Richard Strauss Lieder

Patricia Rozario Charles Owen

Richard Strauss Lieder

Patricia Rozario Charles Owen Richard Strauss Lieder RICHARD STRAUSS (1864-1949) 1 All’ mein Gedanken 1’08 13 Morgen! … 3’46 (Felix Dahn) (John Henry Mackay) 2 Du meines Herzens Krönelein 1’54 14 Traum durch die Dämmerung 2’38 (Felix Dahn) (Otto Julius Bierbaum) 3 2’56 15 Schlagende Herzen 2’20 (Hermann von Gilm) (Otto Julius Bierbaum) 4 Wiegenlied 4’00 16 Nachtgang 2’47 (Richard Dehmel) (Otto Julius Bierbaum) 5 Blauer Sommer 2’32 17 Das Rosenband 2’56 (Carl Busse) (Friederich Gottlieb Klopstock) 6 5’25 18 Für funfzehn Pfennige 2’20 (Richard Dehmel) (Anonymous) 7 Ich trage meine Minne 1’49 19 Hat gesagt – Bleibt’s nicht dabei 2’07 (Karl Henckell) (Anonymous) 8 Ständchen 2’21 20 2’18 (Adolf Friedrich von Schack) (Otto Julius Bierbaum) 9 2’59 21 Ich schwebe 1’52 (Hermann von Gilm) (Karl Henckell) 10 Ruhe, meine Seele! 3’28 22 Winterliebe 1’40 (Karl Henckell) (Karl Henckell) 11 Cäcilie 1’52 23 Winterweihe 2’46 (Heinrich Hart) (Karl Henckell) 12 2’48 24 Kling! 1’36 (John Henry Mackay) (Karl Henckell) 62’18 Patricia Rozario soprano Charles Owen piano Patricia Rozario, born in Bombay, studied at London’s Guildhall School of Music, winning the Gold Medal and Maggie Teyte Prize. She also studied at the National Studio in London, and won prizes at the Salzburg Mozarteum, S’Hertogenbosch International Singing Competition, Benson and Hedges Competition at Aldeburgh, and International Young Artist Competition at Tunbridge Wells. She developed a career in opera, concert work, recording and broadcasting. Her unique voice and artistry inspired over 15 established composers to write for her, notably Arvo Pärt and the late Sir John Tavener. She has sung under Pritchard, Solti, Ashkenazy, Jurowski, Belohlavek, Gardiner, Pinnock, Ivan Fischer, Hickox and Andrew Davis, has sung opera at Aix-en-Provence, Amsterdam, Lyon, Lille, Bremen, Antwerp, Wexford, ENO, Glyndebourne and Opera North, and performed concerts in Canada, USA, Russia, the Far East, Australia, Europe, and UK. She has appeared frequently at the BBC Proms. In 2010 together with pianist Mark Troop, she started a singing course, Giving Voice Society, to improve western music in India. She is Professor of singing at the Royal College of Music. She was awarded an OBE in 2001, Asian Women’s Award of Achievement in 2002, the Pravasi Bharatiya Samman, President’s Award in 2013, and FRCM in 2014.

Charles Owen is widely recognised as one of the leading British pianists of his generation. He has performed at such venues as the Barbican Centre, Queen Elizabeth Hall and Wigmore Hall in London, Lincoln Center and Weill/Carnegie Hall in New York, the Brahms Saal in Vienna’s Musikverein, the Paris Musée d’Orsay, and the Moscow Conservatoire. His chamber music partners include Julian Rachlin, Chloe Hanslip, Adrian Brendel, and Nicholas Daniel and the Takacs, Vertavo, Carducci and Elias Quartets. He also has a highly successful piano duo partnership with Katya Apekisheva. He studied in London at the Menuhin School, the Royal College of Music with Irina Zaritskaya and Imogen Cooper. He has won numerous awards, including the Silver Medal at the Scottish International Piano Competition and the Parkhouse Award. A regular guest at festivals such as Aldeburgh, Bath, Cheltenham, West Cork and Perth, Australia, he has performed with the Philharmonia, Royal Scottish National and London Philharmonic orchestras. His solo recordings include discs of Janácek, Poulenc and Fauré. Together with Natalie Clein, he has recorded the cello sonatas of Brahms, Schubert, Rachmaninov and Chopin for EMI. He is a Professor of piano at the Guildhall School of Music and Drama in London. Richard Strauss Lieder Richard Strauss was just six years old when he wrote his first song. His very last Lied was penned the year before he died. Song, or at least the human voice, was a constant presence in the Bavarian composer’s life. Although his interest in Lied seemingly waned after the popular 1901 premiere of his opera and his soprano wife Pauline’s retirement in 1906, he returned to song sporadically but with great conviction for the rest of his career, not least when he wrote the profound, confessional in the summer of 1948. The compositions featured here, however, belong to those first chapters of Strauss’s life, before the success of , , and a host of other theatrical masterpieces tied the composer to the opera house forever. In these songs, we chart the apprenticeship of that acute dramatist, whose every melodic and harmonic gesture was perfectly calibrated to reveal the most within his chosen text.

