSUCHT (JOHANN GABRIEL SEIDL) LONGING Die linden Lüfte sind erwacht, The gentle breezes are awakened, Die Scheibe friert, der Wind ist rauh, The window pane freezes, the wind is raw, Sie säuseln und weben Tag und Nacht, They stir and whisper night and day, Der nächt’ge Himmel rein und blau: The night sky blue and clear: Sie schaffen an allen Enden. Everywhere active, creative. Ich sitz’ in meinem Kämmerlein I sit inside my little room O frischer Duft, o neuer Klang! O fresh fragrance, O new sounds! Und schau in’s reine Blau hinein! And gaze into the limpid blue! Nun, armes Herze, sei nicht bang! Now, poor heart, be not afraid! Mir fehlt etwas, das fühl’ ich gut, Something is missing, that I know, Nun muß sich Alles, Alles wenden. Now must all things, all things change. Mir fehlt mein Lieb, das treue Blut: My love is missing, my faithful love: Die Welt wird schöner mit jedem Tag, The world grows fairer with every day, Und will ich in die Sterne sehn, And when I look up at the stars, Man weiss nicht, was noch werden mag, We do not know what might yet be, Muss stets das Aug mir übergehn! My eyes just fill with tears! Das Blühen will nicht enden. The blooming will not end. Mein Lieb, wo weilst du nur so fern, My love, where are you so far away, Es blüht das fernste, tiefste Tal: The deepest, most distant valley blooms: Mein schöner Stern, mein Augenstern? My lovely star, my treasure?! Nun, armes Herz, vergiss der Qual! Now, poor heart, forget your torment. Du weisst, dich lieb’ und brauch’ ich ja, – You know I love you, know I need you – Nun muss sich Alles, Alles wenden. Now must all things, all things change. Die Träne tritt mir wieder nah. Again I am close to tears.

2 NACHTSTÜCK (JOHANN MAYRHOFER) NOCTURNE Da quält’ ich mich so manchen Tag, For many a day I’ve been in torment, Weil mir kein Lied gelingen mag, – Since no song has turned out well – Wenn über Berge sich der Nebel breitet, When mist spreads over the mountains, Because a song can never be forced And Luna battles with the clouds, Weil’s nimmer sich erzwingen last Und Luna mit Gewölken kämpft, Und frei hinsäuselt, wie der West! To blow as freely as the west wind! So nimmt der Alte seine Harfe, und schreitet, The old man takes up his harp, and steps Und singt waldeinwärts und gedämpft: Into the forest, singing softly: Wie mild mich’s wieder grad durchglüht! – How gentle the glow that warms me again! „Du heil’ge Nacht! ‘O holy night! Sieh nur – das ist ja schon ein Lied! Lo and behold – a song appears! „Bald ist’s vollbracht. Soon it shall be done. Wenn mich mein Los vom Liebchen warf, Though fate has severed me from my love, „Bald schlaf’ ich ihn Soon I shall sleep Dann fühl’ ich, dass ich singen darf. I feel in my heart that I can sing. „Den langen Schlummer, The long sleep, „Der mich erlöst That shall free me „Von allem Kummer.“ From all affliction. „Die grünen Bäume rauschen dann, Then the green trees will rustle: „Schlaf suss, du guter alter Mann; Sleep well, good old man; „Die Gräser lispeln wankend fort, The swaying grass will whisper: „Wir decken seinen Ruheort; We will cover his resting-place; „Und mancher liebe Vogel ruft, And many a sweet bird will call: „O lass ihn ruh’n in Rasengruft!“ O let him rest in his grassy grave!’ Der Alte horcht, der Alte schweigt – The old man listens, the old man is silent. Der Tod hat sich zu ihm geneigt. Death has inclined towards him. 4 SCHÄFERS KLAGELIED SHEPHERD’S LAMENT 5 DER MUSENSOHN THE SON OF THE MUSES (JOHANN WOLFGANG VON GOETHE) (JOHANN WOLFGANG VON GOETHE) Da droben auf jenem Berge On that mountain over there Durch Feld und Wald zu schweifen, Roaming through fields and woods, Da steh’ ich tausendmal, I’ve stood a thousand times, Mein Liedchen wegzupfeifen, Whistling out my song, An meinem Stabe hingebogen Leaning on my shepherd’s staff So gehts von Ort zu Ort! Is how I go from place to place! Und