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To her whose voice and loving hands ﬂ Though I take the wings of morning, Op. 152 Can soothe our heart’s unrest, (1941) MERICAN LASSICS We bring these flowers, fragrant, fair, Though I take the wings of morning A C Our life her love hath blest! To the utmost sea, MAY FLOWERS Lyrics by Ana Mulford Addison Moody Yet my soul hath no sojourning Music by Amy Beach g1933 A.P. SCHMIDT CO. To outdistance Thee. Copyright Renewed and Assigned to SUMMY-BIRCHARD AMY BEACH MUSIC, a division of SUMMY-BIRCHARD INC. Though I climb to highest heaven, All Rights Reserved. Used by Permission of Warner Bros. ’Tis Thy dwelling high; Publications U.S. Inc. Though to death’s dark chamber given, Thou art standing by. ﬁ I sought the Lord, Op. 142 (1937) Songs I sought the Lord, and afterward I knew If I say, the darkness hides me, He moved my soul to seek Him, seeking me; Turns my night to day; It was not I that found, O Saviour true; For with Thee no dark can find me, No, I was found of Thee. Shadows must away! The Year’s at the Spring Thou didst reach forth Thy hand and mine enfold; Even so, Thy hand shall lead me, I Sought the Lord I walked and sank not on the stormy sea; Flee Thee as I will; ’Twas not so much that I on Thee took hold, And Thy strong right arm shall hold me: As Thou, dear Lord, on me. Bid me, then, be still! Hush, Baby Dear I find, I walk, I love, but o, the whole (Robert Nelson Spenser) Of love is but my answer, Lord, to Thee, For Thou wert long in union with my soul, In the Twilight Always, Thou lovedst me. (anonymous) The Candy Lion Also Available 8.559136 Dreamer: Ariette 8.559139 A Portrait of Langston Hughes AMY BEACH: Songs by Still, Price, Weill and Others Juni “Gaelic” Symphony Piano Concerto William Warfield, reader Darryl Taylor, tenor Alan Feinberg, piano Maria Corley, piano Nashville Symphony Katherine Kelton, Orchestra 8.559084 Kenneth Schermerhorn, NED ROREM: Mezzo-Soprano conductor Selected Songs

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Amy Beach (1867-1944): Songs For ev’ry day he seems to be Were looking into the darkness, More shapeless and more slim. To see some form arise. Born Amy Marcy Cheney in Henniker, New composers such as Charles Ives. In contrast to other Hampshire, Beach was one of America’s most prolific American composers of the time, Beach achieved And first, there’s no tail any more, And a woman’s waving shadow and successful composers. She was also one of the first recognition in both the United States and abroad. And next, he has no head, Is passing to and fro, women whose musical compositions were as highly Beach’s 117 art songs show skillful craftsmanship And then he’s just a candy Roar— Now rising to the ceiling, regarded as those produced by men. While she and profound understanding of text. She composed in a And might as well be dead. Now bowing and bending low. composed works in almost every genre, she was best late-Romantic idiom throughout her life, often (Abbie Farwell Brown) known during her lifetime for her well-crafted songs patterning her songs after works by European What tale do the roaring ocean, and short piano pieces, many of which were an composers. She also experimented with musical styles ⁄ A Thanksgiving Fable, Op. 75, No. 2 (1914) And the night wind bleak and wild, important part of the standard recital repertoire of the as diverse as Scottish folk-songs and African-American It was a hungry pussy-cat As they beat at the crazy casement, time. After beginning a concert career as a pianist at the spirituals. Her songs are of a very high technical and Upon Thanksgiving morn, Tell to that little child? age of sixteen, she temporarily ended her performing musical merit, intended to be sung by trained musicians. And she watched a thankful little mouse aspirations at eighteen when she married the Boston Many of them were dedicated to prominent singers, who That ate an ear of corn. And why do the roaring ocean surgeon Dr Henry Harris Aubrey Beach (1843-1910). performed them and used them in teaching. She And the night wind wild and bleak, Her married years were her most prolific period of believed that a good song is an inspired, creative, “If I ate that thankful little mouse, As they beat at the heart of the mother, compositional activity. musical response to a text, which incorporates both How thankful he should be, Drive the color from her cheek? Following the deaths of her husband and mother in intellect and emotion. The poetry that she set to music When he has made a meal himself (Henry Wadsworth Longfellow) 1910 and 1911, Beach sailed to Europe, where she reflected the dominant artistic current of the time, in To make a meal for me.” expanded her reputation as a performer and composer. which art was seen as an expression of the highest ‹ The Host, Op. 117, No. 2 (1925) She gave concerts throughout Germany, performing idealism. Her eclectic taste in poetry can be seen in the “Then, with his thanks for having fed, Any is free to happiness many of her instrumental works and introducing some wide range of authors whose texts she set. The pianist’s And his thanks for feeding me, Who has the pence to pay, of her songs to German audiences. rôle in Beach’s songs is as important as that of the With all his thankfulness inside, And many are feasted by happiness, Beach returned to the United States in 1914, making singer. The accompaniments are technically demanding. How thank-full I shall be!” Whom Grief would turn away. New York City her home. She spent each concert season Beach had absolute pitch and experienced synaesthesia performing and promoting her works throughout North (seeing colours when hearing musical pitches), factors Thus mused the hungry pussy-cat Oh! I walk as one apart this night, America. Beginning in 1921, she did most of her which contributed to her selection of keys for her songs. Upon Thanksgiving Day: And proud in my heart am I, composing in the summer as a Fellow at the MacDowell Even at the age of twelve Beach borrowed ideas But the little mouse had overheard, For it’s Grief who ran and clung to me Colony, an artists’ retreat in Peterborough, New from established composers and used them as models And declined (with thanks) to stay. And would not let me by. Hampshire. Her active membership at Saint for her own works. The first theme of the third (Oliver Herford) (Muna Lee) Bartholomew’s Episcopal Church in New York City movement of Beethoven’s Pathétique Piano Sonata inspired her to compose sacred music. appears in The Rainy Day. ¤ In the Twilight, Op. 85 (1921) › May Flowers (A Song for Mother’s Day), Op. 137 Highly intelligent, Beach incorporated her varied Ariette, dedicated to Dr Beach, was one her first The twilight is sad and cloudy, (1932) interests and experiences into her compositions. Largely songs to achieve popularity. The texts for When far from The wind blows wild and free, To our sweet mothers, well-beloved, self-taught in composition, she was the first American