A concert series by Music Director Eric Lamm

Songs & Lieder part two

March 1st, 2014

Contents 1

02 Program & Artist Biographies

03 Program Notes

06 Libretto/Translation

18 Acknowledgements

19 Future Programming

The pre-concert talk is given by Eric Lamm, Director of Music at Moskowitz Gallery.

Moskowitz Gallery 743 N. La Brea Los Angeles, CA 90038

moskowitzgallery.com Program & Artist Biographies 2

Schubert, Franz (1797 - 1828) Die Schöne Müllerin, D.795 Text by Wilhelm Müller

Robert May, Tenor Martha Mingle, Piano

Robert May

National finalist in the Mondavi Young Artists Competition and first place winner in the Brooklyn International Music competition, tenor Robert May is in his fourth year at the Juilliard School studying classical voice with Marlena Malas. In December of 2013, he performed his original compositions in Alice Tully Hall with the Wednesdays@1 series, and is an avid proponent of new music, having performed and recorded works of his own and of upcoming composers in the New York area. He is also deeply interested in language study, and has studied abroad in Italy, Sweden, and the Czech Republic, and has taken language classes at Columbia University since his first year.

Martha Mingle

Pianist Martha Mingle has performed in a wide variety of venues throughout the Phila- delphia, Cincinnati, and New York regions, including Alice Tully Hall, Steinway Hall, and Weill Recital Hall. As a solo pianist and an avid collaborator, she has performed as concerto soloist with three different orchestras, as an orchestral keyboardist, and in chamber ensembles. Martha is a graduate of the University of Cincinnati College-Con- servatory of Music and is currently pursuing a Master of Music in Collaborative Piano at The Juilliard School, with teachers Margo Garrett and Jonathan Feldman. Program Notes 3

Songs and Lieder

In Songs and Lieder, we examine the relationship between music and poetry. The Song, which is by far the most popular genre of music written today (so much so that people often use the term “song” to refer to any piece of music), is a subset of vocal music, typically consisting of one leading melodic voice and some form of instrumental accompaniment. The German word for song, Lied, is used when referring specifically to the songs of the canon of Classical music. If a song has lyrics, and most do, then it is im- portant to consider that the song is not a purely musical form. Instead it is a compound art form, a synthesis of two: music and the spoken word. It is logical to assume that music was developed from the voice. One can imagine some ancient public speaker raising his voice to be heard, and realizing that by varying the cadence of his speech he could hold an audience captivated. Eventually music was divorced from spoken language in order to be developed on its own, but one cannot deny the close relationship between music and communication. For example, in English we raise our voice at the end of a sentence to make it known that we are asking a question. In fact, the qualities of sound which are considered “musical,” pitch and rhythm, each play an important part in communicative language. Music on its own, divorced from language, was only developed with the dis- covery of communicative structures in sound. Humanity realized that certain patterns of sound, which are now loosely called tonality, hold intuitive meaning. The development of these patterns essentially allowed music to become its own language, capable of ex- pressing what only it can express: things intuitive and based in the realm of pure sound. It is by combining the language of music with the language of the spoken word that we arrive at the composite art form of the song. Thus, no analysis of a song can be complete without first examining the relationship between the meaning of the lyrics and the “meaning” of the music. Throughout the development of vocal music there have been different ways of effectively combining the language of music and spoken word:

The first and most elementary way of combining music and text is simply to use music as a backdrop for the mood of the lyrics. For example, it would be rather strange to set lyrics about dancing to a slow, somber tune. Most popular music works in this fashion, as it allows for the most liberties in music and lyrics, each unfolding in a relatively independent way. Program Notes 4

Additionally, the songwriter or composer may utilize what is called “text paint- ing.” This is achieved by attempting to transcribe, practically word for word, the literal meaning of the lyrics into music. The effect is something like musical onomatopoeia. For example, the word “raindrops” might be set to short notes in a rapidly falling pattern. Another example of this would be singing the word “stop” when the music stops. The effect of text painting is rather shallow, and it rarely amounts to anything profound. Addi- tionally, highlighting certain words often takes away from the intelligibility of the deeper meaning of the lyrics.

Occasionally, composers and songwriters may calculate musical climaxes to coincide with textual ones. This heightens the effect of both. Richard Wagner was a mas- ter of this, and the music of his operas grow so organically from his text that the his later operas exhibit a singularity point, where music and drama climax together in a catharsis so arrestingly intense that conductors have actually died (that is not a joke!) during per- formances.

