Gordon GETTY Beauty Come Dancing The Radio Choir and Radio Philharmonic Orchestra

James Gaffigan Cover image: Four Dancers (1899) by Edgar Degas Beauty Come Dancing Choral Works by Gordon Getty

1 The Old Man in the Night 16.12 2 The Old Man in the Morning 3.06 3 Ballet Russe 2.53 4 Shenandoah 3.31 5 There Was a Naughty Boy 3.58 6 Those Who Love the Most 3.12 7 Beauty Come Dancing 2.56 8 For a Dead Lady 3.33 9 The Destruction of Sennacherib 3.39 10 Cynara 5.35 11 La Belle Dame sans Merci 8.49

Total playing time: 57.32

The Netherlands Radio Choir Chorus Master Klaas Stok

The Netherlands Radio Philharmonic Orchestra Concert master Joris van Rijn

Conducted by James Gaffigan Master of Multiple Muses Five years ago, on the eve of Getty’s by Jeff Kaliss 80th birthday celebration by the San Francisco Symphony and Chorus, the Gordon Getty’s adeptness at marrying Symphony’s executive director Brent words and music developed over a Assink opined to me that, “In this lifetime of loving both. As a child, “I incredibly complex age, Mr. Getty tends thought I was going to be a singer,” to select [as a musical source] poetry he recalls, long before his choir alto that cuts through all the clutter and voice had matured into a resonant makes its point quite directly. His music bass-baritone. Studying English at the is totally aligned with his selection of University of San Francisco, Getty grew words, and he loves to write music entranced by the history of poetry, that showcases a voice in sort of a and he went on to a bachelor’s degree wonderfully rare innocence, [which also] at the San Francisco Conservatory of communicates a sense of the time when Music. Among his earliest compositions those words were written. It’s almost were a setting of Alfred, Lord Tennyson’s nostalgic!” “All Along the Valley” (written while working for his father, J. Paul Getty, in This opinion was echoed in There Will Be the Middle East) and a garland of songs Music, the 2015 documentary portrait of from the poems of Emily Dickinson Getty by veteran filmmaker Peter Rosen, (thirty-two of which were released in the words of conductor Lawrence in 2009 as The White Election, on Foster, who’d led the San Francisco PENTATONE). Ballet Orchestra and the Aspen Music Festival, as well as the PENTATONE Gordon Getty © Gian Andrea di Stefano recording of Getty’s opera Usher House. the most generous showcase of Getty’s accompaniment, on English horn, harp, by harp and strings. Tart, tangy Foster credited Getty as a composer multi-talents. “The poem is gentle and and strings, delivers an unexpected harmonies evoke Maurice Ravel’s La who knows how to write for singers, and reflective throughout,” he says about major tonic resolution. valse, as well as Getty’s own Ancestor enjoys doing it. this pictorial, arboreal interchange Suite, heard in a 2010 PENTATONE between two men at the opposite ends There’s much of love and dance in recording. These talents and qualities are of their lives, both of which Getty, by this collection, commencing with engagingly manifest in this new rights, claims to be. Full orchestra and Getty’s take on “Ballet Russe”, by John “Shenandoah” takes us outdoors, where collection of choral settings of a chorus are engagingly deployed in the Masefield (1878-1967), acknowledged the warm words and sounds of early delightful array of sources, ranging telling of the tale. as the composer’s second favorite 19th-century American folklore shine historically from Lord Byron to John poet. “I have so much in common with on composer and listener. Like Getty, Masefield to Gordon Getty, the poet. Getty’s text for “The Old Man in the Masefield. He already impressed me in I grew up in love with Fred Waring’s Of Getty the composer, we have here Morning”, like the titular “Beauty high school; every line is sublime,” raves choral setting of this on the radio, but virtually all the recent choruses he’s Come Dancing”, was written just a few the composer. Masefield and his wife when I first overhead this tune in Getty’s written anew, or has rearranged from years ago, when the composer was in Constance were patrons of the ballet, arrangement, recorded by soprano settings for solo voice. The works range attendance at the Festival Napa Valley, and this poem’s smiling ballerina — “all Lisa Delan at Skywalker Ranch, I was in date from 2009 to 2015. in California wine country. “My ‘Old youth, all beauty, all delight, all that a awestruck by its alluring harmonies Man’ is not into the hereafter, he’s into boyhood loves and manhood needs” and potent lyricism. Working with full At the outset, a pair of Getty’s the past,” says Getty. “But he’s still all — is impelled by the sounds of Chopin. orchestra and chorus, the composer own poems prove his affinity and there, emotionally, and he’s with life, Getty’s muse moved him to “aim for makes audible the currents of the aptitude for applying poetry to courtly not death. There’s an unrequited love, tunes Chopin might have written, but “rolling river”. expressions on timeless topics. “The Old but then he thinks of the marvels of didn’t”. Like Chopin, Getty’s pacing and Man in the Night” is “one of the longest what’s left out there: ‘the hawks of Ida coloration are inherently dance-friendly, “There Was a Naughty Boy”, confirms poems I’ve ever written”, the longest calling at the height’. Mount Ida figures the arpeggiated piano sparkling at the Getty’s opinion about his (and one of of this album’s offerings, and perhaps in The Odyssey.” The plaintive musical center of the choral display, partnered Masefield’s) favorite poets, John Keats (1795-1821) that, “when he wants to and elegance which abounded in the be funny, he’s hilarious, so you’re crying latter half of the 19th century. Getty and laughing at the same time”. The points out that here, as in the Masefield poem’s short lines and nods to nonsense setting, “iambic pentameter is the suggest a children’s story song, and metric scheme, but I have set these Getty accordingly keeps the pace and two poems to waltzes. Now, the waltz phrasing playful. doesn’t naturally fit iambic pentameter. It can be tricky, and you could say The only poem by a woman, Sara the Devil made me do it.” The effect, Teasdale (1884-1933), becomes the entranced