Her and Empress of Night come from a collection of And like the wings of seagulls We bring the flowers of May, woman musician to receive all of her training in the poems published by Dr Beach. Amy Beach later used Flash the white caps of the sea. For love’s bright wings fly o’er us all United States and to write in the larger forms. Her work the melody of Empress of Night, in her piano concerto. But in the fisherman’s cottage And glorify today. has always been evaluated by critics on the basis of its She incorporated Le Secret into another piano work, Les There shines a ruddier light, merit and her intellect, while her talent for composition rêves de Colombine. And a little face at the window A mother’s love naught can destroy, has consistently been acknowledged. She is a Ecstasy proved so popular that the poem was Peers out into the night. Strong to endure and save; transitional figure between the composers of the Second included in The Poetry Digest: Annual Anthology of When friendship fails and life grows hard, New England School, which includes Horatio Parker Verse for 1939. Beach earned enough from the royalties Close, close it is pressed to the window, Her tender touch we crave. and Edward MacDowell, and later American song of Ecstasy to buy a lot on Cape Cod for a summer home. As if those childish eyes 8.559191 2 15 8.559191 559191 bk BEACH EU 25/05/2004 04:33pm Page 14

weit über alle Meere, für jeden Segen, den du gabst, The poem for Within thy Heart is also by Beach. The A Prelude shares similarities with her other settings mich fände doch Dein Angesicht, pflückt’ eine Ros’ ich dir. poem, Sleep, Little Darling, originally appeared in of Dr Beach’s poems. The refrain of O Sweet Content, is so fern ich immer wäre; Harper’s Bazaar magazine. Beach’s vocal writing at its most melismatic. und stieg’ ich in den tiefsten Ort, Und dass der Kranz nicht welken mag, Nacht is representative of Beach’s songs in French Ein altes Gebet is patterned after a song by Hugo den nie ein Mass ergründet: den auf dein Grab ich setzt’, and German, which show her mastery of text setting in Wolf. The piano accompaniment introduces a motive Du bist es, der mich hier und dort hab’ ich mit meines Herzensblut these languages and her understanding of trends in that foreshadows figures of an impressionistic character und allenthalben findet. die Rosen leis’ benetzt. contemporary European music. that Beach used in her piano accompaniments in later (anonymous) (Louis Zacharias) The young poet of Forgotten, Cora Randall Fabbri, years. was considered one of the most remarkable literary The Opus 73 songs, including Der Totenkranz, are An Old Prayer English Translation: The Funeral Wreath English Translation: talents of her day. She suffered an untimely death at the settings of texts dealing with aspects of motherhood, If I always thought of You, I lay a funeral wreath, age of twenty. dedicated to the contralto Ernestine Schumann-Heink. brought all my thoughts to You, for you, mother, on your grave, The Scottish texts of Dearie and Far Awa’, are set Beach’s most uncharacteristic and humorous asked of You, O Lord, all things, which I wound for you with musical devices commonly found in folk-music, compositions, The Candy Lion and A Thanksgiving and like a child, told You everything, out of roses without thorns. dotted rhythms, simple chordal accompaniments, and Fable, were composed for the American singer and oh, then I could, without dread, frequent changes from major to minor mode. actress Kitty Cheatham, known for her concerts of folk- look happily ahead and behind. Such tender roses have not often bloomed, The Three Browning Songs, Op.44, commissioned music and children’s songs. And if I were to fly faster than light, even for princes themselves, by the Browning Society of Boston, have proven to be In the Twilight was composed for the mezzo- far over all the seas, yet, many a beggar child lays them Beach’s most popular and enduring songs. The Year’s at soprano Emma Roberts to sing at the Buffalo Festival in Your face would still find me, quietly on his mother’s casket. the Spring was a staple of vocal recital repertoire in the 1921. The poem’s descriptive text allowed Beach to as far away as I might be; early twentieth century. Often, the audiences’ include colourful word-painting. This song’s dramatic and if I were to climb into the deepest place, All along the path they stand enthusiastic response caused it to be repeated several ending is unique among Beach’s œuvre. whose depth had never been measured, like a wild growth, times. The Host shows Beach’s tendency in later years You are the one who finds me, however, the eye does not notice each one, Come, ah Come is part of Four Songs for Mezzo- toward shorter, more compact compositions. The here and there and everywhere. one calls them, “Child’s Thanks.” Soprano or Baritone, the first group of songs that Beach Mississippi author Muna Lee was a Fellow at the composed for lower voices. MacDowell Colony with Beach in 1924. ª Der Totenkranz, Op. 73, No. 2 (1914) But they adorn you, mother, Canzonetta, Ich sagte nicht, Wir drei, Juni, and Je May Flowers was composed at the request of the Ich lege einen Totenkranz as the most beautiful funeral decoration. demande à l’oiseau were modelled after songs by mezzo-soprano, Lillian Buxbaum. I Sought the Lord and dir, Mutter, auf das Grab, For every blessing that you gave, Richard Strauss and Jules Massenet. Beach found the Though I Take the Wings of Morning, were dedicated to den ich aus Rosen ohne Dorn I picked a rose for you. poems for several of these songs in magazines, as she the soprano Ruth Shaffner. The text of I Sought the Lord für dich gewunden hab’. did with Go not too far, which originally appeared in came from the 1916 Episcopal hymnal. With its And so that the wreath might not wilt, The Atlantic Monthly. alternating major and minor chords, the paraphrase of Die zarten Rosen, Fürsten selbst, that I placed on your grave, Shena Van resembles a Scottish folk-song. The Psalm 139, Though I Take the Wings of Morning, shows oft nicht erblühet sind; with my heart’s blood accompaniment mimics the sound of a bagpipe. The text the influence of jazz. It is an interesting and poignant doch legt auf seiner Mutter Sarg I gently bathed the roses. comes from William Black’s novel, Yolande. coincidence that the final words of this, considered to be sie still manch’ Bettlerkind. As her friends became mothers, Beach was inspired Beach’s last musical composition are, “bid me then, be º The Candy Lion, Op. 75, No. 1 (1914) to compose lullabies. The song Baby was composed for still.” Wohl überall am Wege steh’n A Candy Lion’s very good, Woman’s Home Companion magazine. Hush, Baby sie als ein wild Gerank, Because he cannot bite, Dear was dedicated to its poet and her husband, in doch nicht sie jedes Aug’ erschaut; Nor wander roaring for his food, honour of their child, Beach’s godson. Katherine Kelton man nennt sie: “Kindesdank.” Nor eat up folks at night.

