p1 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 1 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p2 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page2 p3 The Bride’s Lament op.47 no.7 5.47 My genius, my angel, my friend! My genius, my 1.55 The lights were being dimmed The lights were being dimmed Mild stars looked down op.60 no.12Mild stars looked down op.60 3.26 Again, as before, alone op.73 no.6Again, as before, alone op.73 2.15 Over burning ashes op.25 no.2Over burning ashes 1.47 None but the lonely heart op.6 no.6 None but the 3.30 It was in early spring op.38 no.2 2.38 mezzo-soprano Not a word, my friend op.6 no.2 Not a word, my friend op.6 3.06 At the Ball op.38 no.3At the 2.33 Lullaby op.16 no.1 3.18 The Fearful Moment op.28 no.6The Fearful Moment 3.35 Do not believe, my friend op.6 no.1 Do not believe, my friend op.6 3.57 The sun has set op.73 no.4The sun has set 1.41 The Gypsy Song op.60 no.7 2.39 piano Had I only known op.47 no.1 4.00 Can it be day? op.47 no.6 3.19 Reconciliation op.25 no.1Reconciliation 5.17 Cuckoo op.54 no.8 2.31 Why? op.6 no.5 2.56 PYOTR ILYICH TCHAIKOVSKY (1840–1893) ILYICH TCHAIKOVSKY PYOTR ROMANCES bala Sret’ shumnava kto znal Net, tol’ka tot, Kak nad garjacheju zaloj Kak nad garjacheju Moj genij, moj angel, moj druk! Moj genij, moj Kolybel’naja pesnja Primiren’je Zakatilas’ sontse Strashnaja minuta Nam zvjozdy krotkije sijali Kaby znala ja Uzh gasli f komnatakh agni op.63 no.5Ni slova, o druk moj Atchevo? 2.46 Ja li f pole da ne travushka byla Ja li f pole da ne travushka Pesn’ Cyganki Ne ver’, moj druk To byla ranneju vesnoj Kukushka Den’ li tsarit Snova, kak prezhde, adin TOTAL TIMEChristianne Stotijn Julius Drake 63.16 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 3 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p4 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page4 tender pleading. opening stanza,making athree-partsongthatturnsTolstoy’srather coldlogicintoalovesongof chords expressunmistakablythecrashofwaves thathavereachedtheshore.Tchaikovskyrepeats bound tosurrenderyouagainwithallmy formerpassion’.Inthemiddleofsong,loudpiano beloved toconsiderthetides:‘thereisyour answertowhyIamsometimescoolanddistant,yet verse forits‘musicality’. Inthefirstofthem, a commonthreadinlyricsbyAlexeyTolstoy, acousinofthenovelist.TchaikovskylikedTolstoy’s Words addressedto‘myfriend’(orlove’, astheRussianword theme thatoccupiedTchaikovskythroughouthislife. essential companionshiptoheart,mind,andsoul:thereisanimpliedconversationgoing on.Thisisa addresses akindofguardianangelyoucantalkto,whoseinvisiblepresencebringsinspiration and very apparent:hereitistenderadoration,elaboratedinthelovelymelismaatend. Thesinger achieve amusicalendcompletelyconvincinginitssincerity.EmotionTchaikovsky song isusually today. Italreadyshowssomequalitiesofhismatureart:alovelymelodyandlaconic meansthat ‘My genius,myangel,friend! most popularsongsduringhislifetime. after makingadeclarationoflove.Thisrealisticglimpseintotwoheartswasone Tchaikovsky’s felt it.Hehimselfwrotethewordsfor relationships andthelifearoundtheminwaysthatstrovetobe‘true’asthey knewitand age ofRussianrealism,whennotonlythenovelists,butpoets,too,represented human mood, afeeling,moment,includingmomentsofpsychologicalcomplexity.Helived,after all,inthe The shortlyricsongformappealedtoTchaikovskyforitspossibilitiesofgivingmusicalexpressiona musicians, calledTchaikovsky’sRomances‘themostpoignantcreationsofhisgenius’. ‘Cuckoo’ ‘Romances’, arewellknowninRussiaandsixteenofthemsongsforchildren,withthedelightful and piano,mostofthemtolyricsbyRussianpoetswhowerehiscontemporaries.Thesesongs,called concertos, balletsandoperasforwhichheisfamous,Tchaikovskywroteover100songssolovoice Outside Russia,itsometimescomesasasurprisetolearnthat,inadditionthesymphonies, Tchaikovsky: Songs (1883) * represented here.NicolasSlonimsky,theeminentchroniclerofmusicand ’ (1857) ‘The FearfulMoment’ 4 ‘Do notbelieve,myfriend’ is theearliestcompositionbyTchaikovskyperformed (1875) druk 8 may oftenbetranslated)form (1869) – themomentofsuspense ^ , thepoeturgeshis p5 ; is @ £ (1869) (1869) ‘The Bride’s ‘Reconciliation’ . ‘Why?’ with double forte on the with double forte ‘Not a word, my friend’ ad libitum , with free expression, floats up to be sung with floats up to be expression, , with free , where the beginning and end are declamatory end are and beginning the , where (both 1878), masterpieces by Tolstoy, convey the by Tolstoy, convey (both 1878), masterpieces 3 1 ad libitum (1875) (1875) ‘At the Ball’ is an imitation folk song, close to folk tradition, but brilliantly original in is an imitation folk song, close and 0 & (1880) ‘Over burning ashes’ ashes’ burning ‘Over by the peasant poet Surikov (1880), the young woman laments being married off to an old by the peasant poet Surikov (1880), is a song where the words say one thing (find peace in acceptance) but the music says the one thing (find peace in acceptance) but the music says is a song where the words say $ 6 Tchaikovsky liked a three-part structure and used it often, never to finer effect than in Tyutchev’s than finer effect to never it often, and used structure a three-part liked Tchaikovsky lyric confessional Allegro marked but the middle, con spirito, melancholy. slow, lyrical spring’ ‘It was in early a song singers have always found attractive. The tension in Heine’s ironic lyric is evident from the first a song singers have always found attractive. The tension in calm melancholy of the vocal line. Yet the nervously percussive notes of the piano, at odds with the its repeated notes, each with a different vocal part has a concentrated, incessant quality too, with few soft arpeggios on the piano: nothing time value. The song ends in a powerful outburst and a remains but a fugitive echo of lost happiness. ‘graybeard’. The grass cut for straw and the bush cut for thatch are metaphors for this fate. The three straw and the bush cut for thatch are metaphors for this fate. ‘graybeard’. The grass cut for a long, fluttering melisma with falling tones. parts each end in a ‘falling leaf’, songs. It is treated as elegy in Loss is a common theme in Russian bending low expresses an all-forgiving tenderness. the repeated image of willows (1875) the song’s conclusion there is resistance and regret opposite — in every phrase of ‘poignancy’ of Tchaikovsky’s songs. Both recall the awakening of love. The first, Allegro moderato, the awakening of love. Tchaikovsky’s songs. Both recall ‘poignancy’ of spring, culminates images of the coming of with vivid Russian Tolstoy’s hands with its fresh images of horse and rider, speckled falcon, scarlet ribbon, and feet wet images of horse and rider, speckled falcon, scarlet ribbon, Tolstoy’s hands with its fresh who rode sung by a young woman who gave her heart to a man in the dew. It is a song of experience, to anger The singer expresses a range of feelings from love and passion away and has not come back. and frames in a wail of pain. The piano supports this in a dramatic way, and heartbreak, culminating Allegro theme that suggests the dashing rider. In the whole song in a light-stepping Lament’ words ‘Oh happiness! Oh tears!’ The rising intonation that drives the song indicates strong intonation that drives Oh tears!’ The rising words ‘Oh happiness! and recalling it later. falling in love with a stranger the ball’, Moderato, is about affirmation. ‘At 3/8 time. it into a waltz-reverie in slowed-down Tchaikovsky made ‘Had I only known’ ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 5 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 6