with flutes, clarinets, celesta, only song set here for women’s chorus. and strings, is devilishly giddy. Getty invokes the magic in the poet’s mythic name-checks, and positions love “For a Dead Lady” is darker, but Getty as triumphant. “Triumph is part of the finds the poetry of multi-Pulitzer-winner story,” says Getty, “and this lady gets Edwin Arlington Robinson (1869-1935) the better of the deal, she has that to be “sublime as well as overwhelming, inner life that not everybody has. But at least the equal of Whitman and Poe. how are you going to be a poet or a He has this gift of cumulative weight, composer if you don’t have that?” and he piles it on with gentle, irresistible power.” Getty and chamber orchestra Both the music and the form and swirl this in sad waltz time, again, and allusions of Getty’s original “Beauty the composer leaves the harmony Come Dancing” reflect his admitted artfully unresolved at the conclusion. homage to the traditions of romance Full orchestra and chorus are summoned to “The Destruction of honors the febrile longing in Dowson’s Sennacherib”, for this setting of the declamatory verse. “Unrequited love, epic by George Gordon (Lord) Byron love from afar, are themes of poetry (1788-1824). It “begins with the Assyrian that work for me,” Getty points out. army stomping through you,” in the words of the composer. Getty marshals Keats, whose prolific and influential his trademark mastery of the individual output belies his brief life span, is instruments and sections of the represented here again by “one of his orchestra, including harp and chimes, overpowering short poems”, a knightly making advances on 20th-century tale of enchantment. “My idea of a chromatic modulations and anguished good story is something that touches voicings. “But it’s an extremely beautiful the heart,” the composer says about poem,” he insists, “and the ending is “La belle dame sans merci”. “I want reflective.” laughter or tears, or both.” Alongside Keats’s “wither’d sedge” where “no Poet and novelist Ernest Christopher birds sing”, Getty concludes our listen Dowson (1867-1900) is associated with with an inventive and lovely trope, “a the so-called Decadent Movement, clarinet which sings what a bird would whose aesthetic ideology of excess have sung, in that birdless and desolate represents another facet of Getty’s place”. inspirations. But the composer’s setting of “Cynara” for men’s chorus and Reflecting on his choral writing, Getty chamber orchestra, though effectively tells me that, “I have a certain tendency dramatic, avoids the garish and to set the last syllable of a line or a verse as a high note. You’ll also note that melisma and divisi are rare in my music, as was the case with Wagner. I think Gordon Getty on Poets there’s something artificial about them.” Listen, and you may be inclined to agree I have yet to set the works of living poets, except me, because I prefer to with the composer. avoid disagreement. It cramps your style, and I have to be free to change my mind. But in truth, Keats heads my pantheon of poets, with Masefield a close Do the math, and you’ll realize that second, and all the poets represented Gordon Getty, born in 1933, has already here are old favorites of mine. lived far longer than all of the fellow poets whose words he’s musicalized (excepting Edward Arlington Robinson, like Masefield, paid no court to modernism. His Masefield). “I’m probably going to set poems, including “For a Dead Lady,” build like Bach fugues. Few can match one or two of Keat’s sonnets, or maybe him for cadence and the longer breath, though the fateful anapests of “The his ‘Ode to a Nightingale’,” Getty posits Destruction of Sennacherib” put Byron among those few. Sara Teasdale’s for the future. He wants to delve further “Those Who Love the Most” shows the equal power of a lighter touch. into folk songs, including “Annie Laurie”, “Danny Boy”, and “Deep River”. And he has a new opera in development. So keep your ears and your hearts open, because — Gordon Getty there’ll be much more to enjoy... The Netherlands Radio Glanert, Gubaidulina, Henze, Kancheli, 1 March 2015, Klaas Stok has been Netherlands Radio Choir – together with Choir (Groot Omroepkoor) MacMillan, Widmann and Whitacre. the choir director of The Netherlands the Dutch Radio Philharmonic Orchestra The program also includes “classical” Radio Choir. Michael Gläser has been – received the Concertgebouw Prize for With nearly 70 vocalists, The twentieth-century works, opera and the permanent guest director since the important contribution the choir Netherlands Radio Choir (Groot romantic music. The Netherlands Radio September 2010. In September 2018, has made to the artistic profile of the Omroepkoor) is the largest professional Choir has also been invited regularly by Peter Dijkstra will become the first concert hall. choir of the Netherlands. Since the Royal Concertgebouw Orchestra guest director of The Netherlands its founding in 1945, the choir has (Koninklijk Concertgebouworkest), the Radio Choir. In September 2017, The www.grootomroepkoor.nl performed a broad repertoire. The choir Rotterdam Philharmonic Orchestra is closely connected with the Dutch (Rotterdams Philharmonisch Orkest) Public Broadcasting Organization and the Berlin Philharmonic (Berliner (Nederlandse Publieke Omroep). The Philharmoniker). Annually, The majority of its concerts are staged as Netherlands Radio Choir organizes the part of the broadcast series in Utrecht Groot Meezing Concert: a tremendous (TivoliVredenburg) and Amsterdam event with a choir of 1000-1200 amateur (e.g. NTR ZaterdagMatinee in The Royal singers (preceded by workshops), open Concertgebouw), often in cooperation to anyone who loves singing. with the Dutch Radio Philharmonic Orchestra, as well as a cappella. The The first official chief conductor of The very extensive repertoire in these series Netherlands Radio Choir was Kenneth spans classical to contemporary music, Montgomery. He was followed by Robin with commissioned works by Dutch Gritton, Martin Wright, Simon Halsey, composers as well as premieres by Celso Antunes and Gijs Leenaars as foreign composers including Adams, chief conductors of the choir. Since Radio Philharmonic Markus Stenz has