The music of Franz Schubert is evident of a much higher form of this synthe- sis. He does not aim to translate the words themselves, nor the tone of the lyrics, but rather, when he is at his best, manages to portray both the meaning of the lyrics as well as the “inner drama” of the lyrics. His music manages to elucidate both the text and the psychology behind the text. It is a sort of mirror which reflects the emotional states of the characters in the lyrics. The spinning piano figurations of “Gretchen am Spin- nrade,” which at first suggest just the spinning of Gretchen’s sewing machine, seem to become the spinning of her wild thoughts as she falls hopelessly in love with Faust. The wild figurations of his famous “Der Erlkönig,” suggestive of wild gusts of wind, become simultaneously indicative of the inner turmoil of the father as he watches his son fall to winter’s grasp. Program Notes 5

Franz Schubert

In Vienna’s Zentralfriedhof, Franz Schubert lies buried next to his hero Ludvig van Beethoven. On his gravestone is written the moving epitaph, “Herein music has bur- ied a treasure, but even fairer hopes,” especially poignant considering Schubert passed away at the age of 31. By all accounts his short life was a tragic one - he spent nearly all of it in destitute poverty. He was unsuccessful in his professional life; his operas were com- mercial flubs; his songs, now considered the very height of songwriting, sometimes sold for barely more money then the paper was worth. Yet in his thirty-one years, he managed to write more music than most people do in twice that amount of time: over six hundred songs, seven complete symphonies, something close to one thousand cataloged works. Even more impressive is the remarkable consistency of his genius; nearly every song we still have is performed, and he is held in as high of a regard as any other composer of the canon.

If Schubert was unappreciated by the music businessmen of his day, he at least was beloved by his circle of friends, and until his last illness he was known in the artistic circles of Vienna as a warm-hearted, passionate young man. He was fond of whittling away his nights in Viennese bars before retiring to sleep - with his glasses on - so that he wouldn’t have to waste a moment before he could resume his remarkable outpouring of musical thought. His friends tended to come through for him, and not one could help but acknowledge his incredible gift for music, even if they were at times bewildered by the shockingly progressive, expressionist tendencies of his songs. While he failed to ever make a successful arrangement with the leading publishing houses of his day, his friends arranged gatherings in the salons of Vienna’s high society, where Schubert could exhibit his music. These gatherings, which came to be known as Schubertiades, were to bring Schubert the most public acceptance he was to have in his life. Indeed, the Schubertiades were to become a popular subject for depiction by visual artists, where we can see the five-foot-naught Schubert accompanying his good friend, the six-foot-six singer Johann Vogel, captivating the nobility of Vienna with the incredible depth of his art.

In the decades after his death, Schubert would come to be seen as practically a martyr of artistic and personal integrity. Libretto/Translation 6

Die Schöne Müllerin Text by Wilhelm Müller 1 Music by Franz Schubert Translation by Eric Lamm

1. Das Wandern / To Wander Our protagonist, a young mill-worker, walks through the forest, meditating on the joys of travel.

Das Wandern ist des Müllers Lust, To wander is the miller’s joy, Das Wandern! To wander! Das muß ein schlechter Müller sein, He must be a wretched miller, Dem niemals fiel das Wandern ein, who never cares to wander throughout the world, Das Wandern! To wander!

Vom Wasser haben wir’s gelernt, The water has taught us to travel. Vom Wasser! The water! Das hat nicht Rast bei Tag und Nacht, It knows no rest, day or night, Ist stets auf Wanderschaft bedacht, in traveling always takes delight, Das Wasser! The water!

Das sehn wir auch den Rädern ab, We see it in the mill-wheels too, Den Rädern! The millwheels! Die gar nicht gerne stille stehn, They cannot keep still, Die sich mein Tag nicht müde drehn, but continue to turn all day, Die Räder! The millwheels!

*Die Steine selbst, so schwer sie sind, *The grindstones, heavy as they are, Die Steine! The grindstones! Sie tanzen mit den muntern Reihn Keep on dancing around, Und wollen gar noch schneller sein, and will not lay inactive, Die Steine! The grindstones!

O Wandern, Wandern, meine Lust, To wander even farther I desire, O Wandern! To wander! Herr Meister und Frau Meisterin, O dear guardians, Laßt mich in Frieden weiter ziehn let me depart from you, Und wandern.* To wander!*

1 Tonight’s performance is slightly abridged. Passages omitted from the performance which the translator believes have no bearing on the plot have been substituted with an ellipses [...]. Passages omitted which do have an impact have been surrounded by asterisks (*) Libretto/Translation 7

2. Wohin? / Where to? The miller finds a stream. Captivated, he imagines it speaking to him. He decides to follow it through the woods.