schaue hinab in das Tal. Gazing into the valley below. Und nach dem Takte reget, And the whole world keeps time Und nach dem Maß beweget And moves in rhythm Dann folg’ich der weidenden Herde, I follow then the grazing flock Sich alles an mir fort. with me. Mein Hündchen bewahret mir sie. My sheepdog guards for me, Ich bin herunter gekommen I’ve come down to the valley Ich kann sie kaum erwarten I can scarcely wait for them, Und weiß doch selber nicht wie. And do not myself know how. Die erste Blum’ im Garten, The first flower in the garden, Die erste Blüt’ am Baum. The first blossom on the tree. Da stehet von schönen Blumen The whole meadow is blooming, Sie grüssen meine Lieder, My songs greet them, Die ganze Wiese so voll. Thronged with beautiful flowers. Und kommt der Winter wieder, And when winter returns, Ich breche sie, ohne zu wissen, I pick them without knowing Sing’ ich noch jenen Traum. I still sing of my dream. Wem ich sie geben soll. Who to give them to. Ich sing’ ihn in der Weite, I sing it far and wide, Und Regen, Sturm und Gewitter In rain and storm and tempest Auf Eises Läng’ und Breite, Throughout the icy realm, Verpaß’ ich unter dem Baum. I shelter beneath the tree. Da blüht der Winter schön! Then winter blossoms in beauty! Die Türe dort bleibet verschlossen; The door over there stays locked; Auch diese Blüte schwindet This blossoming also passes Doch alles ist leider ein Traum. And all, alas, is a dream. Und neue Freude findet And new joys are discovered Es stehet ein Regenbogen A rainbow arches Sich auf bebauten Höhn. On the fertile hills. Wohl über jenem Haus! Over that house! Denn wie ich bei der Linde For as soon as I see Sie aber ist fortgezogen, But she has gone away, Das junge Völkchen finde, Young folk by the lime tree, Gar weit in das Land hinaus. Away to distant parts. Sogleich erreg’ ich sie. I rouse them in a trice. Hinaus in das Land und weiter, To distant parts and further, Der stumpfe Bursche bläht sich, The bumpkin puffs his chest out, Vielleicht gar über die See. Perhaps even over the sea. Das steife Mädchen dreht sich The prim girl pirouettes Vorüber, ihr Schafe, nur vorüber! Move on, O sheep, move on! Nach meiner Melodie. In time to my melody. Dem Schäfer ist gar so weh. Your shepherd feels so sad. Ihr gebt den Sohlen Flügel You lend my feet wings Und treibt, durch Tal und Hügel, And drive over hill and dale Den Liebling weit von Haus. Your favourite far from home. Ihr lieben holden Musen, Dear, gracious Muses, Wann ruh’ ich ihr am Busen When shall I at last find rest Auch endlich wieder aus? In my beloved’s embrace? 6 ROMANZE (WILHELMINE VON CHÉZY) ROMANCE 8 DER JÜNGLING AN DER QUELLE THE YOUTH BY THE BROOK Der Vollmond strahlt auf Bergeshöhn – The full moon shines on the mountain tops, (JOHANN GAUDENZ VON SALIS-SEEWIS) Wie hab ich Dich vermisst! How I have missed you! Leise, rieselnder Quell, ihr wallenden, Softly rippling brook, waving, Du susses Herz! es ist so schön, Sweetest one, it is so beautiful flispernden Pappeln, whispering poplars, Wenn treu die Treue küsst. When faithfulness kisses with faith. Euer Schlummergeräusch wecket die Your sleepy murmurings awaken Liebe nur auf. only love. Was frommt der Maien holde Zier? What is May’s fair beauty to me? Linderung sucht’ ich bei euch, I sought comfort by your side to forget Du warst mein Frühlingsstrahl. You were my ray of spring. und sie zu vergessen, die Spröde; the cold maiden; Licht meiner Nacht, O lächle mir Light of my night, O smile on me Ach! und Blätter und Bach seufzen: But alas, leaves and brook both sigh, Im Tode noch einmal! Once more in death! Louise, dir nach! Louise, for you. Sie trat hinein beim Vollmondschein, She entered by the light of the full moon, Sie blickte himmelwärts: She gazed up to heaven. 9 ÜBER WILDEMANN (ERNST SCHULZE) ABOVE WILDEMANN ‘Im Leben fern, im Tode Dein.’ ‘Distant in life, yours in death!’ Die Winde sausen The winds roar Und sanft brach Herz an Herz. And gently heart broke on heart. Am Tannenhang, Across the pine slopes, Die Quellen brausen The rivers rush 7 DER SCHIFFER (JOHANN MAYRHOFER) THE BOATMAN Das Tal entlang; Along the valley; Im Winde, im Sturme befahr’ ich den Fluß, I ply the river in wind and storm, Ich wand’re in Eile I hurry Die Kleider durchweichet der Regen im Guß; My garments soaked by teeming rain; Durch Wald und Schnee, Through forest and snow Ich peitsche die Wellen mit mächtigem Schlag, I lash the waves with powerful strokes, Wohl manche Meile For many a mile Erhoffend, erhoffend mir heiteren Tag. Filled with hopes for a bright day. Von Höh zu Höh. From peak to peak. Die Wellen, sie jagen das ächzende Schiff, The waves drive on the creaking boat, Und will das Leben And though life Es drohet der Strudel, es drohet das Riff, Whirlpool and reef loom threateningly, Im freien Tal In the open valley Gesteine entkollern den felsigen Höh’n, Rocks roll down the towering cliffs, Sich auch schon heben Already stirs Und Tannen erseufzen wie Geistergestöh’n. And fir-trees sigh like groaning ghosts. Zum Sonnenstrahl; To greet the sun, Ich muß vorüber I must go on my way So mußte es kommen – ich hab es gewollt, It had to come – I willed it so, Mit wildem Sinn In a wild mood, Ich hasse ein Leben behaglich entrollt; I hate a snugly unfolding life; Und blicke lieber Preferring to look Und schlängen die Wellen den ächzenden Kahn, And were waves to engulf the creaking boat, Zum Winter hin. Towards winter. Ich priese doch immer die eigene Bahn. I should still extol my chosen course. Drum tose des Wassers ohnmächtiger Zorn, So – let waters roar in impotent rage, Dem Herzen entquillet ein seliger Born, A fountain of bliss spurts from my breast, Die Nerven erfrischend – o himmlische Lust! Renewing my courage, O heavenly joy! Dem Sturme zu trotzen mit männlicher Brust. To brave the storm with a manly heart. Auf grünen Heiden, In green fields 10 ABENDSTERN (JOHANN MAYRHOFER) EVENING STAR And colourful meadows, Auf bunten Aun, Was weilst du einsam an dem Himmel, Why do you linger lonely in the sky, I’d only suffer Müsst’ ich mein Leiden O schöner Stern? und bist so mild; O lovely star? For you are so gentle; Constantly, Nur immer schaun, Warum entfernt das funkelnde Gewimmel Why do all your glittering brothers Seeing life burgeon Dass selbst am Steine Der Brüder sich von deinem Bild? Flee your face? From the very stones, Das Leben spriesst, „Ich bin der Liebe treuer Stern, ‘I am the faithful star of love, Knowing, alas! that she alone Und ach! nur Eine „Sie halten sich von Liebe fern.“ They keep aloof from love.’ Ihr Herz verschliesst. Closes up her heart. So solltest du zu ihnen gehen, If you are love O love, O love, O Liebe, Liebe, Bist du der Liebe, zaudre nicht! You should seek them out, do not delay! O breath of May! O Maienhauch! Wer möchte denn dir widerstehen? For who could resist you, You force the buds Du drängst die Triebe Du süsses eigensinnig Licht. O sweet and wayward light. From tree and bush! Aus Baum und Strauch! „Ich säe, schaue keinen Keim, ‘I sow, but see no shoots, The birds sing Die Vögel singen „Und bleibe trauernd still daheim.“ And in silent sorrow stay at home.’ Auf grünen Höhn, High in green trees, Die Quellen springen Springs gush forth, DREI GESÄNGE DES HARFNERS THREE SONGS OF THE HARPER Bei deinem Wehn! When your breezes blow! (JOHANN WOLFGANG VON GOETHE) Mich lässt du schweifen You leave me to roam 11 WER SICH DER EINSAMKEIT ERGIBT Im dunklen Wahn In my dark delusion i i WHO GIVES HIMSELF TO LONELINESS Durch Windespfeifen Through roaring winds Wer sich der Einsamkeit ergibt, Who gives himself to loneliness, Auf rauher Bahn. On untrod paths. Ach! der ist bald allein; Ah! he is soon alone; O Frühlingsschimmer, O shimmering spring, Ein jeder lebt, ein jeder