been the chief scene. As a key player of the 2017, after previous winners such as Sir Orchestra conductor since 2012. He was preceded Concertgebouw, the orchestra – John Eliot Gardiner, Yo-Yo Ma, Janine by Albert van Raalte, Paul van Kempen, together with The Netherlands Radio Jansen and Thomas Hampson. The Dutch Radio Philharmonic Orchestra, , Jean Fournet, Willem Choir (Groot Omroepkoor) – received founded in 1945, is an indispensable part van Otterloo, Hans Vonk, Sergiu the Concertgebouw Prize in September www.radiofilharmonischorkest.nl of the music scene of the Netherlands. Comissiona, Edo de Waart and Jaap The orchestra plays extraordinarily van Zweden. The orchestra has also programmed symphonic concerts and worked with guest conductors such as concert opera performances. Dutch and Leopold Stokowski, Kirill Kondrashin, world premieres comprise an important Antal Doráti, Charles Dutoit, Mariss part of its repertoire. Most concerts Jansons, Michael Tilson Thomas, are staged as part of the broadcast Gennady Rozhdestvensky, Christoph series in Utrecht (TivoliVredenburg) and Eschenbach, Pablo Heras-Casado, Vasily Amsterdam (e.g. NTR ZaterdagMatinee Petrenko, Vladimir Jurowski and Valery in The Royal Concertgebouw) and are Gergiev. The American James Gaffigan broadcast live on NPO Radio 4. The has been a permanent guest conductor orchestra has managed to reach new since the 2011-2012 season. Bernard music fans of all ages with the concert Haitink’s name has been attached to series Pieces of Tomorrow and Out of the the orchestra as a patron. Blue in TivoliVredenburg, and with lunch concerts at the Music Centre of the In 2014, the Radio Philharmonic Dutch Public Broadcasting Organisation Orchestra was awarded an Edison (Muziekcentrum van de Omroep) in Classical Oeuvre Prize for its Hilversum. contributions to the Dutch music James Gaffigan, James was also appointed the first Toronto, Detroit, Sydney, Bournemouth was part of the American Academy Conductor Principal Guest Conductor of the and the BBC Symphony Orchestra; Oslo of Conducting at the Aspen Music Gürzenich Orchestra, Cologne, in Philharmonic, Seoul Philharmonic and Festival. In 2009, he completed a three- Hailed for the natural ease of his September 2013, a position that was Los Angeles Philharmonic; the Orchestre year tenure as Associate Conductor conducting and the compelling insight created for him. In addition to these de Paris and Orchestre National de of the San Francisco Symphony, in a of his musicianship, James Gaffigan titled positions, James is in high demand France. In the US he has also worked position specially created for him by continues to attract international working with leading orchestras and for the Dallas Symphony, Philadelphia Michael Tilson Thomas. Prior to that attention and is one of the most opera houses throughout Europe, the Orchestra and St. Louis, Baltimore, appointment, James was Assistant outstanding American conductors United States and Asia, and has made Pittsburgh and National Symphony Conductor of the Cleveland Orchestra, working today. James Gaffigan is guest appearances with orchestras such Orchestras. His opera appearances have where he worked under Music Director currently the Chief Conductor of as the New York Philharmonic; London included La Traviata, La bohème, Don Franz Welser Möst. James was also the Lucerne Symphony Orchestra Philharmonic; ; Giovanni, and Le nozze di Figaro at the named first prize winner of the 2004 Sir and Principal Guest Conductor of Munich Philharmonic; Czech Wiener Staatsoper; Don Giovanni at the Georg Solti International Conducting the Netherlands Radio Philharmonic Philharmonic; Rotterdam Philharmonic; Bayerische Staatsoper; Così fan tutte, Competition. Orchestra. Since becoming Chief Wiener Symphoniker; Dresden La Cenerentola and Falstaff at the Conductor of the Lucerne Symphony Staatskapelle; Deutsches Symphony Glyndebourne Festival; La Traviata for Orchestra James has made a very Orchestra Berlin; Konzerthaus Berlin; Norwegian Opera; Salome for Hamburg significant impact on the orchestra’s Zürich Tonhalle; Gothenburg; Tokyo Opera, La bohème for the Opernhaus profile, both nationally and Metropolitan and City of Birmingham Zürich, and leading productions at the internationally, with a number of highly Symphony Orchestras; Orchestra of Chicago Lyric Opera and Washington successful tours and recordings. In the Age of Enlightenment and Leipzig, National Opera. recognition of this success his contract Berlin and Stuttgart Radio Orchestras, has been further extended until 2022. as well as the Symphony Orchestras James was a conducting fellow at of Cleveland, Chicago, San Francisco, the Tanglewood Music Center and James Gaffigan & Gordon Getty Gordon Getty The Canterville Ghost (after a tale by America, performed by the San by director Peter Rosen. His music is Oscar Wilde), received its premiere at Francisco Symphony Orchestra and published by Rork Music. The music of the American composer the Leipzig Opera. Usher House and Chorus (Michael Tilson Thomas Gordon Getty has been performed in The Canterville Ghost were presented conducting) and the Eric Ericson www.gordongetty.com such venues as New York’s Carnegie together as Scare Pair by Los Angeles Chamber Choir and Russian National Hall and Lincoln Center, London’s Royal Opera, as well as by the Center for Orchestra (conducted by Alexander Festival Hall, Vienna’s Brahmssaal, Contemporary Opera in New York. Verdernikov). The second, The Little and Moscow’s Tchaikovsky Hall and Match Girl, was recorded with Asher Bolshoi Theatre, as well as at the Aspen, Joan and the Bells, a cantata portraying Fisch conducting the Bavarian Radio Spoleto, and Bad Kissingen Festivals. the trial and execution of Joan of Arc, Symphony Choir and the Munich has been widely performed, notably Radio Orchestra. In addition to his The first of his three operas, Plump Jack, at Windsor Castle with Mikhail Pletnev three operas and Joan and the Bells, involving adventures of Shakespeare’s conducting. His ballet Ancestor Suite PENTATONE has released an album Sir John Falstaff, was premiered by was given its premiere staging by the devoted to six of his orchestral pieces, the San Francisco Symphony and Bolshoi Ballet and