Ich hört ein Bächlein rauschen I hear a little stream Wohl aus dem Felsenquell, gushing from its rocky bed, Hinab zum Tale rauschen it rushes to far off in the valley So frisch und wunderhell. so fresh and wondrously clear.

Ich weiß nicht, wie mir wurde, I know not why I wondered, Nicht, wer den Rat mir gab. know not from where this thought flowed, Ich mußte gleich hinunter but along with my walking-staff Mit meinem Wanderstab. I had to follow it.

Hinunter und immer weiter, Still further and ever downward, Und immer dem Bache nach, and always after the brook, Und immer frischer rauschte, which with refreshing murmurs, Und immer heller der Bach. still brightly gleamed.

Ist das denn meine Straße? Is this the path I should take? O Bächlein, sprich, wohin? O little brook, tell me where you are going? Du hast mit deinem Rauschen You have, with your murmuring, Mir ganz berauscht den Sinn. bewildered my senses.

Was sag ich denn von Rauschen? But why do I speak of rushing, Das kann kein Rauschen sein: that cannot be: Es singen wohl die Nixen It must be the water-nymphs, Dort unten ihren Reihn. singing around down there.

Laß singen, Gesell, laß rauschen, Cease your singing, dear friends, Und wandre fröhlich nach! and come closer to me, Es gehn ja Mühlenräder I hear the sound of millwheels, In jedem klaren Bach. in every clear little brook. Libretto/Translation 8

3. Halt! / Halt! The miller comes across a mill, situated on the banks of the brook. He is happy to find company.

Eine Mühle seh ich blicken Far away I see a mill, Aus den Erlen heraus, beyond the alder trees, Durch Rauschen und Singen and through the rippling and splashing, Bricht Rädergebraus. I hear sweet singing.

Ei willkommen, ei willkommen, O how welcoming, Süßer Mühlengesang! sounds the sweet song of the mill! Und das Haus, wie so traulich! And the house looks so cheerful! Und die Fenster, wie blank! And the windows, so bright!

Und die Sonne, wie helle And the sun, from the heavens, Vom Himmel sie scheint! how it shines brightly from the sky! Ei, Bächlein, liebes Bächlein, Ah, little brook, lovely little brook, War es also gemeint? Did you lead me to the right place?

4. Danksagung an dem Bach / Thanksgiving to the Brook At the mill, he spots a beautiful young woman working. He thanks the brook for delivering him to her.

War es also gemeint, Was it meant to be? Mein rauschender Freund, My rushing friend, Dein Singen, dein Klingen, with your singing, and your sounding, War es also gemeint? was it meant to be?

Zur Müllerin hin! There is a beautiful young mill-maiden! So lautet der Sinn. You seem to be saying, Gelt, hab ich’s verstanden? have I understood? Zur Müllerin hin! There is a mill-maiden!

Hat sie dich geschickt? Did she put you up to this? Oder hast mich berückt? or have I been mistaken? Das möcht ich noch wissen, I need to know whether Ob sie dich geschickt. it was just your tricks?

Nun wie’s auch mag sein, Now, however this happened, Ich gebe mich drein: I must follow this path! Was ich such, ist gefunden, What I have sought, I have found, Wie’s immer mag sein. however this happened.

Nach Arbeit ich frug, Now after my work is done, Nun hab ich genug, I ask whether I have enough, Für die Hände, fürs Herze for my hands, and for my heart, Vollauf genug! I have enough! Libretto/Translation 9

5. Am Feierabend / A Restful Evening The young miller gets a job working at the mill in order to be closer to his beloved. He wishes he could get her attention, but resents that he seems just the same as anyone else.

Hätt ich tausend If only I had a thousand Arme zu rühren! arms which I could use! Könnt ich brausend I could loudly Die Räder führen! drive all the millwheels myself! Könnt ich wehen I could be heard Durch alle Haine! through all the groves! Könnt ich drehen I could turn Alle Steine! all the stones! Daß die schöne Müllerin If only the beautiful mill-maiden Merkte meinen treuen Sinn! could hear my faithful thoughts!

Ach, wie ist mein Arm so schwach! Ah, why is my arm so weak? Was ich hebe, was ich trage, What I lift, what I carry, Was ich schneide, was ich schlage, what I cut, what I beat, Jeder Knappe tut es nach. every other man does just as well as I do. Und da sitz ich in der großen Runde, And there I sit in the gathering, Zu der stillen kühlen Feierstunde, in the quiet, still hours of rest, Und der Meister spricht zu allen: and the mill master speaks to us all: »Euer Werk hat mir gefallen«; “your work has pleased me;” Und das liebe Mädchen sagt and the lovely maiden says Allen eine gute Nacht. “Good night” to everyone.