liebt, Others live, others love, O Blütenschein, O gleaming blossom, Und lässt ihn seiner Pein. And leave him to his pain. Shall I nevermore Soll ich denn nimer Ja! lasst mich meiner Qual! Yes! Leave me to my torment! Delight in you? Mich dein erfreun? Und kann ich nur einmal And if I can but once Recht einsam sein, Be truly lonely, Dann bin ich nicht allein. Then I’ll not be alone. Es schleicht ein Liebender lauschend sacht, A lover steals up listening, Ob seine Freundin allein? To learn if his love’s alone. So überschleicht bei Tag und Nacht So in my solitude Mich Einsamen die Pein, Do pain and torment Mich Einsamen die Qual. Steal over me by day and night. Ach werd’ ich erst eimal Ah, when once I lie Einsam im Grabe sein, Lonely in my grave, Da lässt sie mich allein! Loneliness will leave me alone! 12 ii WER NIE SEIN BROT MIT TRÄNEN ASS ii WHO NEVER ATE HIS BREAD WITH TEARS Was Liebes oder Leides Whatever joy or sorrow It has brought us, Wer nie sein Brot mit Tränen ass, Who never ate his bread with tears, Sein Lauf für uns daher gebracht, Runs once more through the mind; Wer nie die kummervollen Nächte Who never through the anxious nights Es geht noch einmal, durch den Sinn; But the bad is cast aside, Auf seinem Bette weinend sass, Sat weeping on his bed, Allein das Böse wirft man hin. So as not to spoil the night. Der kennt euch nicht, ihr himmlischen Mächte! He knows you not, you heavenly powers! Es störe nicht die Nacht. We gently prepare ourselves Ihr führt ins Leben uns hinein, You bring us into life, Zu einem frohen Träume For pleasant dreams. Ihr lasst den Armen schuldig werden, You let poor wretches incur guilt, Bereitet man gemach sich zu. When a lovely image fills the soul Dann überlasst ihr ihn der Pein: Then abandon them to pain: Wenn sorgenlos ein holdes Bild With carefree, tender joy, Denn alle Schuld rächt sich auf Erden. For all guilt is avenged on earth. Mit sanfter Lust die Seele füllt, Ergibt man sich der Ruh. We succumb to sleep. 13 iii AN DIE TÜREN WILL ICH SCHLEICHEN iii I’LL STEAL FROM DOOR TO DOOR O, wie ich mir gefalle Oh, how I love I’ll steal from door to door, In meiner stillen Ländlichkeit! My quiet rustic life! An die Türen will ich schleichen, What holds the wayward heart captive Still und sittsam will ich stehn; Quietly and humbly I’ll stand; Was in dem Schwarm der lauten Welt A kindly hand will offer food, Das irre Herz gefesselt hält, In the bustle of the noisy world, Fromme Hand wird Nahrung reichen, Cannot bring contentment. Und ich werde weiter gehn. And I’ll go on my way. Gibt nicht Zufriedenheit. Jeder wird sich glücklich scheinen, Men will think themselves happy, Zirpt immer, liebe Heimchen, Chirp away, friendly crickets Wenn mein Bild vor ihm erscheint; When they see me standing there; In meiner Klause, eng und klein. In my narrow little cell, Eine Träne wird er weinen, They will shed a tear, Ich duld’ euch gern: ihr stört mich nicht. I gladly put up with you: you’re no trouble. Und ich weiss nicht was er weint. And I’ll not know why they weep. Wenn euer Lied das Schweigen bricht, When your song breaks the silence, Bin ich nicht ganz allein. I’m no longer all alone. 14 DER EINSAME (CARL LAPPE) THE RECLUSE Wenn meine Grillen schwirren, When my crickets chirrup at night 15 AN DIE LAUTE (JOHANN FRIEDRICH ROCHLITZ) TO THE LUTE Bei Nacht, am spät erwärmten Herd, By the late-burning hearth, Leiser, leiser, kleine Laute, Play more softly, little lute, Dann sitz’ ich, mit vergnügtem Sinn, I sit contentedly in my chair, Flüstre, was ich dir vertraute, Whisper what I confided to you Vertraulich zu der Flamme hin, Confiding to the flame, Dort zu jenem Fenster hin! In at that window there! So leicht, so unbeschwert. So light-heartedly, so at ease. Wie die Wellen sanfter Lüfte, Like the ripple of gentle breezes, For one more sweet and peaceful hour Mondenglanz und Blumendüfte, Like