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Katherine Kelton The year goes out in snow, § A Prelude, Op. 71, No. 1 (1910) The mezzo-soprano Katherine Kelton maintains an active and varied singing career, O, Shena Van, my heart is true Now flush with amber, pearl, and gold, appearing frequently as a soloist and recitalist in an eclectic range of music, from chant to To you where’er you go. Ye lang’rous clouds of night contemporary literature. Her solo work with the Santa Fe Desert Chorale has received (William Black) That float away o’er the shadowy wold, critical acclaim. She has appeared as soloist with the Indianapolis Chamber Orchestra, the While darkness melts in light. Dayton Philharmonic Orchestra, the Indianapolis Baroque Orchestra, the Nashville ¢ Baby, Op. 69, No. 1 (1908) (Tennessee) Symphony, the Santa Fe Symphony, the Springfield (Missouri) Symphony, the Where did you come from, baby dear? The light of the magic sun is here, Evansville Philharmonic, the Southeast Kansas Symphony, the Durango Symphony, and the Out of the ev’rywhere into here. To crown th’enchanting day, Tuscaloosa Symphony, among others. Her solo appearances at festivals include the Santa Fe Where did you get those eyes so blue? And spring with flow’rs of wood and mere, Chamber Music Festival, the Aspen Music Festival, the Banff Festival of the Arts, the Out of the sky as I came thro’. For we’re on the way to May! Victoria Bach Festival, and the Lake Placid International Vocal Seminar. Early Music Where did you get that little tear? (H. H. A. Beach) groups with whom she has appeared include the Dayton Bach Society, Ensemble Ouabache, the Kansas Early Music I found it waiting when I got here. Consort, and the Texas Early Music Project. Katherine Kelton received the degrees of Doctor of Musical Arts and of What makes your cheek like a warm, white rose? ¶ O Sweet Content, Op. 71, No. 2 (1910) Master of Music in Applied Voice from the University of Texas at Austin, where her doctoral dissertation was on I saw something better than anyone knows. Art thou poor, yet hast thou golden slumbers, the songs of Amy Beach. She also holds further degrees and honours from the University of Alabama, and has been O sweet content! the recipient of grants for study and research from the German Academic Exchange Service (DAAD) and Butler Where did you get this pearly ear? Art thou rich, yet is thy mind perplexed, University. Among her many awards for singing, she was named a national semi-finalist in the 1995 National God spoke, and it came out to hear. O punishment! Federation of Music Clubs Young Artist Award Competition, and in 1998, was the alternate for the voice finalist in Where did you get those arms and hands? Dost thou laugh to see how fools are vexed the Mu Phi Epsilon International Artist Competition. She was the 1999 winner of the Bel Canto Chorus Love made itself into bonds and bands. To add to golden numbers? (Milwaukee) Regional Artist Competition and the 1985 winner of the Young Artist Competition at the Salado How did they all just come to be you? O sweet content! (Texas) Festival. A noted expert on the songs of the American composer, Amy Beach, she has presented many God thought about me, and so I grew. recitals of Beach’s music throughout the United States and has had several articles published about Beach’s But how did you come to us, you dear? Then work apace, apace, apace; contribution to American song literature. She serves as Associate Professor of Music at Butler University in God thought about you, and so I am here. Honest labor bears a lovely face; Indianapolis, and prior to her appointment at Butler University in 1996, held teaching positions at Pittsburg (George MacDonald) Then hey nonny, nonny! (Kansas) State University and in the McAllen (Texas) Independent School District. She has also taught at the Hochschule für Musik und Theater in Hanover, Germany, and served on the faculty of the Berkshire Choral ∞ Hush, Baby Dear, Op. 69, No. 2 (1908) Canst drink the waters of the crisped spring, Festival, Santa Fe. Hush, little darling, o hush, baby dear, O sweet content! Though night closes round thee, thy mother is near. Swim’st thou in wealth, yet sink’st in thine own tears, Catherine Bringerud The winds in the trees rock the birds to repose, O punishment! Catherine Bringerud has established herself as a collaborative pianist in high demand, who is Ah! Sleep little dearie, with mouth like a rose. Then he who patiently Want’s burdens bears, equally at home with singers and instrumentalists. Performing an average of fifty different No burden bears, but is a King. recital programmes a year, she particularly enjoys intimate art song and chamber music settings. Hush, little darling, the silv’ry stars peep, O sweet content! She has appeared with the Scott Chamber Players, the Linden String Quartet, the Ronen And flowers are nodding their wee heads in sleep; (Thomas Dekker) Ensemble, Fourte, and serves as accompanist for the Meridian Song Project. In 1994, through a Come, cradle thy head on my breast without fear, programme