6. Der Neugierige / The Eager Questioner Impatient to know whether his love is requited, the miller turns to the brook which led him here, and begs it to give him the answer. Ich frage keine Blume, I do not ask the flowers, Ich frage keinen Stern, I do not ask the stars, Sie können mir nicht sagen, none of them could tell me, Was ich erführ so gern. what it is I need to know.

Ich bin ja auch kein Gärtner, I am certainly no gardner, Die Sterne stehn zu hoch; and the stars are way too high, Mein Bächlein will ich fragen, so I will ask my little brook, Ob mich mein Herz belog. whether my heart has deceived me.

O Bächlein meiner Liebe, Oh little, lovely brook, Wie bist du heut so stumm! how mute you now are! Will ja nur eines wissen, I need only a one word answer, Ein Wörtchen um und um. one little word, again and again.

Ja, heißt das eine Wörtchen, “Yes” is the one little word, Das andre heißet Nein, the other is called “no,” Die beiden Wörtchen schließen The two of them mean nothing less Die ganze Welt mir ein. then the entire world to me. Libretto/Translation 10

O Bächlein meiner Liebe, O brook, my lovely little brook, Was bist du wunderlich! how wonderful you are! Will’s ja nicht weitersagen, I won’t repeat what you tell me, Sag, Bächlein, liebt sie mich? Say, brook, does she love me?

7. Ungeduld / Impatience

Ich schnitt’ es gern in alle Rinden ein, I would gladly carve it into every tree, Ich grüb es gern in jeden Kieselstein, I would gladly engrave it on every little pebble, Ich möcht es sän auf jedes frische Beet I would like to sow it into every garden, Mit Kressensamen, der es schnell verrät, with seeds that would sprout quickly to tell my story; Auf jeden weißen Zettel möcht ich’s schreiben: And on every sheet of paper I would like to write it; Dein ist mein Herz, und soll es ewig bleiben. “You are my heart, and forever will you remain!”

[...] [...]

Den Morgenwinden möcht ich’s hauchen ein, I would like to breathe it into the morning breeze, Ich möcht es säuseln durch den regen Hain; and whisper it through all the busy woods; O, leuchtet’ es aus jedem Blumenstern! It would resound through every flower bed! Trüg es der Duft zu ihr von nah und fern! Could their fragrance bring this message to her from far away? Ihr Wogen, könnt ihr nichts als Räder treiben? Little waves of the brook, can you only move millwheels? Dein ist mein Herz, und soll es ewig bleiben. “You are my heart, and forever will you remain!”

Ich meint’, es müßt in meinen Augen stehn, I thought it would be apparent in my eyes, Auf meinen Wangen müßt man’s brennen sehn, that one could see it burning in my cheeks, Zu lesen wär’s auf meinem stummen Mund, Ein that it could be read from my silent mouth. jeder Atemzug gäb’s laut ihr kund; From every breath she would know it clearly, Und sie merkt nichts von all dem bangen Treiben: yet she notices nothing of my longing, Dein ist mein Herz, und soll es ewig bleiben! “You are my heart, and forever will you remain!”

[8. Morgengruß is omitted entirely] [8. Morning Greetings is omitted entirely]

9. Des Müllers Blumen / The Miller’s Flowers The miller muses upon a plan to get his beloved’s attention.

Am Bach viel kleine Blumen stehn, At the brook grow many flowers, Aus hellen blauen Augen sehn; each shining like beautiful blue eyes; Der Bach, der ist des Müllers Freund, The brook is the miller’s friend. Und hellblau Liebchens Auge scheint, and my love’s eyes shine bright blue, Drum sind es meine Blumen. these too are my flowers.

Dicht unter ihrem Fensterlein Close under her window, Da pflanz ich meine Blumen ein, I will plant these flowers; Da ruft ihr zu, wenn alles schweigt, then call to her in the stillness of night, Wenn sich ihr Haupt zum Schlummer neigt, when she sinks in slumber. Ihr wißt ja, was ich meine. You know well what I will say. Libretto/Translation 11

*Und wenn sie tät die Äuglein zu, Und schläft *When she closes her eyes, in süßer, süßer Ruh, Dann lispelt als ein and sweetly sleeps, Traumgesicht Ihr zu: I will whisper to her, like a face in a dream, »Vergiß, vergiß mein nicht!« “Forget, forget me not!” Das ist es, was ich meine. That is what I would say.