Loss can be recalled brightly, too, as in ‘Mild stars looked down’ (1886) 9, with its markings ‘cantabile’, ‘dolce’, all punctuated by throbbing little triplets. ‘The lights were being dimmed’ (1887) !, with its theme ‘we were once young and in love,’ uses sentiments found everywhere in popular urban and gypsy romance, but here they are phrased with tender delicacy by Tchaikovsky’s friend Grand Duke Constantine Romanov, a poet and serious amateur musician. The music articulates the lyric perfectly.

Tchaikovsky’s natural gift for melody served him well in writing songs. It is often impossible to read the words without hearing his melody. He shapes a musical phrase out of the first line or two lines of the text, using it for variation and elaboration or counter-melody. The famous ‘None but the lonely heart’ 2 (1869) gets its staying power from a beautiful melody with a recurring, endless quality. The lovely ‘Lullaby’ (1872) 5 to words from Greek folk poetry, is shaped A–B–A–B–A’, rising to a high A flat in the penultimate line. Here melody, counter-melody, and rocking piano line can stand alone, as in Rachmaninoff’s transcription for solo piano. The interplay of voice and piano is more complex in ‘Can it be day?’ (1880) (, where the piano begins deceptively in an easy-going Andantino, then picks up the tempo to Allegro agitato; the song ends in an ecstatic coda that elaborates the marvelous final phrase of the voice part. ‘The Gypsy Song’ (1886) % is cunningly shaped by alternating tempos, from Allegro moderato to poco meno mosso, A–B–A–B, with the piano establishing a dancing rhythm; then the fifth stanza slows to Andante to convey gypsy singing style, with parlando intonation, followed by moody changes and a steep fall from the highest note in the song to the long low note held for two bars at the end.

p6 The op.73 cycle (1893) is a perfectly realized work of art about love and solitude, expressed in the free and laconic musical language of a master. In no.4, ‘The sun has set’ 7, with a bolero beat in the piano, a night together is beginning, promising happiness, expressed unmistakably with rising intonation. No. 6, ‘Again, as before, alone’ ), closes the cycle in a final moment of solitude. The prayer at the end for a ‘distant friend’ affirms the past, despite the loneliness and difficulty of the moment, in a spiritual bond which, if it does not defeat solitude, holds it at bay.

Ꭿ 2008 Richard D. Sylvester, author of Tchaikovsky’s Complete Songs: A Companion with Texts and Translations, Indiana University Press, 2002 p7 Glaub’s auch oft übersetzt wird) druk “ (1875) – der Moment der Spannung “ (1857) ist die früheste heute aufgeführte Komposition “ (1857) ist die früheste heute Eine Minute der Angst “ (1883) hier vertreten ist. Der eminente Chronist von Musik und Musikern Nicolas ist. Der eminente Chronist “ (1883) hier vertreten “ (1869), drängt der Dichter seine Geliebte, die Gezeiten zu beachten, da dort ihre “ (1869), drängt der Dichter seine Geliebte, die Gezeiten zu beachten, Der Kuckuck Mein Schutzgeist, mein Engel, mein Freund Mein Schutzgeist, mein Engel, bilden einen gemeinsamen Faden in den Gedichten von Alexei Tolstoi, einem Vetter des bilden einen gemeinsamen Faden in den Gedichten ihrer „Musikalität“. Im ersten, „ Romanschriftstellers. Tschaikowskys liebte Tolstois Verse wegen nicht, meine Freundin dennoch gezwungen, sich ihr immer wieder Antwort läge, warum er manchmal kühl und abweisend sei, und des Liedes drücken laute Klavierakkorde mit seiner früheren Leidenschaft zu unterwerfen. In der Mitte wiederholt die erste Strophe und unmissverständlich das Brechen der Wogen am Strand aus. Tschaikowsky Liebeslied voll zärtlichen Bittens verwandelt. schafft ein dreiteiliges Lied, das Tolstois eher kalte Logik in ein Tschaikowskys. Das Lied weist bereits einige Qualitäten seiner reifen Kunst auf: eine hübsche Melodie bereits einige Qualitäten seiner reifen Kunst auf: eine hübsche Tschaikowskys. Das Lied weist überzeugt. musikalisches Resultat erzielen, das in seiner Seriosität völlig und prägnante Mittel, die ein ist meist ganz eindeutig: Hier ist es zärtliche Bewunderung, Die Emotion in einem Tschaikowsky-Lied sich an eine am Ende kunstvoll ausgearbeitet wird. Der Sänger wendet die in dem lieblichen Melisma für dessen Anwesenheit Inspiration und unentbehrliche Begleitung Art ansprechbaren Schutzengel, Thema, das hier findet ein implizites Gespräch statt. Es ist ein Herz, Sinn und Seele bringt: beschäftigte. Tschaikowsky sein Leben lang „meine Geliebte“, wie das russische Wort Worte an „meine Freundin“ (oder Tschaikowsky: Lieder Konzerten, Balletten den Symphonien, abgesehen von Tschaikowsky es, dass Russlands überrascht Außerhalb die schrieb, von denen und Klavier für Solostimme hundert Lieder ist, auch über für die er berühmt und Opern, oder Diese Lieder, waren. die seine Zeitgenossen vertonen, Dichtern Texte von russischen meisten das von denen sind Kinderlieder, von ihnen und sechzehn wohl bekannt sind in Russland „Romanzen“, entzückende „ seines Genies“. als „die ergreifendsten Schöpfungen Tschaikowskys Romanzen Slonimsky bezeichnete an, die sie bot, eine wegen der Gelegenheiten Liedform sprach Tschaikowsky Die kurze, lyrische von psychologischer einschließlich Momenten Gefühl oder einen Augenblick, Stimmung, ein des russischen Realismus, als schließlich im Zeitalter auszudrücken. Er lebte Komplexität musikalisch Beziehungen und das Leben, die Dichter menschliche sondern auch nicht nur die Romanschriftsteller kannten und dass es „wahrheitsgetreu“ dem Leben entsprach, wie sie es das sie umgab, so schilderten, den Text zu „ empfanden. Er selbst schrieb eines realistische Einblick in zwei Herzen war zu seinen Lebzeiten nach einer Liebeserklärung. Dieser der beliebtesten Lieder Tschaikowskys. „ ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 7 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 8