Many of Strauss’s earliest Lieder were written for family soirées and sung by the composer’s aunt, Johanna Pschorr. Indebted to the great compositions of the early Romantic period, these were often strophic songs or ballads. But in 1885, the year he wrote his dazzling , Strauss achieved a breakthrough with the publication of Acht Gedichte aus Letzte Blätter op.10, marking the first time he had bequeathed an opus number to any of his Lieder. These songs feature poems by the Austrian aristocrat Hermann von Gilm, who had died the year Strauss was born. Among the collection’s eight songs are Die Nacht and Allerseelen. The unhurried accompaniment of Die Nacht, representing the slow creep of night as well as the narrator’s steps through an atmospheric forest, slowly reveals richer harmonies, while an underlying note of peril reaches a quiet peak at the interrupted cadence on the singer’s final word. The Maytime refrain ofAllerseelen tries to maintain former joys. Here, however, a resolute perfect cadence at the end of the vocal line and the ensuing piano postlude show that life has, unfortunately, moved on.

Ständchen is the second of six settings Strauss composed in 1885-7 – published as op.17 – of poems by the Munich-born aristocrat and art collector Adolph Friedrich von Schack. This effusive love song, whose wonderfully filigree accompaniment belies Schack’s description of a nigh-motionless brook and breeze, takes a palpable turn for the erotic at the beginning of the final verse, before building to a fevered climax. Felix Dahn was another poet who proved popular with Strauss (and Reger in turn). His Schlichte Weisen provided the text and title for Strauss’s op.21 set of songs. The poems had originally been inspired by an old index of folksongs, which provided opening lines but nothing else; using the volume, Dahn promptly improvised new versions of the poems. Elements of folksong linger in both the spry All’ mein Gedanken and its successor, the flowing Du meines Herzens Krönelein, albeit with a number of surprising (and infinitely Straussian) harmonic tricks and turns.

The songs that constitute Strauss’s Vier Lieder op.27 of 1894 plough a much deeper furrow. As the composer matured, so too did his poetic tastes, moving from attractive but ultimately modest mid-19th-century writers to the weightier utterances of his fin-de-siècle peers, including John Henry Mackay. Born in Scotland, Mackay was raised in Germany and settled in Berlin, though his left wing tendencies and homosexuality found him frequently at odds with prevailing Prussian sensibilities. Two of his poems appear in Strauss’s cherished op.27 songs, written shortly before he married the soprano , to whom he gave the set as a wedding present.

Mackay’s no less controversial contemporary Karl Friedrich Henckell’s Ruhe, meine Seele opens the group. Following its restful assurances and Strauss’s effusive and ultimately valiant setting of Heinrich Hart’s Cäcilie, both Heimliche Aufforderung and Morgen! seem to fit the marital bill rather neatly. The ‘invitation’, however, is notably ‘secret’ in Heimliche Aufforderung and that sense of confidentiality can also be felt in Morgen!. With this incredible song, Strauss looks forward to a life together amid the same ‘sun-breathing earth’, but the homosexual Mackay might also have been hoping for a ‘wide, blue-waved’ world in which gay people could live together without the kind of persecution experienced in Bismarck’s Germany. Strauss responds sympathetically, with the vocal line entering almost absent-mindedly, as if we have caught the lovers halfway through a conversation.

A similarly rapt quality characterises Traum durch die Dämmerung, the first of three settings of Otto Julius Bierbaum, composed and published the year after Strauss and Pauline married. Strauss begins Traum durch die Dämmerung in one key, only to modulate, rather broodingly, at ‘Nun geh’ ich hin zu der schönsten Frau’ (Now I go to the most beautiful woman). Recently wed and with Pauline’s celebrated soprano voice in his head, Strauss was surely thinking about his wife. A more innocent tale of love is told in Schlagende Herzen, with an accompaniment regularly interspersed with the gleeful pit-a-patter of the young boy’s heart. Nachtgang, written in prose and set by Berg and Reger in turn, is a hushed depiction of a couple walking at night. Reminiscences of the magical modulation in Schubert’s Nacht und Träume underline the sacred qualities of the object of the narrator’s affection, while a later key change describes the moment the couple shares a kiss.

Though Strauss’s and operatic plans increasingly dominated his thoughts during the 1890s, he continued to write songs. Both op.31 and op.32 appeared in print in 1896. Blauer Sommer, taken from the former and setting a poem by Carl Hermann Busse (who died in the flu pandemic of 1918), was written to mark the marriage of Strauss’s sister, Johanna. Its generous piano part evokes the humid heat of high summer, with lush harmonies supporting an ever-intensifying vocal line. For the opening song of op.32, Strauss returned to Karl Friedrich Henckell, whose Ruhe, meine Seele! had begun his op.27 wedding trousseau to Pauline. Indeed, these 1896 songs were also dedicated to Strauss’s wife. Ich trage meine Minne is couched in the plush key of G flat major. Although it begins like a shy folksong, it soon reveals a much more fervent character, before tiptoeing back to a repeat of those initial modest utterances.