moonlight and the scent of flowers, Ein trautes stilles Stündchen Send your message to my mistress! Bleibt man noch gern am Feuer wach. It’s good to linger by the fire. Send’ es der Gebieterin! Man schürt, wenn sich die Lohe senkt, Stirring the embers when the blaze dies down, Die Funken auf, und sinnt und denkt: Musing and thinking: Nun abermal ein Tag! Well, that’s another day! Neidisch sind des Nachbars Söhne, All my neighbour’s sons are jealous, 18 RASTLOSE LIEBE RESTLESS LOVE Und im Fenster jener Schöne And in that beauty’s window (JOHANN WOLFGANG VON GOETHE) A solitary lamp still burns. Flimmert noch ein einsam Licht. Dem Schnee, dem Regen, Into snow, into rain, So play more softly, little lute, Drum noch leiser, kleine Laute: Dem Wind entgegen, Into wind, That you be heard by my love, Dich vernehme die Vertraute, Im Dampf der Klüfte, Through steaming ravines, But not – ah, not – the neighbours! Nachbarn aber – Nachbarn nicht! Durch Nebeldüfte, Through mist and haze, Immer zu! Immer zu! On and on! 16 NACHT UND TRÄUME (MATTHÄUS VON COLLIN) NIGHT AND DREAMS Ohne Rast und Ruh! Without respite! Holy night, you drift down; Heil’ge Nacht, du sinkest nieder; Lieber durch Leiden I’d rather fight Dreams too descend, Nieder wallen auch die Träume, Wollt’ich mich schlagen, My way through affliction Like your moonlight through space, Wie dein Mondlicht durch die Räume, Als so viel Freuden Than endure so many Through the silent hearts of men. Durch der Menschen stille Brust. Des Lebens ertragen. Of life’s joys. They listen to them with delight, Die belauschen sie mit Lust, Alle das Neigen All this attraction Crying out when day awakes: Rufen, wenn der Tag erwacht: Von Herzen zu Herzen, Of heart to heart, Come back, holy night! Kehre wieder, heil’ge Nacht! Ach wie so eigen Ah, what special Sweet dreams, come back again! Holde Träume, kehret wieder! Schaffet es Schmerzen! Anguish it brings! Wie soll ich flieh’n? How shall I flee? 17 DIE LIEBE HAT GELOGEN LOVE HAS LIED Fly to the forest? (KARL AUGUST GRAF VON PLATEN-HALLERMÜNDE) Wälderwärts zieh’n? Alles vergebens! All in vain! Die Liebe hat gelogen, Love has lied, Krone des Lebens, Crown of life, Die Sorge lastet schwer, Sorrow oppresses me, Glück ohne Ruh, Joy without rest – Betrogen, ach, betrogen I am betrayed, ah, betrayed Liebe, bist du. This, Love, is you. Hat alles mich umher! By all around! Es rinnen heisse Tropfen Hot tears keep flowing 19 SCHWANENGESANG (JOHANN SENN) SWAN SONG Down my cheeks, Die Wange stets herab, „Wie klag’ ich’s aus ‘How shall I express Beat no more, my heart, Lass ab, mein Herz, zu klopfen, „Das Sterbegefühl, This sense of death, Wretched heart, beat no more. Du armes Herz, lass ab. „Das auflösend The dissolution „Durch die Glieder rinnt? That flows through my limbs? „Wie sing’ ich’s aus How shall I sing 21 MEERES STILLE (JOHANN WOLFGANG VON GOETHE) CALM SEA This sense of life „Das Werdegefühl, Tiefe Stille herrscht im Wasser, Deep silence weighs on the water, That redeems you, O spirit, „Das erlösend Ohne Regung ruht das Meer, Motionless the sea rests, With its breath?’ „Dich, o Geist anweht?“ Und bekümmert sieht der Schiffer And the fearful boatman sees Er klagt’, er sang It lamented, it sang, Glatte Fläche rings umher. A glassy surface all around. Vernichtungsbang, Fearful of extinction, Keine Luft von keiner Seite! No breeze from any quarter! Verklärungsfroh, Rapturously transfigured, Todesstille fürchterlich! Fearful, deadly silence! Bis das Leben floh. Until life ebbed away. In der ungeheuern Weite In all that vast expanse Reget keine Welle sich. Not a single ripple stirs. Das bedeutet des Schwanen Gesang! That is the swan’s song! 22 AM FLUSSE (JOHANN WOLFGANG VON GOETHE) BY THE RIVER 20 AN DEN MOND (LUDWIG HÖLTY) TO THE MOON Verfliesset, vielgeliebte Lieder, Flow on, songs I loved so well, Shed your silver light, dear