sponsored by the United States State Department, she was part of a trio that toured And close thy blue eyes like gentians, dear. • Ein altes Gebet, Op. 72, No. 1 (1914) the Middle East as Cultural Ambassadors. She has also collaborated in performances at the Wenn ich immer Dein gedächte, Kennedy Center, Washington, D. C., and at St Martin-in-the-Fields in London. In a series of Hush, little darling, to sleepy-land float, all mein Sinnen zu Dir brächte, three concerts in 2001-2002, she contributed to performances of Beethoven’s entire cycle of ten With a star for thy anchor, the moon for thy boat, Dich, o Herr, um Alles fragte, violin sonatas. She has appeared on compact discs with the bass-player David Murray, mezzo- May bright angels guide thee o’er night’s darksome sea, und Dir kindlich Alles sagte; soprano Katherine Kelton, and clarinetist Howard Klug. Catherine Bringerud completed degrees in piano at Indiana And bring thee back safe from thy dreams, love, to me. o, dann könnte’ ich ohne Grauen University, and has, since 1982, been a member of the music faculty at Butler University in Indianapolis, where she (Agnes Helen Lockhart) fröhlich vor- und rückwärts schauen. supervises the staff and student accompanying programme. Und flög’ ich schneller als das Licht,

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Die Nächte so weich und die Tage so lang! Qu’il aspire toute mon âme, Amy Beach (1867-1944): Lieder So heiter die Stirnen, so hell der Gesang! Et la verse à tes pieds divins! So wonnig das Leben! (Paul Armand Silvestre) Amy Beach, 1867 in Henniker im US-Bundesstaat New über die Grenzen der Vereinigten Staaten hinaus einen Hampshire als Amy Marcy Cheney geboren, war eine Namen. Die Geissblattlauben voll heimlichem Schall, I ask the bird English Translation: der produktivsten und vielseitigsten Komponistinnen Beachs 117 Kunstlieder zeugen von reifer Voll leisem flüsterndem Kosen, I ask the bird that passes Amerikas. Sie schuf Werke in fast allen musikalischen kompositionstechnischer Meisterschaft und einem tiefen Und jeder Lufthauch ein Duftesschwall, Over the trees without landing Gattungen, zu Lebzeiten machte sie sich jedoch in erster Textverständnis. Während ihrer gesamten Karriere blieb Und überall Segen und überall That he carry across the expanse Linie als herausragende Liedkomponistin einen Namen, sie dem spätromantischen Idiom treu, wobei sich ihre Herzkirschen und Rosen! The caress of my kiss. und viele ihrer Lieder gehörten zum Standardrepertoire Lieder an Vorbildern europäischer Komponisten (Erich Jansen) I ask the full breeze der Zeit. Mit sechzehn Jahren begann sie eine Karriere orientierten. Darüber hinaus experimentierte sie mit About the dying soul of the flowers, als Konzertpianistin, als Achtzehnjährige heiratete sie musikalisch so diversen Stilrichtungen wie dem June English Translation: To take a little of your breath, den Bostoner Chirurgen Dr. Henry Harris Aubrey schottischen Volkslied und afro-amerikanischen Oh June days, in the sunshine, In order to dry my tears. Beach. Ihre Ehejahre waren die produktivste Periode Spirituals. Ihre Lieder sind technisch und musikalisch Flooded, cloudless! ihrer kompositorischen Laufbahn. höchst anspruchsvoll und verlangen erfahrene Colorful, blooming fields and thriving vineyards! Ah! I ask the sun of flame, Nachdem ihr Mann 1910 und ihre Mutter 1911 Interpreten. Beach betrachtete das Lied als eine And in the gardens throughout the land, That drinks the sap and makes wine, gestorben waren, ging Amy Beach nach Europa, wo sie schöpferisch inspirierte, sowohl vom Intellekt als auch Heartsease and roses! That he inhale all of my soul ihren Ruf als Interpretin und Komponistin festigte. In von der Emotion gesteuerte Antwort auf einen And pour it at your divine feet! vielen deutschen Städten gab sie Konzerte, bei denen sie vorgegebenen Text. Die von ihr vertonte Lyrik spiegelte Heartsease and roses, and blooming hillsides, ihre eigenen Instrumentalwerke vorstellte und das die vorherrschende Strömung der Zeit wider, in der die Mignonette-scented vines! ™ Go not too Far, Op. 56, No. 2 (1904) Publikum mit ihren Liedern bekannt machte. Kunst als Ausdruck des höchsten Idealismus galt. Ihr The nights so soft, and the days so long! Go not too far, too far beyond my gaze, 1914 in die Vereinigten Staaten zurückgekehrt, ließ eklektischer literarischer Geschmack äußerte sich in The heads held so high, the song so clear! Thou who canst never pass beyond the yearning sie sich in New York City nieder, von wo aus sie ihre dem weiten Spektrum der Autoren, deren Texte sie Life so joyful! Which, even as the dark for dawning stays, Auftritte durch den gesamten nordamerikanischen vertonte. Solist und Klavierbegleiter werden in ihren Awaits thy loved returning! Kontinent führten. Ab 1921 komponierte sie den Liedern zu gleichberechtigten Partnern. Beach verfügte The honeysuckle arbor full of secret sounds, überwiegenden Teil ihrer Werke als Fellow der über absolutes Gehör und nutzte ihre synästhetische Full of gentle, whispered, tender words, Go not too