The first of Strauss’s op.36 songs is a setting of words by the 18th-century poet Friedrich Gottlieb Klopstock. His Die Auferstehung provided the springboard for the text in the Finale of Mahler’s Second Symphony, published the year Strauss wrote this song and whose premiere he had supported while working in Berlin. Das Rosenband, however, is far from apocalyptic in tone. As in the earlier Felix Dahn settings, Strauss combines folksy gestures with a vivid chromatic palette, looking forward to his evocations of the 18th century in Der Rosenkavalier. Das Rosenband is followed by two of Strauss’s three settings of words from Des Knaben Wunderhorn, another Mahlerian touchstone. These are knowingly repro versions of early-Romantic gestures, with numerous cheeky harmonic sleights of hand. Für funfzehn Pfennige, from 1897, is all bullish bustle, while Hat gesagt – Bleibt’s nicht dabei, composed the following year, is a veritable riot of word painting for voice and piano alike.

No survey of Strauss’s songs would be complete without one of his settings of Richard Dehmel, who became a major stimulus for composers during the final years of the 19th century, not least the young Arnold Schoenberg. Strauss turned to the poet’s work numerous times, though Dehmel was surprisingly unimpressed by the 1898 Befreit. The composer, however, remained justly proud of this ardent Lied and quoted its refrain in the final section of , written that same year. In 1899 Strauss opened his Fünf Lieder op.41 with Dehmel’s Wiegenlied. This is no ordinary cradlesong; something remains ‘Of the quiet, of the holy night’ when the depicted child was conceived. And so, lullaby-like though it may seem, there is an unmistakable eroticism that runs through the shimmering textures of the accompaniment.

Otto Julius Bierbaum’s Freundliche Vision, set by Strauss on 5 October 1900, describes a vision of domestic (or heavenly) bliss. Slow harmonic revelations, recalling the earlier Traum durch die Dämmerung, deftly blur the distinction between dream and reality. This sole Bierbaum song from the collection is followed by another four settings of poems by Karl Friedrich Henckell. The music for the lilting, waltzing Ich schwebe began life as part of Die Insel Kythere, an unsuccessful dance project inspired by Watteau. Vestige of the rococo whimsy of that balletic scheme endure. Winterweihe and Winterliebe offer contrasting pictures of ‘winter days’ when ‘the light is veiled’. The former, all warmth and companionship, looks forward to the sexual freedom of summer nights, while the latter, bejewelled by bright, low-lying sun, rejoices in the here and now. The same giddy excitement raises Henckell’s Kling! to heroic heights, as Strauss crowns his turn-of-the-century song with a vertiginous (and proto-operatic) high C.

© 2015 Gavin Plumley 1 All’ mein Gedanken All my thoughts Felix Dahn (1834-1912)

All’ mein Gedanken, mein Herz und mein Sinn, All my thoughts, my heart and my mind, Da wo die Liebste ist, wandern sie hin. Wander there, where my beloved is. Geh’n ihres Weges trotz Mauer und Tor, They go their way despite wall and gate, Da hält kein Riegel, kein Graben nicht vor, They hold no bars, no ditches for them, Geh’n wie die Vögelein hoch durch die Luft, They go like little birds high through the air, Brauchen kein’ Brücken über Wasser und Kluft, They need no bridge over water and valley, Finden das Städtlein und finden das Haus, They find the little town and find the house, Finden ihr Fenster aus allen heraus. They find her window from all those there. Und klopfen und rufen „mach’ auf, laß uns ein, And they knock and call “Come on, let us in, Wir kommen vom Liebsten und grüßen Dich fein.“ We come from your beloved to greet you sweetly.”

2 Du meines Herzens Krönelein You, my heart’s little crown Felix Dahn

Du meines Herzens Krönelein, du bist von lautrem You, my heart’s little crown, you are made of pure Golde, gold, Wenn Andere daneben sein, dann bist du noch viel If others are next to you, then you seem even holde. lovelier. Die Andern tun so gern gescheut, du bist gar sanft und Others love to appear clever, you are so gentle and stille; quiet; Daß jedes Herz sich dein erfreut, dein Glück ist’s, nicht That you delight every heart is your luck, not your dein Wille. will.

Die Andern suchen Lieb’ und Gunst mit tausend falschen Others seek love and favour with a thousand false Worten, words, Du ohne Mund- und Augenkunst bist wert an allen You, without artifice of mouth or eye, are valued Orten, everywhere, Du bist als wie die Ros’ im Wald, sie weiß nichts von ihrer You are like the rose in the woods, that knows nothing Blüte, of its bloom, Doch jedem, der vorüberwallt, erfreut sie das Gemüte. But delights everyone who passes by. 3 Die Nacht The night Hermann von Gilm (1812-1864)

Aus dem Walde tritt die Nacht, The night steps out of the forest, Aus den Bäumen schleicht sie leise, It softly sneaks out of the trees, Schaut sich um in weitem Kreise, It looks around in a wide circle, Nun gib acht! Beware now!

Alle Lichter dieser Welt, All the lights in this world, Alle Blumen, alle Farben All flowers, all colours Löscht sie aus und stiehlt die Garben It extinguishes them and steals the sheaves Weg vom Feld. From the field.