Und schließt sie früh die Laden auf, Dann At dawn, when she opens the window, schaut mit Liebesblick hinauf: Der Tau in then, flowers, look up with your loving glance; euren Äugelein, Das sollen meine Tränen sein, the dew in your eyes shall be my tears Die will ich auf euch weinen.* which I will shed upon you.*

10. Tränenregen / Teary Rain The miller succeeds in getting his love’s attention, albeit briefly. At night, he takes her to the banks of the brook.

Wir saßen so traulich beisammen We sat together intimately Im kühlen Erlendach, under the shade of the alder trees, Wir schauten so traulich zusammen we gazed together intimately Hinab in den rieselnden Bach. into the eddying brook. Der Mond war auch gekommen, The moon came with us, Die Sternlein hintendrein, and the stars followed, Und schauten so traulich zusammen and they gazed together intimately, In den silbernen Spiegel hinein. into the silvery mirror.

[...] [...]

Und in den Bach versunken Deep at the bottom of the brook, Der ganze Himmel schien, the heavens appeared, Und wollte mich mit hinunter and looked as though they would draw me In seine Tiefe ziehn. deep into their depths. Und über den Wolken und Sternen The brook was merrily eddying, Da rieselte munter der Bach, calling to me, Und rief mit Singen und Klingen: and rippling and singing: »Geselle, Geselle, mir nach!« “Good fellow, good fellow, come to me!”

Da gingen die Augen mir über, Then tears welled in my eyes, Da ward es im Spiegel so kraus; and the mirror became fuzzy, Sie sprach: »Es kommt ein Regen, she said: “There’s a shower coming, Ade, ich geh nach Haus.« Ade! I’m going home.” Libretto/Translation 12

11. Mein! / Mine! Sometime after their night at the brook, the miller wins her over. He is overcome with joy.

Bächlein, laß dein Rauschen sein! Little brook, stop your rushing! Räder, stellt eur Brausen ein! Millwheels, stop your turning! All ihr muntern Waldvögelein, All you merry wood birds, Groß und klein, big and small, Endet eure Melodein! end your little melodies! Durch den Hain Throughout the woods Aus und ein from end to end Schalle heut ein Reim allein: let only one song be heard: Die geliebte Müllerin ist mein! the beloved maid of the mill, is mine! Mein! is mine! Frühling, sind das alle deine Blümelein? Spring, are these all the flowers you’ve got? Sonne, hast du keinen hellern Schein? Sun, can you shine no brighter? Ach, so muß ich ganz allein, Ah, so I must be completely alone, Mit dem seligen Worte mein, with these blessed words of mine, Unverstanden in der weiten Schöpfung sein! for nothing in the universe could understand!

12. Pause / A Pause At home, our narrator ties a green ribbon around his lute. He has stopped playing it since he found his love. He asks whether the ribbon, brushing lightly against the strings, is an echo of his former songs of suffering.

Meine Laute hab ich gehängt an die Wand, I have hung my lute on the wall, Hab sie umschlungen mit einem grünen Band – and wreathed it in a green ribbon - Ich kann nicht mehr singen, mein Herz ist zu voll, I can’t sing anymore, my heart is too full, Weiß nicht, wie ich’s in Reime zwingen soll. and I don’t know how I could force it into verse. Meiner Sehnsucht allerheißesten Schmerz The most burning pain of my yearning, Durft ich aushauchen in Liederscherz, could give way to the most cheerful of songs. Und wie ich klagte so süß und fein, And as I lamented, so sweetly and exquisitely, Meint ich doch, mein Leiden wär nicht klein. I really believed that I was in no small pain. Ei, wie groß ist wohl meines Glückes Last, Ah, how heavy is the burden of my happiness, Daß kein Klang auf Erden es in sich faßt? that no sound on earth can represent it?

Nun, liebe Laute, ruh an dem Nagel hier! Now, lovely lute, rest here! Und weht ein Lüftchen über die Saiten dir, And if a little wind blows over your strings, Und streift eine Biene mit ihren Flügeln dich, and a bee brushes you with its wings, Da wird mir bange und es durchschauen mich. then I get so worried, and anxiety fills me. Warum ließ ich das Band auch hängen so lang? Why have I left the ribbon hanging on you for so long? Oft fliegt’s um die Saiten mit seufzendem Klang. It drifts over the strings with a sighing sound. Ist es der Nachklang meiner Liebespein? Is that the echo of my painful yearnings? Soll es das Vorspiel neuer Lieder sein? or is it the prelude to even more songs? Libretto/Translation 13

13. Mit dem grünen Lautenbande / With the Green Ribbon The beautiful mill-maiden sees his green ribbon, and he gives it to her. He declares green to be symbolic of their relationship, associated with spring and rebirth. »Schad um das schöne grüne Band, “Shame, that beautiful green ribbon Daß es verbleicht hier an der Wand, is fading there on the wall, Ich hab das Grün so gern! I like green so much!” «So sprachst du, Liebchen, heut zu mir; This you said, my lovely, to me today. Gleich knüpf ich’s ab und send es dir: And now I’ll untie it and send it to you, Nun hab das Grüne gern! Enjoy the green!