Tschaikowsky gefiel die dreiteilige Struktur, und er verwendete sie oft und nie mit schönerer Wirkung als in Tjuttschews geständnisreichem Gedicht „Wie über Aschenglut“ (1875); Anfang und Ende sind ein deklamatorisches Allegro con spirito, aus dem ad libitum – mit freiem Ausdruck – der mit langsamer lyrischer Melancholie zu singende Mittelteil aufsteigt. „Es war zur ersten Frühlingszeit“ und „Inmitten des Balles“ (beide 1878), Meisterstücke von Tolstoi, vermitteln das „Schmerzergreifende“ von Tschaikowskys Liedern. Beide erinnern sich an das Erwachen der Liebe. Das erste, Allegro moderato, mit lebhaften russischen Bildern vom Kommen des Frühlings, kulminiert ad libitum mit Doppelforte auf die Worte „O Glück! O Tränen!“. Die steigende Intonation, die das Lied treibt, deutet eine starke Bekräftigung an. In „Inmitten des Balles“ , Moderato, geht es darum, sich in einen Fremden zu verlieben und sich später daran zu erinnern. Tschaikowsky machte daraus eine Walzer-Träumerei in langsamem 3/8-Takt. „Hätt’ ich nur gewusst“, eine Volksliedimitation, steht der Volkstradition nahe, ist in Tolstois Händen jedoch mit seinen frischen Bildern von Pferd und Reiter, geflecktem Falken, scharlachroten Band und nassen Füßen im Tau brillant originell. Es ist ein Lied von Erfahrung, gesungen von einer jungen Frau, die ihr Herz einem Mann schenkte, der davon ritt und nie zurückkehrte. Die Sängerin drückt verschiedene Gefühle von Liebe und Leidenschaft bis zu Zorn und Herzeleid aus, die in schmerzlichem Jammer kulminieren. Das Klavier unterstützt dies dramatisch und umrahmt das ganze Lied in einem leichtfüßigen Allegro, das den feschen Reiter andeutet. In „Klagelied der Braut“ von dem Bauerndichter Surikow (1880) klagt die junge Frau darüber, dass sie an einen alten „Graubart“ verheiratet wird. Gras und Busch, die für Stroh geschnitten werden, sind Metaphern für sein Schicksal. Die drei Teile schließen jeweils mit einem „fallenden Blatt“, einem lang flatternden Melisma mit absteigenden Tönen. p8 Verlust ist ein russischen Liedern gemeines Thema. In „Kein Wort, mein Freund“ (1869) drückt das wiederholte Bild der Weiden, die sich beugen, eine alles vergebende Zärtlichkeit aus. „Versöhnung“(1875) ist ein Lied, in dem die Worte Eines sagen (finde Frieden im Sich-Abfinden), aber die Musik das Gegenteil ausdrückt – im Fazit des Liedes finden sich in jeder Phrase Widerstand und Reue. „Warum?“ (1869) ist ein Lied, das Sänger von jeher attraktiv fanden. Die Spannung in Heines ironischem Gedicht wird gleich in den ersten nervösen Schlägen des Klaviers deutlich, die mit der ruhigen Melancholie der Gesangslinie im Widerspruch stehen. Aber die Gesangsstimme mit ihren in verschiedenen Notenwerten wiederholten Tönen besitzt auch eine konzentrierte, unablässige Qualität. Das Lied schließt mit einem gewaltigen Ausbruch und leisen Arpeggien im Klavier: Nichts bleibt zurück als ein flüchtiges Echo verlorenen Glücks. p9 ist das (1886) mit seinen (1886) (1886) erhält seine „Die wurden Lichter „Herrscht Tag?“ „Die Sonne ist gesunken“ „Wieder, wie zuvor, allein“ „Zigeunerlied“ (1869) erhält seine andauernde Kraft aus (1869) erhält seine „Milde Sterne blickten herab“ blickten Sterne „Milde „Nur wer die Sehnsucht kennt“ „Nur wer die Sehnsucht , Autor von „Tchaikovsky’s Complete Songs: A Companion with Texts and , Autor von „Tchaikovsky’s Complete Songs: A Companion (1872) auf Worte aus der griechischen Volksdichtung hat die Form A–B–A–B–A’ und steigt (1872) auf Worte aus der griechischen (1887) mit seinem Thema von „wir waren einst jung und verliebt“ verwendet Empfindungen, verliebt“ verwendet einst jung und von „wir waren seinem Thema (1887) mit Übersetzung: Renate Wendel seiner wunderschönen Melodie mit einer wiederkehrenden, endlosen Qualität. Das anmutige wiederkehrenden, endlosen Melodie mit einer seiner wunderschönen „Wiegenlied“ Klavierlinien hohen As. Hier können Melodie, Gegenmelodie und wiegende in der vorletzten Zeile bis zum Transkription für Klavier solo. In für sich stehen wie in Rachmaninoffs Die Erinnerung an Verlust kann auch hell sein, wie in sein, wie hell kann auch Verlust an Erinnerung Die „dolce“. und „cantabile“ für Anweisungen getrennten Triölchen pochende durch gelöscht“ von hier werden sie finden, aber und Zigeunerromanzen urbanen überall in populären die sich mit Laienmusiker und seriösen einem Dichter Romanow, Großfürst Konstantin Freund Tschaikowskys das Gedicht perfekt. phrasiert. Die Musik artikuliert zarter Delikatesse von Liedern zu Diensten. Es kam ihm in der Komposition natürliche melodische Begabung Tschaikowskys eine musikalische Phrase Melodie zu hören. Er gestaltet die Worte zu lesen, ohne seine ist oft unmöglich, und Auszierung oder als und verwendet sie für Variation ein oder zwei Zeilen des Textes aus den ersten Das berühmte Gegenmelodie. Wechselspiel von Gesang und Klavier komplexer; das Klavier beginnt mit einem trügerisch leichtmütigen Klavier komplexer; das Klavier beginnt mit einem trügerisch Wechselspiel von Gesang und ekstatischen Tempo zum Allegro agitato an, und das Lied schließt mit einer Andantino, zieht aber dann das der Gesangsstimme ausweitet. Coda, die die herrliche Schlussphrase Tempi; das von Allegro moderato nach poco meno mosso alternierende A–B–A–B-Form geschickt durch um mit aber die fünfte Strophe verlangsamt sich zum Andante Klavier etabliert einen Tanzrhythmus, ein steiler Fall Gesangsstil zu vermitteln, dem launische Wechsel und Parlando-Intonierung zigeunerischen zur zwei Takte lang gehaltenen tiefen Note am Ende folgen. von der höchsten Note des Lieds das in der perfekt verwirklichtes Kunstwerk über Liebe und Einsamkeit, Der Zyklus op. 73 (1893) ist ein eines Meisters ausgedrückt wird. In Nr.freien, prägnanten Musiksprache 4 Nacht, was im Klavier beginnt eine gemeinsame, Glück