Alles nimmt sie, was nur hold, It takes everything that is lovely, Nimmt das Silber weg des Stroms Takes the silver from the stream, Nimmt vom Kupferdach des Doms Takes from the cathedral’s copper roof Weg das Gold. The gold.

Ausgeplündert steht der Strauch: The shrub stands plundered: Rücke näher, Seel’ an Seele, Draw nearer, soul to soul, O die Nacht, mir bangt, sie stehle Oh the night, I fear, will also steal Dich mir auch. You from me.

4 Wiegenlied Lullaby Richard Dehmel (1863-1920)

Träume, träume, du mein süßes Leben, Dream, dream, sweet love of my life, Von dem Himmel, der die Blumen bringt; Of heaven, which brings flowers; Blüten schimmern da, die beben Blossoms shimmer there, they tremble Von dem Lied, das deine Mutter singt. From the song your mother sings. Träume, träume, Knospe meiner Sorgen, Dream, dream, bud of my worries, Von dem Tage, da die Blume sproß; Of the day when the flower sprouted; Von dem hellen Blütenmorgen, Of the bright morning of blossom, Da dein Seelchen sich der Welt erschloß. When your little soul opened to the world.

Träume, träume, Blüte meiner Liebe, Dream, dream, blossom of my love, Von der stillen, von der heilgen Nacht, Of the quiet, of the holy night, Da die Blume Seiner Liebe When the flower of His love Diese Welt zum Himmel mir gemacht. Made this world into heaven for me.

5 Blauer Sommer Blue summer Carl Busse (1872-1918)

Ein blauer Sommer glanz- und glutenschwer A blue summer, heavy with gleaming and burning, Geht über Wiesen, Felder, Gärten her. Comes here across meadows, fields and gardens. Die Sonnenkrone glüht auf seinen Locken, The sun’s crown glows on its curls, Sein warmer Atem läutet Blütenglocken. Its warm breath rings out blossom bells. Ein goldnes Band umzieht die blaue Stirne, A golden ribbon surrounds its blue brow, Schwer aus den Zweigen fällt die reife Frucht The ripe fruit falls heavily from the branches Und Sens’ und Sichel blitzt auf Flur und Feld, And scythe and sickle flash on meadow and field, Und rot von Rosen ist die ganze Welt. And the whole world is red with roses.

6 Befreit Released Richard Dehmel

Du wirst nicht weinen. Leise, leise You will not cry. Softly, softly Wirst du lächeln; und wie zur Reise You will smile; and like before a journey Geb ich dir Blick und Kuß zurück. I will return your glance and kiss. Unsre lieben vier Wände! Du hast sie bereitet, Our dear four walls! You prepared them, Ich habe sie dir zur Welt geweitet – I have widened them into the world for you – O Glück! Oh happiness! Dann wirst du heiß meine Hände fassen Then you will ardently grasp my hands Und wirst mir deine Seele lassen, And will leave your soul with me, Läßt unsern Kindern mich zurück. Leave our children behind for me. Du schenktest mir dein ganzes Leben, You gave me your whole life, Ich will es ihnen wiedergeben – I will give it back to them – O Glück! Oh happiness!

Es wird sehr bald sein, wir wissen’s beide, It will be very soon, we both know it, Wir haben einander befreit vom Leide; We have released each other from suffering; So gab’ ich dich der Welt zurück. So I gave the world back to you. Dann wirst du mir nur noch im Traum erscheinen Then you will only appear to me in my dreams Und mich segnen und mit mir weinen – And bless me and weep with me – O Glück! Oh happiness!

7 Ich trage meine Minne I carry my love Karl Henckell (1864-1929)

Ich trage meine Minne I carry my love, Vor Wonne stumm Speechless with delight, Im Herzen und im Sinne In my heart and in my spirit Mit mir herum. Around with me. Ja, daß ich dich gefunden, Yes, that I found you, Du liebes Kind, You dear child, Das freut mich alle Tage, Makes me happy every day Die mir beschieden sind. That I have been granted.

Und ob auch der Himmel trübe, And though the sky is cloudy, Kohlschwarz die Nacht, The night black as coal, Hell leuchtet meiner Liebe Brightly shines my love’s Goldsonnige Pracht. Golden-sunny splendour. Und lügt auch die Welt in Sünden, And even though the world sinfully lies, So tut mir’s weh – And it pains me – Die arge muß erblinden The evil world must be blinded Vor deiner Unschuld Schnee. By the snow of your innocence. 8 Ständchen Serenade Adolf Friedrich von Schack (1815-1894)

Mach auf, mach auf! doch leise mein Kind, Open up, open up! but softly, my child, Um keinen vom Schlummer zu wecken! So as not to wake anyone from their slumber! Kaum murmelt der Bach, kaum zittert im Wind The brook scarcely murmurs, barely a leaf trembles Ein Blatt an den Büschen und Hecken; On the bushes and hedges in the wind; Drum leise, mein Mädchen, daß nichts sich regt, So softly, my girl, so that nothing stirs, Nur leise die Hand auf die Klinke gelegt! Just softly lay your hand on the latch!