moon, Geuss, lieber Mond, geuss deine Silberflimmer Zum Meere der Vergessenheit! To the ocean of oblivion! Through these green beeches, Durch dieses Buchengrün, Kein Knabe sing’ entzückt euch wieder, Let no youth sing you again, Where fancies and dream-like visions Wo Phantasien und Traumgestalten immer Kein Mädchen in der Blütenzeit. Or maiden in the spring of life. Vor mir vorüber fliehn. Forever flit before me. Ihr sanget nur von meiner Lieben; You sang solely of my love; Unveil yourself, that I might find the place Enthülle dich, dass ich die Stätte finde, Nun spricht sie meiner Treue Hohn. She now scorns my constancy. Where my sweetheart often sat, Wo oft mein Mädchen sass, Ihr wart in’s Wasser eingeschrieben; You were written on the water; And to the rustle of beech Und oft, im Wehn des Buchbaums und So fliesst denn auch mit ihm davon. So with the water flow away. der Linde, and lime Der goldnen Stadt vergass. Often forgot the gilded town. 23 WANDRERS NACHTLIED 2 OVER EVERY MOUNTAIN-TOP Enthülle dich, dass ich des Strauchs Unveil yourself, that I might (JOHANN WOLFGANG VON GOETHE) mich freue, enjoy Over every mountain-top The murmuring bushes that cooled her, Über allen Gipfeln Der Kühlung ihr gerauscht, Ist Ruh, Lies peace, Und einen Kranz auf jeden Anger streue, And lay a wreath on every meadow, In every tree-top Where she once listened to the brook. In allen Wipfeln Wo sie den Bach belauscht. Spürest du You scarcely feel Dann, lieber Mond, dann nimm den Then, dear moon, veil yourself Kaum einen Hauch; A breath of wind; Schleier wieder, once more Die Vöglein schweigen im Walde. The little birds are hushed in the wood. Und traur um deinen Freund, And mourn your friend, Warte nur! Balde Wait, soon you too Und weine durch den Wolkenflor hernieder, And weep your tears through hazy clouds, Ruhest du auch. Will be at peace. Wie dein Verlassner weint. Just like I, forsaken, weep.

Translations by Richard Stokes © from The Book of Lieder (Faber, 2005) ILKER ARCAYÜREK

Born in Istanbul, Ilker Arcayürek grew up in Vienna. As soloist with the Mozart Boys’ With a broad repertoire of oratorio and concert works, Ilker Arcayürek regularly Choir he gained first experiences on international stages touring overseas as well as appears on the concert stage. The 2016 –17 season marked his debuts at the in joint performances at Vienna’s Staatsoper, Volksoper and Kammeroper. He became Concertgebouw Amsterdam and in Utrecht as soloist with the Netherlands Radio a member of the Arnold Schoenberg Choir and studied privately with Sead Philharmonic Orchestra and Frieder Bernius as well as at the Dresdner Kreuzkirche Buljubasic in Vienna. He participated in master-classes with Sir Thomas Allen, Alfred singing Evangelist and the tenor arias in St. Matthew’s Passion with the Dresdner Brendel, Ileana Cotrubas and Thomas Quasthoff. Ilker Arcayürek is the winner of the Kreuzchor and the Dresdner Philharmonie conducted by Kreuzkantor Roderich Kreile. 2016 International Art Song Competition of Stuttgart’s Hugo Wolf Academy. He was www.arcayuerek-tenor.com finalist of the BBC Cardiff Singer of the World Competition 2015 and was selected as a BBC New Generation Artist through to the end of 2017. For BBC Radio 3 he recorded amongst others with Harmut Höll and the BBC National Orchestra of Wales. “Der Einsame” marks Ilker Arcayürek’s debut album. He looks forward to touring the program to venues such as London’s Wigmore Hall, Birmingham’s Town Hall, Vilabertran’s Schubertiada and Barcelona’s L’Auditori. Ilker Arcayürek joined the opera studio at Zürich Opera in 2010 and became a member of the ensemble of the Stadttheater Klagenfurt in the 2013 –14 season, where he appeared as Italian Singer in Der Rosenkavalier , Malcolm in Macbeth , The Prince in The Love for Three Oranges , Alfred in Die Fledermaus and Tamino in Magic Flute . Since the 2015 –16 season, Ilker Arcayürek has been a member of the ensemble of the Staatstheater Nürnberg. In Nürnberg his repertoire includes roles such as Rodolfo in La Bohème , Don Ottavio in Don Giovanni , Nadir in Les pêcheurs de Perles and Andres in Wozzeck . Recent guest appearances have included Claudio in Wagner's Das Liebesverbot at Teatro Real in Madrid staged by Kasper Holten under the baton of Ivor Bolton, the Son in Hossam Mahmoud’s Tahrir at the Salzburger Landestheater conducted by Mirga Gražinyt ė-Tyla. SIMON LEPPER