far! Howe’er thy fancies roam, MacDowell Colony, einem Künstlerzentrum in Begabung bei der Auswahl der Tonarten ihrer Lieder. And every breath of air a flood of scent, Let them come back, wide-circling, like the swallow, Peterborough (New Hampshire). Ihre aktive Bereits im Alter von zwölf Jahren verwendete sie And everywhere blessing, and everywhere, Lest, I for very need, should try to come, Mitgliedschaft in der Episkopalkirche St. Bartholomew Ideen namhafter Komponisten als Modell für ihre Heartsease and roses! Yet find I could not follow. in New York City inspirierte sie zur Komposition von eigenen Stücke. So begegnet etwa das erste Thema des (Florence Earle Coates) geistlichen Werken. dritten Satzes von Beethovens Pathétique-Klaviersonate ¡ Je demande à l’oiseau, Op. 51, No. 4 (1903) Ihre weitgestreuten Interessen und Erfahrungen in The Rainy Day. Je demande à l’oiseau qui passe £ Shena Van, Op. 56, No. 4 (1904) wusste Amy Beach auf äußerst intelligente Weise in Ariette war eines der ersten Lieder, die Beach zu Sur les arbres sans s’y poser, Her eyes are soft and dark and blue, ihre Werke einzubringen. Als Komponistin weitgehend Popularität verhalfen; es ist ihrem Ehemann gewidmet. Qu’il t’apporte, à travers l’espace She’s light-stepped as the roe; Autodidakt, war sie die erste amerikanische Musikerin, Die Texte zu When far from Her und Empress of Night La caresse de mon baiser. O, Shena Van, my heart is true die ihre Ausbildung ausschließlich in den Vereinigten stammen aus einer von Dr. Beach herausgegebenen Je demande à la brise pleine To you where’er you go! Staaten erhalten hatte und auch die erste, die sich mit Gedichtsammlung. Amy Beach verwendete die Melodie De l’âme mourante des fleurs, musikalischen Großformen beschäftigte. Als von Empress of Night später in ihrem Klavierkonzert. In De prendre un peu de ton haleine, I wish that I were by the rills Komponistin gehört sie der Übergangsperiode zwischen einem anderen Klavierwerk, Les rêves de Colombine, Pour en venir sécher mes pleurs. Above the Alltcambân, der Zweiten Neuengland-Schule, zu deren Vertretern griff sie auf das Lied Le Secret zurück. And wand’ring with me o’er the hills, Horatio Parker und Edward MacDowell zählten, und Ecstasy erlangte so große Popularität, dass das Ah! Je demande au soleil de flamme My own dear Shena Van! den späteren amerikanischen Liedkomponisten wie Gedicht in die Sammlung The Poetry Digest: Annual Qui boit la sève et fait les vins Far other sights and scenes I view; Charles Ives an. 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ein Ferienhaus auf Cape Cod. Das Gedicht Within thy Beachs Patenkind. I did not say English Translation: Die Lerche hebt die Schwingen Heart stammt ebenfalls von Dr. Beach. Sleep, Little Prelude ähnelt anderen Vertonungen von Texten I did not say, “I love you,” Und strebt dem Himmel zu, Darling erschien zuerst in der Zeitschrift Harper’s ihres Ehemanns. Der Refrain von O Sweet Content Yet I shyly picked a rose Und Liebeslieder singen Bazaar. besticht durch sein herrliches Melisma. And offered it to you Der Lenz und ich und du. Nacht ist ein Beispiel für Beachs Vertonungen von Ein Lied von Hugo Wolf diente als Modell für Ein As a corsage (Hans Eschelbach) französischen und deutschen Texten: es demonstriert altes Gebet. Die Klavierbegleitung führt ein Motiv ein, And looked sincerely into your eyes. ihre Meisterschaft der Wortausdeutung und ihr das impressionistisch anmutende Klänge vorwegnimmt, We Three English Translation: Verständnis für die Strömungen der zeitgenössischen wie Beach sie in den Klavierbegleitungen ihrer späteren You did not say, “I love you,” Where deeply hidden in its bed, europäischen Musik. Lieder verwenden sollte. Yet smiling, you gave The brook rushes by, Die Verfasserin von Forgotten, Cora Randall Die Lieder op. 73, zu denen auch Der Totentanz Your hand to me; In quiet hours, Fabbri, galt als eines der bemerkenswertesten gehört, sind Vertonungen von Texten, die vom Thema And a kiss Spring listened to us. literarischen Talente ihrer Zeit. Sie starb im frühen Alter der Mutterschaft handeln. Beach widmete die Lieder der On top of it all He asked us what we were doing, von zwanzig Jahren. berühmten Altistin Ernestine Schumann-Heink. As if making a sacred pledge. And nodded gracefully to us, Die schottischen Texte von Dearie und Far Awa’ Beachs uncharakteristischste und humorvollste We looked at each other and laughed, sind mit volksmusikalischen Mitteln vertont: Kompositionen, The Candy Lion und A Thanksgiving We did not say, “I love you,” Spring and I and you. punktierten Rhythmen, einfachen Akkordbegleitungen Fable entstanden für die amerikanische Sängerin und Yet our hearts cried it out loudly, und häufigen Dur-Moll-Wechseln. Schauspielerin Kitty Cheatham, die sich mit Volks- und As if, surrounded by the sounds of Spring By his side we went Die Three Browning Songs op. 44, Kinderliedern einen Namen gemacht hatte. And intoxicated by its fragrance, Through the wide world. Auftragskompositionen für die Browning Society of In the Twilight komponierte Beach für