Ist auch dein ganzer Liebster weiß, And if your beloved is fair and white, Soll Grün doch haben seinen Preis, green should still have first place, Und ich auch hab es gern. and I like it too. Weil unsre Lieb ist immergrün, Because our love is forever green, Weil grün der Hoffnung Fernen blühn, Because in the distance hope blooms green, Drum haben wir es gern. This is why we like it.

*Nun schlingst du in die Locken dein *So now wind into your hair Das grüne Band gefällig ein, this green ribbon, if you wish, Du hast ja ‘s Grün so gern. since green is your favorite color. Dann weiß ich, wo die Hoffnung wohnt, Then I’ll know, where hope lives, Dann weiß ich, wo die Liebe thront, Then I’ll know, where love rules, Dann hab ich ‘s Grün erst gern.* Then I really will like green.*

14. Der Jäger / The Hunter A hunter arrives at the mill. Our miller eyes him dubiously. Was sucht denn der Jäger am Mühlbach hier? What is a hunter doing here at a mill stream? Bleib, trotziger Jäger, in deinem Revier! Bold hunter, stay back in your forests! Hier gibt es kein Wild zu jagen für dich, Here there is no game for you to hunt, Hier wohnt nur ein Rehlein, ein zahmes, für mich. Here lives only a doe, tame, and for me, Und willst du das zärtliche Rehlein sehn, and if you want to see this sweet doe, So laß deine Büchsen im Walde stehn, let your rifle stay in the woods. Und laß deine klaffenden Hunde zu Haus, And leave your barking dogs at home, Und laß auf dem Horne den Saus und Braus, And stop trumpeting and blasting on your horn, Und schere vom Kinne das struppige Haar, And shave off your tangled beard, Sonst scheut sich im Garten das Rehlein fürwahr. otherwise you will scare my doe in her garden.

*Doch besser, du bliebest im Walde dazu, *Whats better, stay in the woods Und ließest die Mühlen und Müller in Ruh. and leave millers and mills in their peace, Was taugen die Fischlein im grünen Gezweig? What would a fish be doing in the trees? Was will denn das Eichhorn im bläulichen Teich? What would a squirrel be doing in a pond? Drum bleibe, du trotziger Jäger, im Hain, So stay, bold hunter, in the woods, Und laß mich mit meinen drei Rädern allein; and leave me alone with my millwheels; Und willst meinem Schätzchen dich machen beliebt, and if you want to win the affection of my treasure, So wisse, mein Freund, was ihr Herzchen betrübt: then you may know, friend, what troubles her heart: Die Eber, die kommen zu Nacht aus dem Hain, The boars that come at night from the forest Und brechen in ihren Kohlgarten ein, and break into her cabbage patch Und treten und wühlen herum in dem Feld: and trample and rummage around in her soil, Die Eber die schieße, du Jägerheld!* The boars, shoot them, you hunter hero!* Libretto/Translation 14

15. Eifersucht und Stolz / Jealousy and Pride The miller notices that his beloved also has been eyeing the hunter.

Wohin so schnell, so kraus, so wild, mein lieber Bach? Where do you rush, so fast and wild, my dear brook? Eilst du voll Zorn dem frechen Bruder Jäger nach? Are you angrily chasing after my brother hunter? Kehr um, kehr um, und schilt erst deine Müllerin Come back, come back, first you must scold Für ihren leichten, losen, kleinen Flattersinn. your miller’s daughter, for her loose, frivolous, fickle little ways.

Sahst du sie gestern Abend nicht am Tore stehn, Didn’t you see her last night, standing at her door, Mit langem Halse nach der großen Straße sehn? craning her neck to see the roadway? Wenn von dem Fang der Jäger lustig zieht nach Haus, When the hunter comes home from one of his merry hunts, Da steckt kein sittsam Kind den Kopf zum Fenster ‘naus. no respectable girl sticks her head out of the window to look.