Russian National with Sir Neville Marriner conducting the has been revived by the Los Angeles Orchestra at the Bolshoi Theatre in Academy of St. Martin in the Fields; an Chamber Orchestra, BBC Philharmonic, Moscow and has been reprised for album of his solo-piano works played by Munich Radio Orchestra and London performances in China. Conrad Tao; and The White Election, a Philharmonia, among other ensembles. much-performed song cycle on poems His opera Usher House (after Edgar Getty enjoys a fruitful relationship by Emily Dickinson, recorded with Allan Poe’s The Fall of the House of with the PENTATONE label. Beauty soprano Lisa Delan. Usher) was first performed by the Welsh Come Dancing is the third album of National Opera and remounted by Getty’s choral work to be released Getty was the subject of the San Francisco Opera. His third opera, by PENTATONE. The first wasYoung documentary filmThere Will Be Music, The Old Man in the Night 1 Beauty to mute the watcher and to bind, Gordon Getty Beauty to make him feel both clod and prince. For how could such as we return such grace? He was an old man, slow but straight; his head Then each man knew allegiance in his mind, Looked set on something far. He must have thought And each man thought: ‘Well, Lady, I have sworn That all of us had gone, but I had stayed To love and serve you to the Judgement Morn.’ A rise above him, with young pines between, But she had looked at me.” To watch the sun fall. Now at last it caught Something at sea, then windows on a street I had no right, Far off, and made them flash across the park I knew, to hear such things. What spectral tryst Blood molten; now the light leapt molten green Had I profaned? For she of whom he spoke To sea again, then spilling in retreat, Was now forever in some way his own, Now foot by foot stretched thinner, tangled, frayed, And not for strangers. Yet I could not go Guttered, the huge sun drowning, burning dark. Unheard; the walks were gravel. It grew late. The sun fell, now a star came, now a mist, I meant to go, but then the old man said, Then other stars. Surely he need not know. “I have come back. It is the day, the place, Much better he should think himself alone; And now the hour. There, it was there she turned Much better that it were not I who broke And looked at me. We walked again. Her hair That silence. Let that sundown hour long past Blew round her like a fire; the late light burned Be his alone for keeping. I could wait. In her hair’s colors, just as these. Then he said, My friends and I were silent. No man there Had seen such beauty; I have seen none since, “It was here I sought the night, Beauty to stop men’s hearts and turn men white, The kindly night, with thoughts not to be told, The kindly night, lest men should see and muse “O beautiful my love, it is the hour ‘It is the grief that Adam knew of old, To beauty sacred, beauty consecrate, Who learned and lost.’ For grief is of the first, It is the night that gathers in its reach And sorrow the old coinage men must use Things past, things coming. Years fall, centuries To pay tuition as they learn the law Fall and are counted, but the night is one; Of time exacting, time that takes his due, We and Orion and the Pleiades, Time that will have the best and leave the worst, The Herdsman and his flock, the Huntress Moon Of time that garners beauty as he must, Touch and are one. Now time yields up his power; Of time most certain. Then at length I saw Now hasten, beauty, his hand drops, he frees That sorrow is a precious thing whereby The prisoner decades, all is rebegun; Beauty can stay awhile and may hold true, We and the Huntress and her prey above That beauty gone may live in sorrow’s trust, All rebegun, renewed. O beauty lost, In sorrow and the night until we die. O beauty lithe and delicate, come soon, And so I walked, and thought the night a friend Make speed, O dextrous, beauty stepping light, Worthy to keep all secrets to the end.” Sure-footed beauty, come, O come in state, Come conquer, O majestic, reign and teach, This hint alarmed me. Had he found me out? O beauty, come in the archaic night, I felt a fool, though I had meant the best. Beauty beyond all keeping, worth all cost, I could feign waking as from sleep, then leave. O beautiful and merciless my love.” A silly game, less likely to deceive The Old Man in the Night: © 2009 Rork Music Than make things worse. Then as I sat in doubt He spoke again, and put my doubt to rest. He could not know, for what he said made clear That none alive save he was meant to hear: The Old Man in the Morning 2 Like all the Aprils of forgotten Springs. Gordon Getty Smiling she comes, all smile, All grace; forget the cruel world awhile: Here where she walked, her children’s children play, Forget vexation now and sorrow due. It is all spring, all morning, just as then, A blue cap sits coquettish in her hair. Fennel and fern and springtime come again, But she brought beauty to another day. She is all youth, all beauty, all delight, We cannot hold the robin or the rose, All that a boyhood loves and manhood needs. Here where she walked and spoke, another goes, What if an Empire perishes, who heeds? And she borne westward, westward and away. Smiling she comes, her smile Is all that may inspire, or beguile. Here where she walks, her foot, her hair, her hand, All that our haggard folly thinks untrue. She is all rose and lily, red and white, Upon the trouble of the moonlit strain She is the morning, she and all the land She moves like living mercy bringing light. Are new again, awoken from the night, All new, all found, the cloves of Samarkand, Soon, when the gnomish fingers cease to stray, The hawks of Ida calling at the height. She will be gone, still smiling, to the wings, The Old Man in the Morning © 2013 Rork Music To live among our unforgotten things, Centaur and unicorn, Ballet Russe 3 The queens in Avalon and Roland’s horn, John Masefield (Part I) The mystery, the magic and the dew Of a to-morrow and a yesterday. The gnome from moonland plays the Chopin air, By permission of The Society of Authors as the Literary The ballerina glides out of the wings, Representative of the Estate of John Masefield Shenandoah 4 There was a Naughty Boy 5 Traditional John Keats