verheißende mit einem Bolero-Rhythmus Intonation ausgedrückt wird. Nr.unverkennbar mit ansteigendender 6 Das Gebet für einen „fernen Freund“ schließt den Zyklus mit einem letzten Augenblick der Einsamkeit. und Probleme die Vergangenheit in einer am Ende bestätigt trotz der gegenwärtigen Einsamkeit wenn sie sie nicht bezwingen kann. geistigen Verbundenheit, die die Einsamkeit fern hält, auch © 2008 Richard D. Sylvester Translations“, Indiana University Press, 2002 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 9 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p10 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page10 Opera andPariswillmakeherdebut atCoventGardeninTamerlano. In opera,ChristianneStotijnhasappearedat theAix-en-ProvenceFestival,LaMonnaie,Netherlands high praiseacrosstheglobe. two recitaldiscsforONYXofliederbySchubert,Berg,WolfandMahlergarneredboth awardsand Élysées, ThéâtreduChâtelet,SalzburgMozarteumandthePalaisdesBeaux-Arts,Brussels. Herfirst Concertgebouw Amsterdam,WigmoreHall,ViennaMusikverein,CarnegieThéâtre desChamps- and JuliusDrake.Withthemshehasappearedintheworld'spremierconcerthalls suchasthe Christianne Stotijnisanimpassionedperformerofsongswithherregularduopartners JosephBreinl d'Anthéron, Festivald'ArtLyriqued'Aix-en-ProvenceandtheBBCProms. performances atseveralfestivalssuchastheDelftChamberMusicFestival,Gergiev LaRoque Orchestra dellaTeatroallaScala,andtheResidentieOrchestra.Inaddition,shehas hadguest für alteMusik,OrchestredesChamps-Élysées,NationaldeFrance,Concerto Köln, Symphony Orchestra,BudapestFestivalMelbourne Die Akademie orchestras suchastheRoyalConcertgebouwOrchestra,ChicagoSymphony Boston Hartmut Haenchen,FransBrüggen,MarcMinkowskiandMarkWigglesworth, withleading Sir AndrewDavis,IvanFischer,JaapvanZweden,GennadiRozhdestvensky,Philippe Herreweghe, She hasworkedwithcelebratedconductorssuchasBernardHaitink,RenéJacobs,GustavoDudamel, Borletti BuitoniAwardandthe2008DutchMusicPrize,isalsoaBBCNewGenerationArtist. Christianne Stotijnhaswonseveralprizesincludingthe2005/06ECHORisingStarsAward,2005 Janet Baker. included NoelleBarker,UdoReinemannandJardvanNes.SheiscurrentlybeingcoachedbyDame Reinemann, shegraduatedin2003withthehighestdistinction.Sincethen,hervocalcoacheshave pursued hervocalstudiesinMetz,LondonandAmsterdamwhere,underthesupervisionofUdo Christianne Stotijn gained hersolodiplomaforviolinin2000attheAmsterdamConservatoire.She p11 , touring Diary of One who Vanished Diary of One who ek’s ˇ c lives in London and specialises in the field of chamber music, working with working music, of chamber the field in specialises and in London lives Julius Drake Julius to Munich, London, Dublin, Amsterdam and New York. Dublin, Amsterdam and to Munich, London, Hugues Cuénod (Chandos), with Ian Bostridge (EMI), award-winning recitals Recordings include (Hyperion), Lee Ragin (Etcetera), Sophie Daneman (EMI), Paul Agnew Nicholas Daniel (Virgin), Derek Gerald Finley Annette Bartholdy (Naxos), Christianne Stotijn (Onyx), Katarina Karneus (Hyperion), Christian Poltéra (Bis) and Alice Coote (EMI). (Hyperion), Joyce DiDonato (Eloquentia), York and the include a programme of Schubert at Carnegie Hall, New Highlights in the coming seasons recitals in Thomas Quasthoff, Dorothea Röschmann and Ian Bostridge; Barbican Centre, London with Maltman Keenlyside; a ‘Wigmore Live’ recording with Christopher Luxembourg and Paris with Simon and recitals in Karneus for Hyperion; a tour of Japan with Ian Bostridge; and a Grieg disc with Katarina Coote, Diana Frankfurt, London, Madrid, and Vienna with Alice Amsterdam, Barcelona, Chicago, Stotijn. Damrau, Gerald Finley and Christianne many of the world's leading vocal and instrumental artists, both in recital and on disc. He appears at appears He on disc. and in recital both artists, and instrumental vocal leading world's of the many to the Aldeburgh, taken him have regularly seasons concerts in recent music centres: all the major Hall and Lincoln to Carnegie Festivals; and Tanglewood Schubertiade Munich, Salzburg, Edinburgh, the Musikverein du Châtelet, Paris; theThéâtre Amsterdam; Concertgebouw, New York; the Center, Hall and BBC Proms, London. Vienna; and the Wigmore and the Konzerthaus, 2000–2003, Julius Drake Music Festival in Australia from Perth International Chamber Director of the staging of Janá director in Deborah Warner's was also musical The pianist The ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 11 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p12 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page12 2 1 Net, tol’katot,ktoznal No kazhetsamne,shtoljublju! Ljublju litebja,janeznaju, I vgrjozakhnevedamykhsplju… I grusnaja,takzasypaju Ja slyshuvesjolujurech. Ja vizhupechal’nyjeochi, Ljublju ja,ustalyj,prilech, F chasyadinokijenochi S tekhporvmajomserttsezvuchit. A smekhtvoj,igrusnyjzvonkij, I ves’tvojzadumchivyjvit, Mne stantvojpanravilsatonkij Kak morjaigrajushchijval. Kak zvonaddaljonnajsvireli, A golastakdivnazvuchal, Lish ochipechal’nagljadeli, Tvaji pakryvalacherty. Tebja jauvidel,notajna F trevogemirskojsujety, Sret’ shumnavabala,sluchajna, Count AlekseiKonstantinovichTolstoy(1817–1875) PYOTR ILYICHTCHAIKOVSKY Svidan’ja zhazhdu, Net, tol’katot,ktoznal (Nur werdieSehnsuchtkennt) Johann WolfgangvonGoethe1742–1819) Sret’ shumnavabala (1840–1893) Longing tobetogether No, onlyonewho’sknown None butthelonelyheart But itseemstomeI’minlove! I don’tknowifthismeansloveyou, And dreammysteriousdreams… And, melancholy,Ifallasleep I hearyourgayspeech. I seeyoursadeyes, Tired, Iliketolieback, At nightinsolitaryhours, Rings inmyhearteversince. Your laughter,sadandmusical, And yourpensivelook; I likedyourslimfigure Like wavesswellingplayfullyinthesea. Like notesplayedonadistantflute, But yourvoicehadawonderfulsound, Your