Geh, Bächlein, hin und sag ihr das, doch sag ihr nicht, Go, little brook, and tell her that; but not a word about me, Hörst du, kein Wort, von meinem traurigen Gesicht; Understand? Not a word about my sad face. Sag ihr: »Er schnitzt bei mir sich eine Pfeif aus Rohr, Say to her: “He is sitting by and carving a flute, Und bläst den Kindern schöne Tänz und Lieder vor.« And playing pretty dances and songs for the children.”

16. Die liebe Farbe / The Loved Color The miller, heartbroken from his love’s desertion, tries to hang on to his memories, especially of his associations with green. He fantasizes of dying.

In Grün will ich mich kleiden, In green will I dress myself, In grüne Tränenweiden, In green weeping willows: Mein Schatz hat ‘s Grün so gern. My love likes green so much... Will suchen einen Zypressenhain, I’ll look for a forest of cypress, Eine Heide voll grünem Rosmarein, for a heath of green rosemary: Mein Schatz hat ‘s Grün so gern. My love likes green so much...

Wohlauf zum fröhlichen Jagen! Good luck with the jolly hunt! Wohlauf durch Heid’ und Hagen! Good luck through fields and thickets! Mein Schatz hat ‘s Jagen so gern. My love likes hunting so much... Das Wild, das ich jage, das ist der Tod, The game I’m hunting is called Death; Die Heide, die heiß ich die Liebesnot, the heath is called love’s not. Mein Schatz hat ‘s Jagen so gern. My love likes hunting so much...

*Grabt mir ein Grab im Wasen, *Dig me a grave in the meadow Deckt mich mit grünem Rasen, cover it with green grass: Mein Schatz hat ‘s Grün so gern. My love likes hunting so much... Kein Kreuzlein schwarz, kein Blümlein bunt, No little black cross, no little colorful flows, Grün, alles grün so rings und rund! Green, all is green all around! Mein Schatz hat ‘s Grün so gern.* My love likes green so much...* Libretto/Translation 15

17. Die Böse Farbe / The Hated Color He sees that his beloved, now taken with the hunter, still wears his green ribbon. He is overcome with jealousy. Ich möchte ziehn in die Welt hinaus, I’d like to travel into the world, Hinaus in die weite Welt, into the wide world, Wenn’s nur so grün, so grün nicht wär if only there wasn’t green, always green, Da draußen in Wald und Feld! out there in the forest and fields!

Ich möchte die grünen Blätter all I’d like to pluck all green leaves Pflücken von jedem Zweig, from their branches, Ich möchte die grünen Gräser all I’d like to weep on green grass, Weinen ganz totenbleich. until it is as pale as death.

Ach Grün, du böse Farbe du, Oh green, you hated color, Was siehst mich immer an, Why do you keep watching me, So stolz, so keck, so schadenfroh, so mocking, so proud, so happy in my pain - Mich armen weißen Mann? I am just a poor, pale man?

Ich möchte liegen vor ihrer Tür, I’d like to lie outside her door, In Sturm und Regen und Schnee, in storm and rain and snow, Und singen ganz leise bei Tag und Nacht and sing so quietly, day and night, Das eine Wörtchen: Ade! just one word: goodbye.

Horch, wenn im Wald ein Jagdhorn ruft, Listen when a horn calls in the forest, Da klingt ihr Fensterlein, how her window resounds! Und schaut sie auch nach mir nicht aus, And she doesn’t look out at me, Darf ich doch schauen hinein. yet I look into her.

O binde von der Stirn dir ab Oh, take off your head, Das grüne, grüne Band, that green, green ribbon! Ade, Ade! und reiche mir Goodbye, goodbye! and give to me Zum Abschied deine Hand! your hand in farewell!

18. Trockne Blumen / Withered Flowers Color Our narrator has another elaborate fantasy of death, in which flowers spring from his grave. Ihr Blümlein alle, All these flowers Die sie mir gab, that she gave to me, Euch soll man legen they should put you all Mit mir ins Grab. with me in my grave.

Wie seht ihr alle Why do you all stare Mich an so weh, at me with sadness, Als ob ihr wüßtet, as if you knew, Wie mir gescheh? what was happening to me?