Oh Shenandoah, I long to see you, There was a naughty boy Away, you rolling river. A naughty boy was he Oh Shenandoah, I long to hear you, He would not stop at home* Away, I’m bound away across the wide Missouri. He could not quiet be— He took Missouri, she’s a mighty river, In his knapsack Hi-o, you rolling river. A book When she rolls down, her topsails shiver, Full of vowels Away, I’m bound away across the wide Missouri. And a shirt With some towels— Oh Shenandoah, I love your daughter, A slight cap Away, you rolling river. For night cap— I hear her voice across the water, A hair brush Away, I’m bound away across the wide Missouri. Comb ditto New stockings For sev’n long years I’ve heard you calling, For old ones Away, you rolling river. Would split O! For sev’n long years I’ve heard her calling, This knapsack Away, I’m bound away across the wide Missouri. Tight at ’s back He riveted close And follow’d his nose And ditches To the north And wrote To the north In his coat And follow’d his nose When the weather To the north— Was cool Fear of gout There was a naughty boy And without And a naughty boy was he When the weather For nothing would he do Was warm— But scribble poetry— Och the charm He took When we choose An inkstand To follow one’s nose In his hand To the north And a pen To the north Big as ten To follow one’s nose to the north! In the other And away There was a naughty boy In a pother And a naughty boy was he He ran He kept little fishes To the mountains In washing tubs three And fountains In spite And ghostes Of the might And postes Of the maid And witches Nor afraid Of his granny-good— A kettle! He often would Hurly burly There was a naughty boy Get up early And a naughty boy was he And go He ran away to Scotland By hook or crook The people for to see— To the brook There he found And bring home That the ground Miller’s thumb Was as hard, Tittlebat That a yard Not over fat Was as long, Minnows small That a song As the stall Was as merry, Of a glove That a cherry Not above Was as red— The size That lead Of a nice Was as weighty Little baby’s That fourscore Little finger— Was as eighty O he made That a door ’Twas his trade Was as wooden Of fish a pretty kettle As in England— A kettle—a kettle So he stood in Of fish a pretty kettle His shoes And he wonder’d Beauty Come Dancing 7 He wonder’d Gordon Getty He stood in his Shoes and he wonder’d— Beauty come dancing, beauty come apace, *This line from the original poem is not included in this choral setting. Beauty and spring are full, come dancing lest They lapse unharvested, the hour is pressed, Those Who Love the Most 6 Diana’s hounds are gathered for the chase, Sara Teasdale Orion puts his shoulder to the trace, And drives the stars to pasture in the west. Those who love the most, Do not talk of their love, Where will the lapwing go, and where the lawn? Francesca, Guinevere, Over to windward, over and away, Deirdre, Iseult, Heloise, Too soon the curfew sounds, too soon we pay In the fragrant gardens of heaven Passage to where the seeps of time are drawn, Are silent, or speak if at all Song ends, the dancer curtseys, all is gone Of fragile, inconsequent things. To mist and mystery and yesterday.