eyesweregazingsadly, Hid yourfeaturesfromme. I caughtsightofyou,butamystery In allofvainsociety’salarms, Amid thedinofball,bychance, At theBall p13 Can know what I’ve suffered know what Can suffering. how I’m And the distance... faint, I gaze at dim... My eye grows far away’s the one Ah, how me! Who loved me, knew known Ah, only one who’s Longing to be together suffered Can know what I’ve And how I’m suffering. Whoever’s known My heart’s on fire... Longing to be together, Knows what I’ve suffered And how I’m suffering. Over burning ashes As over darkly glowing embers A scroll will smoke and be consumed, And fire, invisible and mute, Will swallow up the words and lines: So my life sadly smolders too, And day by day it drifts away in smoke; So gradually I’m burning down In unendurable monotony… O, heaven, if only once this fire Might burst into an open flame, And, without further grief or torment, I would flare up brightly and burn out! Fyodor Ivanovich Tyutchev (1803–1873) Kak nad garjacheju zaloj Dymitsa svitak i zgarajet, I ogn’ sakryty i glukhoj Slava i stroki pazhyrajet: Tak grusna tlitsa zhyzn’ maja I s kazhdym dnjom ukhodit dymam; Tak pastepenna gasnu ja V adnaabraz’ji nesterpimam… O, neba, jesli by khat’ ras Sej plamen’ razvilsa pa vole, I, ne tamjas’, ne muchas’ dole, Ja prasijal by i pagas! Pajmjot, kak ja stradal kak Pajmjot, ja strazhdu. I kak vdal’… net sil, Gljazhu ja oka… Tusknejet menja ljubil Akh, kto I znal — daljoka! znal Akh, tol’ka tot, kto Svidan’ja zhazhdu, Pajmjot, kak ja stradal I kak ja strazhdu. znal Fsja grud’ garit… Kto Svidan’ja zhazhdu, Pajmjot, kak ja stradal I kak ja strazhdu. Kak nad garjacheju zaloj 3 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 13 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p14 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page14 4 5 Kalybelachku kachal!” Ja ditjaaberegal, Zvjost netrogalzalatykh; ”Ne ganjaljavolnmarskikh, Ali volnyfsjoganjal?” Ali zvjozdyvajeval? “Gde izvolilprapadat’? Sprashyvala vetramat’: Mchitsa kmaterisvajej. Veter, posletrjokhnachej, Sontse skrylas’nadvadoj; Uletel arjoldamoj; Veter, sontseiarla. V njan’kijatebevzjala Slatkij sonksebemani: Spi, ditjamajo,spi,usni! Apollon NikolayevichMaykov(1821–1897) Kolybel’naja pesnja Moj genij!angel!druk! Moj genij,mojangel,druk… I tikhimdarishsnaviden’jem, I slatkijvrachujeshneduk, I ropkimdarishvdakhnaven’jem, I tikhaletajeshvakruk? Besedujesh tikhasamnoju Moj genij,mojangel,druk, Ne zdes’lityljokhkajuten’ju, Afanasy Afanas’yevichFet(1820–1892) Moj genij!angel!druk! I wasrockingalittlecradle!’ I waskeepingababysafefromharm, I didn’ttouchthegoldenstars; ‘I wasn’tpushinganyseawavesaround, Or justpushingwavesaround?’ Were youplayingbattlewiththestars? ‘Where haveyoubeenhidingallthistime? His motheraskedthewind: Comes racingtohismother. The wind,afterthreenights, The sunhidoverthewater; The eagleflewhome; Wind, sun,andeagle. Nannies threewatchoveryou— Welcome sweetsleep: Sleep, mybaby,hushaby!sleep, Lullaby My genius!angel!friend! My genius,myangel,friend… You grantaquietdreamtomyimagination, Your powershealmysweetaffliction, You favourmewithshyinspiration, As youquietlycircleinflight? Whispering tomeinconversation My genius,myangel,friend, You’re here,areyou,lightspirit, My genius,myangel,friend! p15 May hope and delusive dreams May hope and delusive Not trouble your sleep and peace. And try not to remember in winter How you gathered roses in the spring! May hope and delusive dreams Not trouble your sleep and peace, And try not to remember in winter, That you gathered roses in the spring! Sleep, my baby, hushaby! sleep, hushaby! sleep, hushaby! my baby, Sleep, sleep: sweet Welcome you — three watch over Nannies and eagle. Wind, sun, Reconciliation my heart! O, fall asleep deeply, the past — you can’t do it, Don’t try to waken what’s fled far away, Don’t try to call back what you once loved… Don’t keep on loving be, You can’t bring back what used to The future is no bastion of hope… You knew no peace in bliss, suffering, Be at peace now on your couch of O, fall asleep deeply, my heart! can’t do it, Don’t try to waken the past — you far away, Don’t try to call back what’s fled loved… Don’t keep on loving what you once Pust’ nadezhdaj i lzhivaj mechtoj Ne smutitsa tvoj son i pakoj. I starajsa ne pomnit’ zimoj, Shto sryvala ty rozy vesnoj! I starajsa ne pomnit’ zimoj, Kak sryvala ty rozy vesnoj! Pust’ nadezhdaj i lzhivaj mechtoj Pust’ nadezhdaj i Ne smutitsa tvoj son i pakoj. O, zasni, majo serttse, gluboka! Ne budi—ne prabudish, shto byla, Ne zavi, shto umchalas’ daljoka, Ne ljubi, shto ty prezhde ljubila… Dlja tebja nevazvratna byloje, Na grjadushcheje net upavan’ja… Ty ne znala v blazhenstve pakoja, Uspakojsa sh na lozhe stradan’ja, Primiren’je gluboka! O, zasni, majo serttse, shto byla, Ne budi—ne prabudish, daljoka, Ne zavi, shto umchalas’ ljubila Ne ljubi, shto ty prezhde Spi, ditja majo, spi, usni! spi, usni! spi, usni! majo, Spi, ditja sebje mani: son k Slatkij ja tebe vzjala V njan’ki i arla. Veter, sontse Shcherbina (1821–1869) Nikolay Fyodorovich 6 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 15 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p16 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page16 8 7 Ty vzdykhajesh,tydrazhysh iplachesh— f serttsetaktebezapalagluboka? Atchevo zheropkajepriznan’je Akh, neterzajmenja,skazhylishslova! il’ rajmneatkrojesh. il’ noshtymnefserttsevanzish, Ja prigavortvojzhdu,jazhdureshen’ja— kak menjasmushchajetetamalchan’je. strashny dljamenjaipolnyznachen’ja, Ty neznajesh,kakmgnaven’jaeti ochi apustifitikhavzdykhaja! Ty vnimajesh,vnissklanifgalofku, Pyotr IlyichTchaikovsky(1840–1893) Strashnaja minuta Beskanechna shchastlifvetunochstaboj! Ja bezumnashchastlif,omojdrukprekrasnyj, Ty