Ihr Blümlein alle, All you flowers, Wie welk, wie blaß? why are you limp? why are you pale? Ihr Blümlein alle, All you flowers, Wovon so naß? why are you wet? Libretto/Translation 16

Ach, Tränen machen Ah, tears make not Nicht maiengrün, the green of May, Machen tote Liebe and don’t cause dead love Nicht wieder blühn. to bloom again. Und Lenz wird kommen, And spring will come, Und Winter wird gehn, And winter will go, Und Blümlein werden And flowers will Im Grase stehn, in grass again grow. Und Blümlein And these flowers are lying liegen In meinem Grab, in my grave, Die Blümlein alle, all the flowers Die sie mir gab. that she gave me. Und wenn sie wandelt And she will wander, Am Hügel vorbei, past my grave, Und denkt im Herzen: and think to herself: » Der meint’ es treu!« “He was true to me!” Dann Blümlein alle, Then, all you flowers Heraus, heraus! Come out, come out! Der Mai ist kommen, May has come, Der Winter ist aus. and winter is gone. 19. Der Müller und der Bach / The Miller and The Brook Completely despondant and now suicidal, the miller finds himself on the banks of the brook. He tells of his despair, and in a poignant revalation of his near insanity, the brook speaks back. Der Müller: The Miller: Wo ein treues Herze When a true heart In Liebe vergeht, passes away from love, Da welken die Lilien The lilies wither Auf jedem Beet. in every field; Da muß in die Wolken Behind the clouds Der Vollmond gehn, the full moon must go, Damit seine Tränen so its tears Die Menschen nicht sehn. are hidden from men. Da halten die Englein The angels close Die Augen sich zu, their eyes Und schluchzen und singen and sob and sing Die Seele zu Ruh his soul to peace. Der Bach: The Brook: Und wenn sich die Liebe Dem Schmerz entringt, And when love frees itself from pain, Ein Sternlein, ein neues, A little star, a new one, Am Himmel erblinkt. shines in the sky; Da springen drei Rosen, And up come three roses, Halb rot, halb weiß, half red and half white, Die welken nicht wieder, that never wither Aus Dornenreis. from their thorny stem. Und die Engelein schneiden And the angels Die Flügel sich ab, cut off their wings Und gehn alle Morgen And every morning Zur Erde hinab. go down to earth. Libretto/Translation 17

Der Müller: The Miller: Ach, Bächlein, liebes Bächlein, Oh brook, lovely little brook, Du meinst es so gut: you mean only well: Ach, Bächlein, aber weißt du, Oh brook, but do you know Wie Liebe tut? what love can do? Ach, unten, da unten, Ah, below, under there, Die kühle Ruh! lies cool rest! Ach, Bächlein, liebes Bächlein, Oh brook, lovely brook, So singe nur zu. Sing to me.

20. Des Baches Wiegenlied / The Lullaby of the Brook

Gute Ruh, gute Ruh! Sleep well, sleep well, Tu die Augen zu! and close your eyes. Wandrer, du müder, du bist zu Haus. Wanderer, you weary one, you are now home. Die Treu ist hier, Truth is here, Sollst liegen bei mir, you’ll lie with me Bis das Meer will trinken die Bächlein aus. until the sea drains the brook dry. Will betten dich kühl, I’ll make you a bed Auf weichem Pfühl, on a soft cushion In dem blauen kristallenen Kämmerlein. in your crystalline chamber of blue. Heran, heran, Come closer, come here, Was wiegen kann, whatever can lull, Woget und wieget den Knaben mir ein! soothe and rock my boy to sleep.

*Wenn ein Jagdhorn schallt *If a hunting horn rings out Aus dem grünen Wald, from the green forest, Will ich sausen und brausen wohl um dich her. I’ll cushion the sound so you do not hear it. Blickt nicht herein, And don’t look in here Blaue Blümelein! you blue flowers! Ihr macht meinem Schläfer die Träume so schwer. You will trouble my sleeper’s dreams.

Hinweg, hinweg Go away, away Von dem Mühlensteg, from the mill bridge, Böses Mägdlein, daß ihn dein Schatten nicht weckt! wicked girl, so your shadow won’t wake him. Wirf mir herein throw in to me Dein Tüchlein fein, your finest scarf Daß ich die Augen ihm halte bedeckt! so that I can cover his eyes.

Gute Nacht, gute Nacht! Good night, good night! Bis alles wacht, Until everything wakes, Schlaf aus deine Freude, schlaf aus dein Leid! sleep away your joy, sleep away your pain. Der Vollmond steigt, The full moon rises, Der Nebel weicht, The mist goes away, Und der Himmel da oben, wie ist er so weit!* And the sky up above, how vast it is!* Acknowledgements 18

The piano for this evening’s performance generously provided by:

This evening’s performance broadcasted by:

Thank you to the musicians for their dedication and hard work. Thank you to Music Director Eric Lamm. Thank you to Bill Maass for designing this program. Future Programming 19

Save the Date March 8th, 2014 atmospheres

JUSTIN MARGITICH & CHRIS ISERI

Moskowitz Gallery | moskowitzgallery.com | 743 N. La Brea LA, California 90038