And a woman I used to know Beauty come dancing now, the world is young, Who loved one man from her youth, Set foot upon the springtime, all the world Against the strength of the fates Is loud with music; mirth and music spill Fighting in somber pride, And set the sky to dancing, rung by rung Never spoke of this thing, Stars in their lattice dance to music sung But hearing his name by chance, By owl and cricket, jar and whippoorwill. A light would pass over her face. Beauty Come Dancing © 2013 Rork Music For a Dead Lady 8 Or over children that are sleeping; Edwin Arlington Robinson And we who delve in beauty’s lore Know all that we have known before No more with overflowing light Of what inexorable cause Shall fill the eyes that now are faded, Makes Time so vicious in his reaping. Nor shall another’s fringe with night Their woman-hidden world as they did. No more shall quiver down the days The Destruction of Sennacherib 9 The flowing wonder of her ways, Lord Byron Whereof no language may requite The shifting and the many-shaded. The Assyrian came down like the wolf on the fold, And his cohorts were gleaming in purple and gold; The grace, divine, definitive, And the sheen of their spears was like stars on the sea, Clings only as a faint forestalling; When the blue wave rolls nightly on deep Galilee. The laugh that love could not forgive Like the leaves of the forest when Summer is green, Is hushed, and answers to no calling; That host with their banners at sunset were seen: The forehead and the little ears Like the leaves of the forest when Autumn hath blown, Have gone where Saturn keeps the years; That host on the morrow lay wither’d and strown. The breast where roses could not live Has done with rising and with falling. For the Angel of Death spread his wings on the blast, And breathed in the face of the foe as he pass’d; The beauty, shattered by the laws And the eyes of the sleepers wax’d deadly and chill, That have creation in their keeping, And their hearts but once heaved, and for ever grew still! No longer trembles at applause, And there lay the steed with his nostril all wide, I have been faithful to thee, Cynara! in my fashion. But through it there roll’d not the breath of his pride; And the foam of his gasping lay white on the turf, All night upon mine heart I felt her warm heart beat, And cold as the spray of the rock-beating surf. Night-long within mine arms in love and sleep she lay; Surely the kisses of her bought red mouth were sweet; And there lay the rider distorted and pale, But I was desolate and sick of an old passion, With the dew on his brow, and the rust on his mail: When I awoke and found the dawn was gray: And the tents were all silent, the banners alone, I have been faithful to thee, Cynara! in my fashion. The lances unlifted, the trumpet unblown. I have forgot much, Cynara! gone with the wind, And the widows of Ashur are loud in their wail, Flung roses, roses riotously with the throng, And the idols are broke in the temple of Baal; Dancing, to put thy pale, lost lilies out of mind; And the might of the Gentile, unsmote by the sword, But I was desolate and sick of an old passion, Hath melted like snow in the glance of the Lord! Yea, all the time, because the dance was long: I have been faithful to thee, Cynara! in my fashion.