Mit Tritten, wie Tritte der Elfen so sacht, With steps as soft as the elves’ steps, Um über die Blumen zu hüpfen, In order to hop over the flowers, Flieg leicht hinaus in die Mondscheinnacht, Fly lightly out into the moonlit night, Zu mir in den Garten zu schlüpfen! To slip into the garden to me! Rings schlummern die Blüten am rieselnden Bach All around the blossoms slumber on the rippling brook Und duften im Schlaf, nur die Liebe ist wach. And are fragrant in sleep; only love is awake.

Sitz nieder! hier dämmerts geheimnisvoll Sit down! here it mysteriously gets dark Unter den Lindenbäumen, Under the linden trees, Die Nachtigall uns zu Häupten soll The nightingale over our heads Von unseren Küssen träumen Will dream of our kisses Und die Rose, wenn sie am Morgen erwacht, And the rose, when it wakes in the morning, Hoch glühn von den Wonnenschauern der Nacht. Will glow greatly from the night’s showers of bliss.

9 Allerseelen All souls’ day Hermann von Gilm

Stell’ auf den Tisch die duftenden Reseden, Place on the table the fragrant mignonettes, Die letzten roten Astern trag’ herbei Bring in the last red asters Und laß uns wieder von der Liebe reden And let us speak of love again Wie einst im Mai. As once in May. Gib mir die Hand, daß ich sie heimlich drücke, Give me your hand, that I may secretly press it, Und wenn man’s sieht, mir ist es einerlei, And if people see, it doesn’t matter to me, Gib mir nur einen deiner süßen Blicke Give me just one of your sweet glances Wie einst im Mai. As once in May.

Es blüht und duftet heut’ auf jedem Grabe, Today there are blossoms and fragrances on every grave, Ein Tag im Jahr’ ist ja den Toten frei; One day in the year is surely reserved for the dead; Komm’ an mein Herz, daß ich dich wieder habe Come to my heart, that I may have you back again Wie einst im Mai. As once in May.

10 Ruhe, meine Seele! Rest, my soul! Karl Henckell

Nicht ein Lüftchen, Not even a slight breeze, Regt sich leise, Is softly stirring, Sanft entschlummert In a gentle slumber Ruht der Hain; The grove rests; Durch der Blätter Through the leaves’ Dunkle Hülle Dark cover Stiehlt sich lichter Light Sonnenschein. Sunshine steals.

Ruhe, ruhe, Rest, rest, Meine Seele, My soul, Deine Stürme Your storms Gingen wild, Were wild, Hast getobt und You raged and Hast gezittert, You trembled, Wie die Brandung, Like the surf, Wenn sie schwillt! When it swells! Diese Zeiten These Sind gewaltig, Are powerful times, Bringen Herz und Bringing distress to heart Hirn in Not – And mind – Ruhe, ruhe, Rest, rest, Meine Seele, My soul, Und vergiß, And forget, Was dich bedroht! That which threatens you!

11 Cäcilie Cecily Heinrich Hart (1855-1906)

Wenn Du es wüßtest, If you only knew Was träumen heißt What it means to dream Von brennenden Küssen, Of burning kisses, Von Wandern und Ruhen Of wandering and resting Mit der Geliebten, With one’s beloved, Aug’ in Auge, Eye to eye, Und kosend und plaudernd – And caressing and chatting – Wenn Du es wüßtest, If you only knew, Du neigtest dein Herz. Your heart would turn to me.

Wenn Du es wüßtest, If you only knew Was bangen heißt What it means to worry In einsamen Nächten, On lonely nights, Umschauert vom Sturm, Showered by a storm, Da niemand tröstet With no gentle words Milden Mundes To comfort Die kampfmüde Seele – The battle-weary soul – Wenn Du es wüßtest, If you only knew, Du kämest zu mir. You would come to me. Wenn Du es wüßtest, If you only knew Was leben heißt What it means to live Umhaucht von der Gottheit Breathed on by God’s Weltschaffendem Atem, World-creating breath, Zu schweben empor, To float upwards, Lichtgetragen Carried by light Zu seligen Höh’n – To blessed heights – Wenn Du es wüßtest, If you only knew, Du lebtest mit mir! You would live with me!

12 Heimliche Aufforderung Secret invitation John Henry Mackay (1864-1933)

Auf, hebe die funkelnde Schale Come, raise the sparkling goblet Empor zum Mund, Up to your mouth, Und trinke beim Freudenmahle And drink your heart healthy Dein Herz gesund. At the feast.

Und wenn du sie hebst, so winke And when you raise it, wave Mir heimlich zu, To me secretly, Dann lächle ich, und dann trinke Then I will smile and drink Ich still wie du … Quietly like you …

Und still gleich mir betrachte And quietly, like me, behold Um uns das Heer Around us the army Der trunknen Schwätzer – verachte Of drunken gossips – don’t despise Sie nicht zu sehr. Them too much.