die We silently and dreamingly gazed at each other. There was blooming and singing, Boston, wurden zu Beachs beliebtesten Liedern und Mezzosopranistin Emma Roberts anlässlich des In the meadow, woods, and fields. dauerhaftesten Erfolgen. The Year’s at the Spring Buffalo-Festivals 1921. Der anschauliche Text ( Wir drei, Op. 51, No. 2 (1903) On all our paths, gehörte zum eisernen Recital-Repertoire des frühen gestattete ihr die Verwendung lautmalerischer Effekte. Wo tief versteckt im Grunde I called to you joyfully, zwanzigsten Jahrhunderts; nicht selten musste es auf Der dramatische Schluss des Lieds ist einzigartig in Der Bach vorüber rauscht, “We are moving toward happiness, Wunsch des begeisterten Publikums mehrmals ihrem Oeuvre. Hat uns in stiller Stunde Spring and I and you!” wiederholt werden. The Host zeigt Beachs Tendenz zu den kürzen, Der junge Lenz belauscht. Come, ah Come gehört zu den Four Songs for kompakteren Kompositionen ihrer späteren Jahre. Die Er fragte, was wir machten, The highest heights are glowing, Mezzo-Soprano or Baritone, der ersten Liedgruppe, die aus Mississippi stammende Autorin Muna Lee war wie Und nickte hold uns zu; The deepest valley glistens, Beach für tiefere Stimmlagen komponierte. Beach 1924 Fellow an der MacDowell Colony. Wir sah’n uns an und lachten; Your eye, moist with happiness Canzonetta, Ich sagte nicht, Wir drei, Juni und Je May Flowers entstand auf Wunsch der Der Lenz und ich und du. Is like the sun’s rays. demande à l’oiseau sind den Liedmodellen eines Mezzosopranistin Lillian Buxbaum, während die The lark lifts his wings Richard Strauss und Jules Massenet verpflichtet. Die Sopranistin Ruth Shaffner Widmungsträgerin von I An seiner Seite gingen And flies up toward heaven, Textvorlagen für verschiedene dieser Lieder fand Beach Sought the Lord und Though I Take the Wings of Wir durch die weite Welt. And we sing love songs, in Zeitschriften; so war z.B. Go not too far ursprünglich Morning ist. Der Text von I Sought the Lord ist dem Das gab ein Blüh’n und Singen, Spring, and I and you. in The Atlantic Monthly erschienen. 1912 erschienenen Gesangbuch der Episkopalkirche In Wiese, Wald und Feld. Shena Van ähnelt einem schottischen Volkslied. Die entnommen. Mit den alternierenden Dur- und Auf alle unser’n Wegen ) Juni, Op. 51, No. 3 (1903) Begleitung imitiert den Klang eines Dudelsacks. Der Mollakkorden verrät Though I Take the Wings of Rief ich dir jauchzend zu: O Junitage im Sonnenschein Text stammt aus William Blakes Roman Yolande. Morning, eine Paraphrase des 139. Psalms, den Einfluss „Wir zieh’n dem Glück entgegen, Im flutenden, wolkenlosen! Als ihre Freundinnen Mütter wurden, ließ sich des Jazz. Die Schlussworte dieses Lieds, der vermutlich Der Lenz und ich und du!“ Buntblumige Wiesen und blühender Wein! Beach zur Komposition von Wiegenliedern inspirieren. letzten Komposition von Amy Beach, lauten Und in den Gärten, landaus, landein, Das Lied Baby komponierte sie für die Zeitschrift bezeichnenderweise „bid me then, be still“. Die höchste Höhe leuchtet, Herzkirschen und Rosen! Woman’s Home Companion. Hush, Baby Dear widmete Katherine Kelton Es glänzt das tiefste Thal, sie der Verfasserin anlässlich der Geburt ihres Sohns, Deutsche Fassung: Bernd Delfs Dein Auge glückgefeuchtet, Herzkirschen und Rosen, und blühend am Hang, Ist wie der Sonne Strahl. Resedaduftende Reben! 8.559191 6 11 8.559191 559191 bk BEACH EU 25/05/2004 04:34pm Page 10

Summer has stopped. Avec des lilas dans la main. 1 The Rainy Day (composed 1880, published 1883) 3 When far from her, Op. 2, No. 2 (1889) Look in my eyes! La neige fondra tout à l’heure, The day is cold, and dark, and dreary; Shine out, shine out, good moon tonight, Wilt thou change too? Les lilas mourront à leur tour It rains, and the wind is never weary, And light my loved-one’s home, Should I fear surprise? Car seule éternelle demeure The vine still clings to the mould’ring wall, And cast my shadow in her light, Shall I find aught new La fleur divine de l’amour. But at ev’ry gust the dead leaves fall, When far from her I roam. In the old and dear, (Paul Armand Silvestre) And the day is dark and dreary. In the good and true, Her lovely eyes with slumber seal, With the changing year? Little Song English Translation: My life is cold, and dark, and dreary, And dreams of mem’ries dear, (Robert Browning) Forgetting gloomy days, It rains and the wind is never weary. Let happiness her sorrows hear, Under the clearing sky, My thoughts still cling to the mould’ring past, O would that I were near! % I Send my heart up to thee!, Op. 44, No. 3 (1900) We breathe the breath of the roses, But the hopes of youth fall thick in the blast, (H. H. A. Beach) I send my heart up to thee, all my heart Mixed with the caresses of the air! And the days are dark and dreary. In this my singing, 4 Empress of Night, Op. 2, No. 3 (1891) For the stars help me, and the sea bears part; Winter ran away with a beat of a wing, Be still, sad heart, and cease repining, Out of the darkness, Strewing the road with snow, Behind the clouds is the sun still shining, Radiant