Cynara 10 I cried for madder music and for stronger wine, Ernest Christopher Dowson But when the feast is finished and the lamps expire, Then falls thy shadow, Cynara! the night is thine; Last night, ah, yesternight, betwixt her lips and mine And I am desolate and sick of an old passion, There fell thy shadow, Cynara! thy breath was shed Yea, hungry for the lips of my desire: Upon my soul between the kisses and the wine; I have been faithful to thee, Cynara! in my fashion. And I was desolate and sick of an old passion, Yea, I was desolate and bowed my head: La Belle Dame sans Merci 11 And bracelets too, and fragrant zone; John Keats She look’d at me as she did love, And made sweet moan. O what can ail thee, knight at arms, Alone and palely loitering? I set her on my pacing steed, The sedge has wither’d from the lake, And nothing else saw all day long, And no birds sing. For sidelong would she bend, and sing A fairy’s song. O what can ail thee, knight at arms, So haggard and so woe-begone? She found me roots of relish sweet, The squirrel’s granary is full, And honey wild, and manna dew, And the harvest’s done. And sure in language strange she said— I love thee true. I see a lily on thy brow With anguish moist and fever dew, She took me to her elfin grot, And on thy cheeks a fading rose And there she wept, and sigh’d full sore, Fast withereth too. And there I shut her wild wild eyes With kisses four. I met a lady in the meads, Full beautiful, a fairy’s child; And there she lulled me asleep, Her hair was long, her foot was light, And there I dream’d—Ah! woe betide! And her eyes were wild. The latest dream I ever dream’d On the cold hill’s side. I made a garland for her head, I saw pale kings, and princes too, Pale warriors, death pale were they all; They cried—“La belle dame sans merci Thee hath in thrall!