Nein, hebe die blinkende Schale, No, raise the flashing goblet Gefüllt mit Wein, Filled with wine, Und laß beim lärmenden Mahle And let them be happy Sie glücklich sein. At the noisy feast. Doch hast du das Mahl genossen, But once you have enjoyed the meal, Den Durst gestillt, And quenched your thirst, Dann verlasse der lauten Genossen Then leave the loud comrades’ Festfreudiges Bild, Joyous company,

Und wandle hinaus in den Garten And wander out into the garden Zum Rosenstrauch – To the rosebush – Dort will ich dich dann erwarten There I will await you Nach altem Brauch, According to our old custom,

Und will an die Brust dir sinken, And I will sink upon your breast, Eh’ du’s gehofft, Before you know it, Und deine Küsse trinken, And drink your kisses, Wie ehmals oft, As often before,

Und flechten in deine Haare And weave into your hair Der Rose Pracht – The rose’s splendour – O komm, du wunderbare, O come, you wonderful, Ersehnte Nacht! Longed-for night!

13 Morgen! … Tomorrow! … John Henry Mackay

Und morgen wird die Sonne wieder scheinen And tomorrow the sun will shine again Und auf dem Wege, den ich gehen werde, And on the path, that I will walk, Wird uns, die Glücklichen, sie wieder einen It will unite us, happy ones, again Inmitten dieser sonnenatmenden Erde … In the midst of this sun-breathing earth …

Und zu dem Strand, dem weiten, wogenblauen, And to the wide, blue-waved shore, Werden wir still und langsam niedersteigen, We will quietly and slowly descend, Stumm werden wir uns in die Augen schauen, Silently we will look into each other’s eyes, Und auf uns sinkt des Glückes stummes Schweigen. And the stillness of happiness’ silence will fall upon us. 14 Traum durch die Dämmerung Dream through the twilight Otto Julius Bierbaum (1865-1910)

Weite Wiesen im Dämmergrau; Broad meadows in the grey twilight; Die Sonne verglomm, die Sterne ziehn; The sun has set, the stars come out; Nun geh’ ich hin zu der schönsten Frau, Now I go to the most beautiful woman, Weit über Wiesen im Dämmergrau, Far across meadows in the grey twilight, Tief in den Busch von Jasmin. Deep into the jasmine grove.

Durch Dämmergrau in der Liebe Land; Through the grey twilight into the land of love; Ich gehe nicht schnell, ich eile nicht; I do not go fast, I do not hurry; Mich zieht ein weiches sammtenes Band I am drawn by soft velvet ribbon Durch Dämmergrau in der Liebe Land, Through the grey twilight into the land of love, In ein blaues, mildes Licht. Into a blue, soft light.

15 Schlagende Herzen Beating hearts Otto Julius Bierbaum

Über Wiesen und Felder ein Knabe ging, A boy walked over meadows and fields, Kling-klang schlug ihm das Herz, Kling-klang beat his heart, Es glänzt ihm am Finger von Golde ein Ring, A gold ring shone on his finger, Kling-klang schlug ihm das Herz. Kling-klang beat his heart. „Oh Wiesen, oh Felder, “Oh meadows, oh fields Wie seid ihr schön! How beautiful you are! Oh Berge, oh Täler, Oh mountains, oh valleys, Wie schön! How beautiful! Wie bist du gut, wie bist du schön, How good you are, how beautiful you are, Du gold’ne Sonne in Himmelshöh’n!“ You golden sun in the heaven’s heights!” Kling-klang schlug ihm das Herz. Kling-klang beat his heart. Schnell eilte der Knabe mit fröhlichem Schritt, Quickly the boy hurried with a cheerful step, Kling-klang schlug ihm das Herz, Kling-klang beat his heart, Nahm manche lachende Blume mit, He took with him many a laughing flower, Kling-klang schlug ihm das Herz. Kling-klang beat his heart. „Über Wiesen und Felder “Over meadows and fields Weht Frühlingswind, A spring breeze blows, Über Berge und Wälder Over mountains and forests Weht Frühlingswind. A spring breeze blows. Im Herzen mir innen weht Frühlingswind, A spring breeze blows inside my heart, Der treibt zu Dir mich leise, lind!“ That drives me to you softly, gently!” Kling-klang schlug ihm das Herz. Kling-klang beat his heart.

Zwischen Wiesen und Feldern ein Mädel stand, A girl stood between fields and meadows, Kling-klang schlug ihr das Herz, Kling-klang beat her heart, Hielt über die Augen zum Schauen die Hand, Her hand shaded her eyes to help her see, Kling-klang schlug ihr das Herz. Kling-klang beat her heart. „Über Wiesen und Felder “Over meadows and fields Über Berge und Wälder, Over mountains and forests, Zu mir, zu mir schnell kommt er her! To me, to me he quickly comes here! Oh wenn er bei mir nur, bei mir schon wär!“ Oh if only he was already with me, with me!” Kling-klang schlug ihr das Herz. Kling-klang beat her heart.