kamnesklanilas’naplechoglavoj… Fsja objatanegajetajnochistrasnaj, Nas stabojunosjat,drukmoj,daleko… Nochi divnajteni,nochizvuki, I dyshat’fsejgrud’juvetunochlekhko. I vdushetrevozhnajumalkajutmuki, Tikha shto-tashepchetzadremafshyjles. V abajan’jinochisladostrasnajlaski Ljokhkaj pazalotajfsinevenebes. Zakatilas’ sontse,zaigralikraski Daniil Rathaus(1868–?) Zakatilas’ sontse You sigh,youtrembleand weep— sink sodeeplyinyourheart? How couldmyshyconfession Oh, don’ttortureme,sayjustoneword! or showmeheaven. you’ll eitherstabmeintheheart I awaityourverdict,decision— how thissilenceupsetsme. frighten me,howfullofmeaningtheyare, You don’tknowhowthesemoments your eyeslowered,quietlysighing! You listen,yourdearheadinclined, The FearfulMoment Boundlessly happyonthisnightwithyou! I’m insanelyhappy,omyfriendsolovely, You leanyourheadonmyshoulder… Wrapped innight’spassionatelanguor, Carry thetwoofus,myfriend,faraway… wondrous night, Shadows ofthiswondrousnight,sounds And tonightone’swholebeingbreatheseasier. And tormentsinananxioussoulsubside, The sleepingforestwhisperssomethingsoftly. In themagicofnight’svoluptuouscaress Light streaksofgoldinadarkbluesky. The sunhasset,aplayofcolorsbegun, The sunhasset p17 At our feet. Of grey-haired winter. Where’s the bright swarm? Can you forget? are you holding back words of love, words of back holding are you love me? me, not you pity or do decision — verdict, your I await your heart stab me in the you’ll either me heaven! or show hear my plea, Oh then, now! answer me, answer your decision. I await your verdict, down Mild stars looked down on us, Mild stars shone A soft breeze barely stirred the air, around, Flowers spread their fragrance all And waves were gently lapping We were young, we were in love, With faith we looked to the future; Joyful dreams were alive in us, We weren’t afraid of the blizzards Where, now, are those starlit nights, Their beauty in all its fragrance, The mysterious murmur of the waves, Of all those hopes, those joyous dreams, The stars are dimmer now, and dejectedly The faded flowers droop… Can you forget, oh heart, all that used to be, The gifts spring gave the two of us, Zabudesh ty, Gde svetlyj roj? Sedoj zimy. U nashikh nok. Pamerkli zvjozdy, i unyla Ponikli bljoklyje tsvety… Kagda sh o serttse, fsjo, shto byla, Shto nam vesna s taboj darila, Gde sh eti nochi s ykh sijan’jem, Z blagaukhajushchej krasoj, I voln tainstvennym zhurchan’jem, Nadesht, vastorzhennykh mechtanij, My byli juny, my ljubili, I s veraj vdal’ smatreli my; V nas grjozy raduzhnyje zhyli, I nam ne strashny v’jugi byli Nam zvjozdy krotkije sijali Nam zvjozdy krotkije Pleshcheyev (1825–1893) Aleksey Nikolayevich sijali, Nam zvjozdy krotkije Chut’ vejal tikhij veterok, Krugom tsvety blagaukhali, I volny laskava zhurchali il’ slava ljubvi v ustakh tvajikh nemejut, tvajikh v ustakh ljubvi il’ slava ne ljubish? menja zhalejesh, ili ty reshen’ja — tvoj zhdu, ja zhdu Ja prigavor mne f serttse vanzish, il’ nosh ty atkrojesh! il’ raj mne zhe mal’be majej, Akh, vnemli skarej! atvechaj, atvechaj ja zhdu reshen’ja. Ja prigavor tvoj zhdu, 9 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 17 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p18 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page18 10 Kaby znalaja Akh! Kaby znalaja,kabyvedala! Napait’ kanjastudenojvadoj! Akh, akh! Ne pridjotlionnenagljadnyjmoj, Padzhydajuchi, dagadajuchi, Na zavaline,bliskalodezja, Prigarjunifshys’ nazavaline, Ne sidelabypoznimvecheram, Kaby znalaja,kabyvedala, Kaby znalaja,kabyvedala! Na rukederzhapjostrasokala? Ne prajedetlitemprasjolkamon, Na prasjolaktotnegljadelaby, V rosenozhen’kinemachilaby, Za akolitsunespeshylaby, Rana dosvetunefstavalaby, F kosudlinnujunefpletalaby, Z zalatojkajmojlentualuju Dlja nevobyjanerjadilasa, Kaby znalaja,kabyvedala, Suprativ akonnadybyvzdymal! Zvankanogava, dalgagrivava Kak likhovakanjabulanava, Nabekren’ zalomifshymurmalku, Kak onjekhalpanashejulitse, Ja namolattsarazudalava, Ne smatrelabyizakoshechka Kaby znalaja,kabyvedala, Count AlekseiKonstantinovichTolstoy(1817–1875) Oh! If I’dknown,ifrealized! To waterhishorseatthecoldwell! Oh, oh! Will hecome,myhandsomeone, Watching andwaitingwondering, On theknoll,nearwell, Grieving ontheknollbyhouse, I’d notbesittinguplateintheevening, If I’dknown,ifrealized, If I’dknown,ifrealized! A speckledfalconridingonhisarm? Will hecomethisway, Watching theroad, Got myfeetwetinthedew, Wouldn’t havehurriedtotheedgeoftown, Wouldn’t haverisenearlybeforelight, A scarletribbonwithagoldborder, Wouldn’t haveplaitedinmylongbraid I wouldn’thavedressedupforhim, If I’dknown,ifrealized, Rearing upoutsidemywindows! Hoofs ringingloud,long-maned, On hisswiftdunhorse, His furcapatajauntyangle, Riding downourstreet, At thedashingyoungman, I’d nothavelookedoutthewindow If I’dknown,ifrealized, Had Ionlyknown p19 The roses smelled so fragrant… The roses birch. Of a wide-branching We were so happy loved! How ardently we Its light on us; Afraid to interrupt the silence; Your deep blue eyes: Are wordless conversations. What you kept hidden in your heart, Finished saying for us. The lights were being dimmed dimmed being lights were The in the rooms… were going out The lights a bench in the shade We sat down on You and I were young! surrounded us, In the spring that The crescent moon sent down I didn’t say anything, Saying nothing you lowered More eloquent than any words What I did not dare believe, All this the song of the nightingale Not a word, my friend Not a word, my friend, not a sigh… Let us be silent together… Za nas dagavarila. Shto f serttse ty tajila, Nemyje razgavory. Ty apuskala vzory: Bajas’ prervat’ malchan’je; Na nas svajo sijan’je; Tak garjacho ljubili! Tak shchastlivy my byli Tak shchastlivy my Razvesistaj berjozy. Blagaukhali rozy: Blagaukhali