I saw their starv’d lips in the gloam With horrid warning gaped wide, And I awoke and found me here On the cold hill’s side.

And this is why I sojourn here, Alone and palely loitering, Though the sedge is wither’d from the lake, And no birds sing.

Gordon Getty, Job Maarse, Jean-Marie Geijsen & Karel Bruggeman Acknowledgments

PRODUCTION TEAM Executive producers Lisa Delan, Job Maarse, Bruce Munson Recording producer Job Maarse What we stand for: Recording engineers Jean-Marie Geijsen & Karel Bruggeman

Liner notes Jeff Kaliss | Recording session photography Daniel Forniés Sòria Design Joost de Boo | Product management Kasper van Kooten The Power of Classical Music PENTATONE believes in the power of classical music and is invested in the This album was recorded in MCO 5, Hilversum, June & October 2017. philosophy behind it: we are convinced that refined music is one of the most important wellsprings of culture and essential to human development. All music published by Rork Music The Old Man in the Night © 2009, The Old Man in the Morning © 2103, Ballet Russe True Artistic Expression © 2013, Shenandoah © 2015, There Was a Naughty Boy © 2013, Those Who Love We hold the acoustic tastes and musical preferences of our artists in high regard, the Most © 2013, Beauty Come Dancing © 2013, For a Dead Lady © 2013, The and these play a central role from the start to the end of every recording project. Destruction of Sennacherib © 2014, Cynara © 2013, La Belle Dame sans Merci © This ranges from repertoire selection and recording technology to choosing cover 2009 art and other visual assets for the booklet.

Sound Excellence PENTATONE stands for premium quality. The musical interpretations delivered PENTATONE TEAM by our artists reach new standards in our recordings. Recorded with the most Vice President A&R Renaud Loranger | Director Simon M. Eder powerful and nuanced audio technologies, they are presented to you in the most A&R Manager Kate Rockett | Head of Marketing, PR & Sales Silvia Pietrosanti luxurious, elegant products. Sit back and enjoy