with light, The very night is clinging By which way the faithful springs comes Thy fate is the common fate of all, Shineth her Brightness, Closer to Venice’s streets to leave one space With lilacs in her hand. Into each life some rain must fall, Empress of Night. Above me, whence thy face Some days must be dark and dreary. As granules of gold, May light my joyous heart to thee its dwelling place. The snow will melt in a little while, (Henry Wadsworth Longfellow) From her lofty height, (Robert Browning) The lilacs will die in their turn, Or cataract bold Because only the divine flower of love 2 Ariette, Op. 1, No. 4 (1886) (Amazing sight!) ^ Come, ah Come, Op. 48, No. 1 (1902) Lives eternally. As the moon’s soft splendour Falleth her jewels When the summertime has flown, O’er the faint, cold starlight of heaven On ev’ry side, Bright with happy dreams, * Ich sagte nicht, Op. 51, No. 1 (1903) Is thrown, Lighting the joy-bells And the fading leaves alone Ich sagte nicht: „Ich liebe Dich,“ So thy voice most tender Of Christmastide. Are left of all its gleams, Doch eine Rose brach ich scheu, To the strings without soul has given Come, ah come, my own true love! Und bot sie Dir Its own. Piercing the tree boughs Come, ah come, my own true love, Zur Busenzier That wave in the breeze, To me thy promise keep, Und sah Dir in die Augen treu. The stars will awaken, Painting their shadows And bring the bliss of heav’n above, Though the moon sleep a full hour later Among dead leaves; When I alone shall weep! Du sagtest nicht: „Ich liebe Dich,“ Tonight: Kissing the sea foam Come, ah come, my own true love! Doch lächelnd gabst No leaf will be shaken That flies in the air, (H. H. A. Beach) Du mir die Hand; Whilst the dews of thy melody scatter When tossed from its home Und einen Kuss Delight. In waves so fair; & Canzonetta, Op. 48, No. 4 (1902) Zum Überfluss Silv’ring all clouds Avec l’oubli des jours moroses, Als selig machendes Unterpfand. Though the sound overpowers, That darken her way, Sous le ciel devenu plus clair Sing again, As she lifts the shrouds Respirons l’haleine des roses Wir sagten nicht: „Ich liebe Dich,“ With thy sweet voice revealing Of breaking day. Mêlée aux caresses de l’air! Doch uns’re Herzen riefen’s laut, A tone of some world far from ours, (H. H. A. Beach) Als lenzumlauscht Where music and moonlight and feeling L’hiver s’est enfui d’un coup d’aile Und duftberauscht Are one. Semant de neige le chemin Wir still und träumend uns angeschaut. (Percy Bysshe Shelley) Par où vient le printemps fidèle (Eduard Wissman) 8.559191 10 7 8.559191 559191 bk BEACH EU 25/05/2004 04:34pm Page 8

5 Le Secret, Op. 14, No. 2 (1891) 6 Ecstasy, Op. 19, No. 2 (1892) 9 Nacht, Op. 35, No. 1 (1895) When I think on the lightsome days Dis-moi de quel secret ta harpe solitaire Only to dream among the fading flowers, Nacht ist’s; die Erde träumet; I spent wi’ thee, my dearie, T’entretient au déclin du jour? Only to glide, along the tranquil sea; In ernstem Schweigen zieh’n And now what lands between us lie, Dis-moi si de ton cœur révélant le mystère Ah, dearest, dearest, have we not together Hoch über ihr, am Himmel How can I be but eerie? Il exhale un soupir d’amour? One long, bright day of love, so glad and free? Sternbilder hin. Si ta pensée intime en ton âme éveillée Only to rest with through life, in storm in sunshine, How slow ye move, ye heavy hours, Te dit de craindre où d’espérer; Safe in thy breast, where sorrow dare not fly; Nacht ist’s; vor meine Seele As ye were wae and weary. Si tu sens, sous tes doigts, une corde mouillée, Ah dearest, dearest, thus in sweetest rapture In tiefster Einsamkeit It wasna sae ye glinted by Et si tu chantes pour pleurer? With thee to live, with thee at last to die! Zieh’n stille Sternenbilder When I was wi’ my dearie! (Mrs H. H. A. Beach) Aus alter Zeit! (Robert Burns) Dis-moi si d’un accord, d’une note plus tendre (Christian Friedrich Scherenberg) Ton cœur se trouble quelquefois; 7 Within thy Heart, Op. 29, No. 1 (1895) @ Far Awa’, Op. 43, No. 4 (1899) Si la voix d’un absent soudain se fait entendre, My love to thee I give, Night English Translation: Ye whom sorrow never wounded, Si tu réponds à cette voix? For thou my love has won, It is night; the earth dreams; Ye who never shed a tear, Deep in my heart to live, In pure silence, Care untroubled, joy surrounded, Mais non, ne dis rien, chante, soupire, pleure, Thy glance a sunbeam shone. High over her, in the heavens, Gaudy day to you is dear. Cache le secret de ton cœur; My life to thee I give, Constellations cross the sky. Si tu le dis jamais il faudra que je meure For thou art life to me, Gentle night, do thou befriend me; De désespoir, ou de bonheur. Within thy heart to live It is night; before my soul Downy sleep, the curtain draw; (Le Comte Bernard-Marie-Jules de Resseguier) Forever, heaven would be! In deepest isolation Spirits kind, again attend me, (Mrs H. H. A. Beach) Cross wordless constellations Talk of him that’s far awa’! The Secret English Translation: Out of olden times! (Robert Burns) Tell me about the secret