Fsjo eta pesnja salav’ja Chevo ne smel paverit’ ja, Krasnarechivej slof inykh Bezmolvna sinikh glas tvajikh Ja nichevo ne gavaril, Dvurogij mesjats navadil Nas akruzhafsheju vesnoj, Nas akruzhafsheju Aleksey Nikolayevich Pleshcheyev (1825–1893) after Moritz Hartman Ni slova, o druk moj, ni vzdokha… My budem s taboj malchalivy… My byli molody s taboj! My byli molody s My seli na skam’ju f teni My seli na skam’ju Uzh gasli f komnatakh agni gasli f komnatakh Uzh Duke Grand Romanov, Konstantinovich Konstantin of Russia (1858–1915) f komnatakh agni: Uzh gasli Ni slova, o druk moj 11 12 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 19 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p20 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page20 13 Ty, pakinuf,zabylamenja? Atchevo, oskazhymneskarjej, I baleznennejden’atadnja? Atchevo jaisamfsjogrusnej I ugrjumejmagilysamoj? Atchevo izemljafsjasyra Khaladno itemnokakzimoj? Atchevo vnebesontsasutra Pagrebal’nym pakrovamrasa? Atchevo nadlugamivisit Pesnja ptichki,nesjas’vnebesa? Atchevo takpechal’nazvuchit Galubaja fijalkanema? Atchevo padzeljonajtravoj Pyshnatsvetnaja rozasama? Atchevo pablednelavesnoj Lev AleksandrovichMey(1822–1862)afterHeinrichHeine Atchevo? Sklanjajutsa grusnyjeivy… Vet’ molchanatkamnem, My budemstabojmalchalivy… Ni slova,odrukmoj,nivzdokha… Shto etavashchast’janestala! Shto bylidnijasnavashchast’ja, Kak ja,ftvajomserttseustalam, I tol’ka,sklanifshis’,chitajut, Sklanjajutsa grusnyjeivy… Vet’ molchanatkamnem, nat kamnemmagil’nym nat kamnemmagil’nym Did youleavemeandforget me? Why, ohtellmerightnow, And sickerfromdaytoday? Why doIfeelsadderand And gloomierthanthegrave? Why istheearthalldamp Cold anddarkasinwinter? Why isthesuninskythismorning Hang likeamourningveil? Why doesthedewonmeadows As itrisesuptoheaven? Why isthebird’ssongsosad Mute underthegreengrass? Why doesthebluevioletlie Grown paleinthespringtime? Why hastheradiantrose Why? The sadwillowsbendlow… As insilenceoverthestone, Let usbesilenttogether… Not aword,myfriend,notsigh… And thathappinesshasgoneforever! That oncethereweredaysofbrighthappiness, As Ireadinyourtiredheart, And thusbentlow,theyread, The sadwillowsbendlow… As insilenceoverthestone, over thestoneofgrave, over thestoneofgrave, p21 Oh, you, woe, heavy woe of mine! Oh, you, woe, heavy had in store for me! So that’s what fate Oh, you, woe, heavy woe of mine! me! So that’s what fate had in store for Oh, you, woe, heavy woe of mine! me! So that’s what fate had in store for The Bride’s Lament Lament Bride’s The in the field, a blade of grass Wasn’t I the field? growing green in Wasn’t I and cut down, blade of grass, I was taken, dry in the sun. Left in the field to guelder rose, Wasn’t I a bush of growing in the field? With berries red, The bush was taken, cut down, And tied up into a bundle of twigs! Wasn’t I my father’s little daughter, Wasn’t I my mother’s little flower? By force they took me, poor girl, love, And married me to a graybeard I don’t me! To a graybeard I don’t love they married The Gypsy Song My campfire glows in the mist, The sparks fly up and burn out… No one will see us in the night; We’ll say farewell on the bridge. Okh, ty, gore majo gorjushka! Znat’, znat’ takaja maja doljushka! Okh, ty, gore majo gorjushka! Znat’, znat’ takaja maja doljushka! Okh, ty, gore majo gorjushka! Okh, ty, gore majo maja doljushka! Znat’, znat’ takaja byla, Ja li f pole ne kalinushka krasnaja rasla; Ja li f pole da ne Ja li f pole da ne travushka byla byla ne travushka f pole da Ja li Yakov Petrovich Polonsky (1819-1898) Moj kastjor f tumane svetit, Iskry gasnut na letu… Nochju nas nikto ne fstretit; My prastimsa na mastu. Ja l’ u batjushki ne dochen’ka byla, U radimaj ne tsvetochek ja rasla; Nevolej menja, bednuju, vzjali, Da s nemilym, s sedym pavenchali, S nemilym, da s sedym pavenchali! Vzjali kalinushku, slamali, Da v zhgutiki menja pasvjazali! Ivan Zakharovich Surikov (1841–1880) Surikov Ivan Zakharovich byla, da ne travushka Ja li f pole ne zeljonaja rasla, Ja li f pole travushku, skasili, Vzjali menja, issushili. Na solnyshke f pole Pesn’ Cyganki 15 14 ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 21 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt p22 ONYX4034_Tchaik-cd-bklt 2.qxd16/10/0811:16Page22 16 Count AlekseiKonstantinovichTolstoy(1817–1875) Ne ver’,mojdruk My prastimsanamastu. Nochju nasniktonefstretit; Iskry gasnutnaletu… Moj kastjorftumanesvetit, Na kalenjakhutebja! Budet pesnipet’,igraja Druga milavaljubja, Fspaminaj, kalidrugaja (Andante) Uzel, stjanutyjtaboj? Na grudimajejrazvjazhet Kto-ta zaftra,sokalmoj, Kto-ta mnesud’bupretskazhet? My skhadilis’vetidni. Kak kantsyjejo,staboju Ty namneuzlomstjani! Na prashchan’jeshal’skajmoju Za kibitkajkachevoj. Ja ujdustalpojtsyganak F step’daljoka,milyjmoj, Noch prajdjot—ispazaranak Ano gzemlevarotitsa,ljubja. V atlivachasnever’,ver’izmenemorja, Ja gavarju,shtorazljubiltebja,— Ne ver’,mojdruk,nekagdafparyvegorja, inconstancy, Itwillreturntoland,lovingasbefore. Don’t believe,don’tbelievetheebbingsea’s grief, Isaydonotloveyouanymore,— Don’t believe,mylove,don’twhen,inafit of Do notbelieve,myfriend We’ll sayfarewellonthebridge. No onewillseeusinthenight; The sparksflyupandburnout… My campfireglowsinthemist, As youholdheronyourlap! Sings hersongstoyou,playing Taking youasherdarlingfriend, Think ofme,ifanothergirl, (Andante) This knot,tiedtightbyyou? Untie theknotthat’sonmybreast, Tomorrow, myfalcon,cananyone Can anyonepredictmyfate? Tied togethertightlylikethatknot. You andIhavespentthesedays Tie itsendsinatightknot! At ourfarewell,wrapmewithagypsyshawl, Following thewanderingcaravan. I willleavewiththecrowdofgypsygirls, Far intothesteppe,mylove, Night willend—andatfirstlight ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 23