16 Nachtgang Night walk Otto Julius Bierbaum

Wir gingen durch die stille, milde Nacht, dein Arm in We walked through the quiet, mild night, your arm in meinem, dein Auge in meinem; der Mond goss mine, your eyes in mine; the moon poured silver light silbernes Licht über dein Angesicht; wie auf Goldgrund on your face; as though your beautiful head rested on ruhte dein schönes Haupt, und du erschienst mir wie a gold background, and you seemed to me like a saint: eine Heilige: mild, mild und gross, und seelenübervoll, gentle, gentle and large, with an overflowing soul, holy and heilig und rein wie die liebe Sonne. Und in die Augen pure like the dear sun. And in my eyes a warm schwoll mir ein warmer Drang, wie Tränenahnung. desire swelled, like a presentiment of tears. I held you Fester fasst’ ich dich und küsste – küsste dich ganz more firmly and kissed you – kissed you quite softly, – leise, – meine Seele weinte. my soul cried. 17 Das Rosenband The rose garland Friederich Gottlieb Klopstock (1724-1803)

Im Frühlingsschatten fand ich sie; I found her in the spring shadow; Da band ich sie mit Rosenbändern: I bound her there with rose garlands: Sie fühlt’ es nicht und schlummerte. She did not feel it and slumbered on.

Ich sah sie an; mein Leben hing I looked at her; my life became entwined Mit diesem Blick an ihrem Leben: To her life with that glance: Ich fühlt’ es wohl und wußt’ es nicht. I felt it strongly and did not know it.

Doch lispelt’ ich ihr sprachlos zu Yet I whispered to her wordlessly Und rauschte mit den Rosenbändern. And rustled the rose garlands. Da wachte sie vom Schlummer auf. Then she awoke from her slumber.

Sie sah mich an; ihr Leben hing She looked at me; her life became entwined Mit diesem Blick an meinem Leben, To my life with that glance: Und um uns ward’s Elysium. And paradise was all around us.

18 Für funfzehn Pfennige For fifteen pennies Anonymous

Das Mägdlein will ein’ Freier hab’n, The girl wants to have a wooer, Und sollt’ sie’n aus der Erde grab’n, Even if she has to dig him out of the earth, Für funfzehn Pfennige. For fifteen pennies.

Sie grub wohl ein, sie grub wohl aus She dug down a lot, she dug out a lot Und grub nur einen Schreiber heraus And only dug out a writer Für funfzehn Pfennige. For fifteen pennies.

Der Schreiber hatt’ des Gelds zu viel, The writer had too much money, Er kauft dem Mädchen, was sie will He buys the girl whatever she wants Für funfzehn Pfennige. For fifteen pennies. Er kauft ihr einen Gürtel schmal, He buys her a narrow girdle, Der starrt von Gold wohl überall, That is stiff all over with gold, Für funfzehn Pfennige. For fifteen pennies.

Er kauft ihr einen breiten Hut, He buys her a broad hat, Der wär’ wohl für die Sonne gut, The would be good in the sun, Für funfzehn Pfennige. For fifteen pennies.

Wohl für die Sonn’, wohl für den Wind, Good in the sun, good in the wind, Bleib du bei mir, mein liebes Kind Stay with me, my dear child Für funfzehn Pfennige. For fifteen pennies.

Bleibst du bei mir, bleib’ ich bei dir, If you stay with me, I will stay with you, All meine Güter schenk’ ich dir, All my goods I give to you, Sind funfzehn Pfennige. For fifteen pennies.

Behalt dein Gut, laß mir mein Mut Keep your goods, leave me my courage Kein’ and’re doch dich nehmen tut No other girl will take you Für funfzehn Pfennige. For fifteen pennies.

Dein’ guten Mut, den mag ich nicht, I do not like your courage, Hast traun von treuer Liebe nicht You will get no true love Für funfzehn Pfennige. For fifteen pennies.

Dein Herz ist wie ein Taubenhaus, Your heart is like a pigeon house, Gebt einer ’nein, der and’re aus When one comes in, another goes out Für funfzehn Pfennige. For fifteen pennies. 19 Hat gesagt – Bleibt’s nicht dabei It was said – but it wouldn’t stop at that Anonymous

Mein Vater hat gesagt, My father said Ich soll das Kindlein wiegen, I should rock the child, Er will mir auf den Abend In the evening he will Drei Gaggeleier sieden; Boil three eggs for me; Siedt er mir drei, If he boils three for me, Ißt er mir zwei, He will eat two for me, Und ich mag nicht wiegen And I do not want to rock Um ein einziges Ei. For a single egg.

Mein Mutter hat gesagt, My mother said, Ich soll die Mägdlein verraten, I should tell tales on the maids, Sie wollt mir auf den Abend In the evening she would Drei Vögelein braten, ja braten; Roast three little birds for me; Brat sie mir drei, If she roasts three for me, Ißt sie mir zwei, She will eat two for me, Um ein einzig Vöglein For a single little bird Treib ich kein Verräterei. I will commit no betrayal.

Mein Schätzlein hat gesagt, My sweetheart has said, Ich soll sein gedenken, I should think of him, Er wollt mir auf den Abend He would in the evening Drei Küßlein auch schenken; Also give me three little kisses; Schenkt er mir drei, If he gives me three, Bleibt’s nicht dabei, It won’t stop at that, Was kümmert mich’s Vöglein, What do I care about a little bird, Was schiert mich das Ei. What do I care about an egg. 20 Freundliche Vision Friendly vision Otto Julius Bierbaum

Nicht im Schlafe hab ich das geträumt, I did not dream it in my sleep, Hell am Tage sah ich’s schön vor mir: I saw it beautiful in the bright day before me: Eine Wiese voller Margeritten; A meadow full of daisies; Tief ein weißes Haus in grünen Büschen; A white house deep in green bushes; Götterbilder leuchten aus dem Laube. Statues of gods shining in the arbour. Und ich geh’ mit Einer, die mich lieb hat And I walk with one who loves me Ruhigen Gemütes in die Kühle Serenely in the coolness Dieses weißen Hauses, in den Frieden, Of this white house, into the peace, Der voll Schönheit wartet, daß wir kommen. Which, full of beauty, awaits for us to come.