Simon read music at King’s College, Cambridge. He is a professor of piano accompaniment and a vocal repertoire coach at the Royal College of Music, London where he also co-ordinates the piano accompaniment course. He is an official accompanist for the BBC Cardiff Singer of the World Competition. Performance highlights have included an invitation from the Wigmore Hall, London to present a three concert project on the songs of Joseph Marx; a recital tour with Stéphane Degout which included the Ravinia and Edinburgh festivals; his debut at Carnegie Hall, New York with mezzo Karen Cargill and at the Frick Collection with Christopher Purves; performances of the Schubert song cycles with Mark Padmore including at the Schubertiade, Hohenhems and recitals with Angelika Kirchschlager at La Monnaie, Brussels and at the Wigmore Hall where appearances have included recitals with Christopher Maltman, Elizabeth Watts, Stephan Loges, Sophie Bevan, Sally Matthews and Lawrence Zazzo. Vocal recordings include Warlock Songs with Andrew Kennedy, two volumes of Debussy Songs and a Strauss disc with Gillian Keith (Champs Hill Records, CHRCD018) and a disc of Mahler songs with Karen Cargill, as well as a song recital disc with Dame Felicity Palmer, and the complete songs of Jonathan Dove with Kitty Whately ( Nights Not Spent Alone , also on Champs Hill Records, CHRCD125). www.simonlepper.com RELEASES BY OTHER RADIO 3 NEW GENERATION ARTISTS ON CHAMPS HILL RECORDS

This album is a co-production with BBC Radio 3’s New Generation Artists scheme, 4 which helps to support young musicians on the threshold of an international career 2 2 9 9 1 0 0 1 D D D C to reach the next stage of their development. New Generation Artists come from a C C R R R H H H C wide field, and provide a representative cross-section of the most exciting British C C and international young talent. Champs Hill Records is proud to work with BBC THIS OTHER EDEN LOVE’S OLD SWEET STUNDEN, TAGE, Radio 3 to produce recordings with some of the NGA scheme’s finest artists. KITTY WHATELY SONG EWIGKEITEN: mezzo-soprano Ilker Arcayürek is a BBC Radio 3 New Generation Artist for 2015 –2017; and other KATHRYN RUDGE HEINRICH HEINE – JOSEPH MIDDLETON piano NGAs who have recorded for Champs Hill Records include Kitty Whately ( This Other mezzo-soprano LIEDER NAVARRA QUARTET JAMES BAILLIEU piano Eden , CHRCD094; and Nights Not Spent Alone , CHRCD125), Kathryn Rudge ( Love’s Old BENJAMIN APPL baritone Sweet Song , CHRCD092), Ben Johnson ( Sonnets , CHRCD103), Jennifer Johnston “... excellent and very “Rudge’s voice is golden, JAMES BAILLIEU piano (Ludwig Thuille: Songs , CHRCD063), Ruby Hughes ( Nocturnal Variations , CHRCD098), rewarding debut disc. rich, and even; her diction More please.” crystal clear, and her “… both Appl and his and Benjamin Appl ( Stunden, Tage, Ewigkeiten , CHRCD112). sentient accompanist, John Quinn, phrasing superb. Baillieu’s James Baillieu, give space, MusicWeb International playing is warm and time, and ever-sensitive supportive.” placing and pacing to the “Her voice is magnificent – “Outstanding performances cycle …” warm, voluptuous and of every piece; I loved winsome …” BBC Music Magazine every minute of it.” American Record Guide “... the current front-runner American Record Guide in the next generation of Lieder singers.” Gramophone