Ush ja taskuju, prezhnej strasti polnyj, Full of passion, I long for you again, Svaju svabodu vnof’ tebe addam — Again I’m ready to surrender to you — I uzh begut abratna s shumam volny And rushing back the loud waves run Izdaleka k ljubimym beregam. From far away to their beloved shore.

Ne ver’, moj druk, ne ver’, Don’t believe, my love, don’t believe, kagda f paryve gorja, when, in a fit of grief, Ja gavarju, shto razljubil tebja, — I say I do not love you any more, — V atliva chas ne ver’, ne ver’ izmene morja, Don’t believe, don’t believe the ebbing sea’s Ano g zemle varotitsa, ljubja. inconstancy, It will return to land, loving as before.

17 To byla ranneju vesnoj It was in early spring Count Aleksei Konstantinovich Tolstoy (1817–1875)

To byla ranneju vesnoj, It was in early spring, Trava jedva fskhadila The grass was just appearing, Ruchji tekli, ne paril znoj, The streams were flowing, the air was warm, I zelen’ roshch skvazila; In the groves there was a thin veil of green;

Truba pastushja pautru Too early to hear the shepherd’s horn p23 Jeshcho ne pela zvonka, Ring out in the morning, I v zavitkakh jeshcho v baru And in the grove of conifers, still twisted tight, Byl paparatnik tonkaj; Stood the first slender ferns;

To byla ranneju vesnoj, It was in early spring, F teni berjos to byla, It was in the shade of birches, Kagda s ulypkaj preda mnoj When, standing before me, smiling, Ty ochi apustila… You lowered your eyes…

To na ljubof’ maju v atvet It was an answer to my love, Ty apustila vezhdy — Your lowered glance — O zhyzn’! O les! O solntsa svet! O life! O woods! O sunlight! O junast’! O nadezhdy! O youth! O hopes! ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 24

I plakal ja peret taboj, And I wept before you, Na lik tvoj gljadja milyj, — Gazing at your dear face, — To byla ranneju vesnoj, It was in early spring, F teni berjos to byla! In the shade of birches!

To byla v utra nashikh let — It was in the morning of our days — O shchast’je! O sljozy! O happiness! O tears! O les! O zhyzn’! O solntsa svet! O woods! O life! O sunlight! O svezhyj dukh berjozy! O fresh smell of the birch tree!

18 Kukushka Cuckoo Aleksey Nikolayevich Pleshcheyev (1825–1893) after Christian Fürchtegott Gellert

“Ty priletel iz gorada, — kakije ‘You flew here from the town, — what, Skazhy, tam slukhi nosjatsa a nas?” Pray tell, are people saying of us there?’ (Skvartsa kukushka sprashyvala ras). (One day the cuckoo asked the starling). “Shto zhyteli talkujut garatskije, ‘What do the townsfolk have to say, Khot’, naprimer, a pesnjakh salav’ja? For instance, of the nightingale’s songs? Interesujus’ etim ochen’ ja.” This interests me a lot.’

— “Ves’ gorat on privodit v vaskhishchen’je, — ‘The whole town raves of nothing else, Kagda f sadu jevo razdastsa trel’.” When his trills are heard resounding in the orchard.’ — “A zhavranak?” — — ‘And the lark?’ — p24 — “I zhavaranka pen’je — ‘Many find the singing Plenjajet ochen’ mnogikh.” — Of the lark to be enchanting too.’ — “Neuzhel’? — ‘You don’t say! Nu, a kakof ikh odzyf a drazde?” Well, what is their opinion of the thrush?’ — “Da khvaljat i jevo, khot’ ne vezde.” — ‘They praise him too, although not everywhere.’

“Jeshcho khachu sprasit’ ja, — mozhet statsa, ‘I also want to ask, — did you perchance I aba mne ty slyshal koje-shto?” Hear anyone say anything of me?’ “Vot pra tebja, sestritsa, tak priznatsa, ‘About you, sister, I must confess, Ne gavarit reshytel’na nikto!” No one has a single word to say!’ “A! Jesli tak, — kukushka vazapila, — ‘Ah! If that’s the case, — exclaimed the cuckoo, — ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 25

To a sebe, shtop ljudjam atamstit’, I’ll take revenge on folk then, Sama ves’ vek, pakuda khvatit sily, While I have the strength, and all my life Ne perestanu ja tverdit’: Remind them who I am: Íu-Íu, Íu-Íu, Íu-Íu, Íu-Íu..! cuckoo, cuckoo, cuckoo, cuckoo…!

19 Den’ li tsarit Can it be day? Aleksei Nikolayevich Apukhtin (1841–1893)

Den’ li tsarit, tishina li nachnaja, Whether it’s day, or stillness of night, F snakh li bessvjaznykh, v zhytejskaj bar’be, In dreams incoherent, or everyday struggle, Fsjudu sa mnoj, maju zhyzn’ napalnjaja, Wherever I am, to make my life whole, Duma fsjo ta zhe, adna, rakavaja, — Is one and the same thought, unchanging, predestined — Fsjo a tebe! fsjo a tebe! Always of you! always of you! Fsjo, fsjo, fsjo, fsjo a tebe! Always, always, always, always of you!

S neju ne strashen mne prizrak bylova, With it I don’t fear ghosts from the past, Serttse vasprjanula, snova ljubja… My heart can take wing, loving again… Vera, mechty, vdakhnavennaje slova, Faith, dreams, an inspired word, Fsjo shto v dushe daragova, svjatova, — All in my soul that’s dear, sacred — Fsjo at tebja! fsjo, fsjo at tebja, All of it comes from you! all, all of it p25 fsjo at tebja! from you, all from you!

Budut li dni maji jasny, unyly, Whether my days be bright or bleak, Skora li zginu ja, zhyzn’ zagubja, — If I burn out quickly, destroy my life, — Znaju adno: shto da samaj magily One thing I know: to the grave itself Pomysly, chustva, i pesni, i sily, All my hopes and feelings, all my songs and strength, Fsjo dlja tebja! fsjo dlja tebja, All are for you! all for you, Pomysly, chustva, i pesni, i sily, Hopes, feelings, songs and strength, Fsjo, fsjo, fsjo, fsjo dlja tebja! All, all, all, all — are for you! ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 26

20 Snova, kak prezhde, adin Again, as before, alone Daniil Rathaus (1868–?)

Snova, kak prezhde, adin, Again, as before, I’m alone, Snova objat ja taskoj. Again I’m filled with longing. Smotritsa topal’ v akno, A poplar stands by the window, Ves’ azarjonnaj lunoj. Flooded with moonlight.

Smotritsa topal’ v akno, A poplar stands by the window, Shepchut a chom-ta listy. The leaves are whispering about something. V zvjozdakh garjat nebesa… The sky is aflame with stars… Gde, teper’, milaja, ty? Where, now, darling, are you?

Fsjo, shto tvaritsa sa mnoj, I couldn’t begin to tell you Ja peredat’ ne berus’… All that’s happening to me… Druk! pamalis’ za menja, Friend! say a prayer for me, Ja za tebja ush maljus’. I am praying for you.

Phonetic transcriptions and translations Ꭿ Richard D. Sylvester p26 p27 ) ***** Sunday Telegraph ‘One of my discs of the year.’ (Michael Kennedy, BBC Music Magazine ) ***** Philadelphia Daily News Marco Borggreve Ꭿ Design: WLP Ltd Executive Producer: Paul Moseley Produced and engineered by: Simon Kiln Recording Location: Champs Hill, Pulborough, England Recording Date: 5–7 July 2008 Russian coach: Raisa Drobyshevskaya Photography: BBC Music Magazine disc in years.’ ‘Easily the most impressive art-song (David Patrick Stearns, ONYX 4009Schubert/Berg/Wolf Lieder Mahler Lieder ONYX 4014 Christianne Stotijn on ONYX Stotijn Christianne ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 27 Page 11:16 16/10/08 2.qxd ONYX4034_Tchaik-cd-bklt ONYX4034_Tchaik-cd-bklt 2.qxd 16/10/08 11:16 Page 28

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