your solitary harp 8 Sleep, Little Darling, Op. 29, No. 3 (1894) Shares with you at the end of the day? Soft sleeps the earth in moonlight blest, 0 Forgotten, Op. 41, No. 3 (1894) # The Year’s at the Spring, Op. 44, No. 1 (1900) Tell me, if from your heart, revealing the mystery, Soft sleeps the bough above the nest, A snowflake out of the gray, The year’s at the spring, It exhales a sigh of love? O’er lonely depths the whippoorwill And a leaf from a wild, white flower, And day’s at the morn; If your intimate thought revealed in your soul Breathes one faint note, and all is still. A Love that lasted an hour, Morning’s at seven; Tells you about fear or about hope; Sleep little darling, night is long. A Joy that lasted a day. The hillside’s dew-pearled; If you feel beneath your fingers a moist chord, Sleep while I sing thy cradle song. And if you sing in order to cry. One love hath faded away The lark’s on the wing; About thy dream the drooping flower While the other Love lives yet; The snail’s on the thorn; Tell me, if by tuning a more tender note, Blows her sweet breath from hour to hour Oh grief, that one can forget, God’s in his heaven, Your heart is sometimes troubled; And white the great moon spreads her wings, And one remember for aye! All’s right with the world. If the voice of an absent one suddenly is heard, While low, while far the dear earth swings. (Cora Randall Fabbri) (Robert Browning) If you respond to this voice? Sleep little darling, all night long The winds shall sing thy slumber song. ! Dearie, Op. 43, No. 1 (1899) $ Ah, Love, but a day!, Op. 44, No. 2 (1900) But no, say nothing, sing, sigh, cry, Powers of the earth and of the air How long and dreary is the night, Ah, Love, but a day, Hide the secret of your heart; Shall have thee in thy mother care, When I am frae my dearie! And the world has changed! If you ever say it, it will make me die And hosts of heaven, together pressed, I restless lie frae e’en tae morn, The sun’s away, Of despair or of hope. Bend over thee, their last, their best. Tho’ I were ne’er sae weary! And the bird estranged, Hush, little darling, from the deep The wind has dropped, Some mighty wing shall fan thy sleep. And the sky’s deranged; (Harriet Elizabeth Prescott Spofford) 8.559191 8 9 8.559191 559191 bk BEACH EU 25/05/2004 04:34pm Page 8

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Dich aber, Mutter, schmücken sie But though it’s very nice for me, als schönste Totenzier, It’s not so nice for him; 8.559191 14 3 8.559191 559191 bk BEACH EU 25/05/2004 04:33pm Page 2

Carole Farley, soprano Catherine Bringerud, Ned Rorem, piano Piano 8.559191 16 559191 rr Beach EU 2/08/2004 12:14pm Page 1

CMYK N AXOS Playing Amy (1867-1944) Time: BEACH 77:37 Songs 8.559191

h broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and 1 The Rainy Day 1:57 ) Juni (June) 1:59 & 2 Ariette 1:56 ¡ Je demande à l’oiseau MERICAN LASSICS g A C 3 2004 Naxos Rights International Ltd. • Made in the EU When far from her 1:39 (I ask the bird) 1:52 4 Empress of Night 2:03 ™ Go not too Far 1:19 One of America’s most prolific 5 Le Secret (The Secret) 2:45 £ Shena Van 2:26 and successful composers, 6 Ecstasy 2:04 ¢ Baby 2:15 Mrs H. H. A. (“Amy”) Beach was one of the first women composers 7 Within thy Heart 2:06 ∞ Hush, Baby Dear 2:13 whose works were as highly 8 Sleep, Little Darling 3:42 § APrelude 1:20 regarded as those produced by 9 (Night) ¶ Nacht 2:22 O Sweet Content 2:45 men. Best known during her 0 • BEACH: Songs Forgotten 2:06 Ein altes Gebet lifetime for her well-crafted ! Dearie 2:01 (An Old Prayer) 2:09 songs and short piano pieces, she @ Far Awa’ 1:29 ª Der Totenkranz was also the first American # The Year’s at the (The Funeral Wreath) 2:19 woman to compose in the larger Spring 0:50 º The Candy Lion 1:37 forms. Beach’s 117 art songs $ Ah, Love, but a day! 2:57 ⁄ A Thanksgiving span the whole of her % I Send my heart Fable 1:21 compositional career. By up to thee! 2:48 ¤ In the Twilight 3:05 incorporating musical ideas from ^ Come, ah Come 1:53 ‹ The Host 1:25 many cultures and musical

BEACH: Songs & Canzonetta 2:13 › May Flowers 1:40 traditions within a late-Romantic * Ich sagte nicht ﬁ I sought the Lord 2:22 framework, Beach’s songs show (I did not say) 2:41 ﬂ Though I take the her skilful craftsmanship and ( Wir drei (We Three) 2:49 wings of morning 2:51 profound understanding of text.

Katherine Kelton, Mezzo-Soprano Booklet notes in English DDD Catherine Bringerud, Piano Kommentar auf Deutsch Producer and Engineer: Doug Dillon Includes sung texts Recorded at The Lodge in Indianapolis., Indiana, USA from 11-12, June 1999. Publisher: A.P. Schmidt (Tracks 1-27, & 32), G. Schirmer (Tracks 28-31), www. Church (Track 33), A.P. Schmidt, rights now owned by Warner Bros. (Tracks 8.559191 8.559191 34-35), The Composer’s Press (Track 36) naxos.com Cover art: Falling Apple Blossoms (oil on canvas), Hamilton, Hamilton (1847-1928) / Private Collection, Credit: Phillips, Fine Art Auctioneers,

AXOS New York, USA / www.bridgeman.co.uk

N American flag, folk artist, 1880s. 6536943 91912