21 Ich Schwebe I float Karl Henckell

Ich schwebe wie auf Engelsschwingen, I float as if on angel wings, Die Erde kaum berührt mein Fuß, My feet barely touch the earth, In meinen Ohren hör’ ich’s klingen In my ears I can still hear the sound Wie der Geliebten Scheidegruß. Of my beloved’s farewell.

Das tönt so lieblich, mild und leise, It sounds so lovely, gentle and soft, Das spricht so zage, zart und rein, It speaks so hesitantly, delicate and pure, Leicht lullt die nachgeklung’ne Weise The echoing melody lightly lulls In wonneschweren Traum mich ein. Into my blissful dream.

Mein schimmernd Aug’ – indeß mich füllen My shimmering eyes – while Die süßesten der Melodien, – The sweetest of melodies fills me – Sieht ohne Falten, ohne Hüllen See, without gown, without cover, Mein lächelnd Lieb’ vorüberziehn. My smiling love pass by. 22 Winterliebe Winter love Karl Henckell

Der Sonne entgegen Towards the sun In Liebesgluten Aglow with love Wandr’ ich … o Wonne, I wander … oh bliss, Wer mäße dein Maß! Who could measure your magnitude! Mit Reif bepudert Powdered with frost Prangen die Wälder, The woods sparkle, Die Berge grüßen The mountains greet Das blendende Licht. The blinding light. Vor Eiseskälte With icy coldness Knirschen die Schritte, My steps crunch, Der Hauch des Mundes My breath Ballt sich zu Dampf … Steams from my mouth …

Ich trage Feuer I bring fire In meinem Herzen, In my heart, Mich brennt die Liebe, Love burns me, Das schlimme Kind. The wicked child. Sie schürt die Flamme It fuels the flame Mit hastigen Händen, With hasty hands, Die Kohlen knistern, The coals crackle, Der Wohlduft quillt, The fragrance swells, Der Sonne entgegen Towards the sun Im Liebesgluten Aglow with love Wandr’ ich … o Wonne, I wander … oh bliss, Wer mäße dein Maß! Who could measure your magnitude! 23 Winterweihe Winter dedication Karl Henckell

In diesen Wintertagen, In these winter days, Nun sich das Licht verhüllt, Now that the light is veiled, Laß uns im Herzen tragen, Let us carry in our hearts, Einander traulich sagen, And secretly say to one another, Was uns mit innerm Licht erfüllt. That which fills us with inner light.

Was milde Glut entzündet, That which ignites a gentle glow, Soll brennen fort und fort, Should burn on and on, Was Seelen zart verbündet, That which tenderly binds souls, Und Geisterbrücken gründet, And builds spirit-bridges Sei unser leises Losungswort. Shall be our soft watchword.

Das Rad der Zeit mag rollen, The wheel of time may roll, Wir greifen kaum hinein, We barely grasp it, Dem Schein der Welt verschollen, Lost to the illusions of the world, Auf unserm Eiland wollen On our island let Wir Tag und Nacht der sel’gen Liebe weih’n. Us dedicate day and night to blissful love.

24 Kling! Ring! Karl Henckell

Kling! … Ring! … Meine Seele gibt reinen Ton. My soul makes a pure sound. Und ich wähnte die Arme And I had thought that the poor thing Von dem wütenden Harme Was already torn to pieces Wilder Zeiten zerrissen schon. By the raging afflictions of wild times. Sing! Sing! Meine Seele, den Beichtgesang My soul, the confession song Wiedergewonnener Fülle! Of recovered wealth! Hebe vom Herzen die Hülle! Lift the veil from my heart! Heil dir, geläuterter Innenklang! Hail to you, purified inner sound!

Kling! Ring! Kling meine Seele, kling dein Leben, Ring my soul, ring out your life, Quellendes, frisches Gebild! A swelling, fresh creation! Blühendes hat sich begeben Blossoming has begun Auf dem verdorrten Gefild. On the parched plains.

Produced by Andrew Keener. Engineered by Simon Eadon. Edited by Bill Sykes. Remastered by Phil Rowlands. Recorded 23-25 April 2007 at Potton Hall, Suffolk U.K. Steinway technician: Graham Cooke.

Booklet notes © 2015 Gavin Plumley. English translation of sung text © 2015 Mark Stone. Cover: photograph of Patricia Rozario © Sheila Rock. Inside from cover: photograph of Patricia Rozario © Alexandra; photograph of Charles Owen © 2008 John Batten. Publisher: Boosey & Hawkes, Fürstner. Design: Red Engine Design.

Printed in the E.U. 5060192780505