CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

ALSO on signumclassics

Remember your Lovers Sacred Bridges John Mark Ainsley, Iain Burnside SIGCD066 The King’s Singers, Sarband SIGCD065

Sir Michael Tippett’s songs are few in number but The radiant voices of the King’s Singers and the dazzling in quantity. They are contrasted on this exotic sounds of Sarband unite in a celebration disc with one of Tippett’s sources of inspiration, of the rich connections between the Orient and Henry Purcell, sung by leading international tenor Occident, a musical exploration of the sacred John Mark Ainsley accompanied by Iain Burnside. bridges between Christianity, Islam and Judaism as seen through settings of the timeless Psalms of David.

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

the exquisite hour

Franz Joseph Haydn 1. Arianna a Naxos [19.09] 14. Glückwunsch [2.34] 15. Alt-Spanisch [1.24] Johannes Brahms 16. Sterbelied [3.46] 2. Ständchen [1.40] 17. Gefasster abschied [3.22] 3. Da unten im Tale [1.48] 4. Nachtwandler [3.29] Kurt Weill 5. Feldeinsamkeit [3.03] 18. Lost in the stars [2.50] 6. Alte Liebe [3.00] 19. Speak low [2.29] 7. Die Mainacht [3.31] 8. Von ewiger Liebe [4.43] John Ireland 20. Her song [2.57] Reynaldo Hahn 9. À Chloris [2.59] Benjamin Britten 10. L’Énamourée [3.22] 21. Tit for Tat [2.05] 11. Trois jours de vendange [3.12] 12. L’Heure exquise [2.30] Total Time [75.18] 13. Quand je fus pris au pavillon [1.21]

Sarah Connolly Signum Records would like to thank the Literary Trustees of Walter de la Mare and the Society of Authors as their representative for their kind permission for the inclusion of the text of Benjamin Eugene Asti Britten’s ‘Tit for Tat’, written by Walter de la Mare. P 2006 The copyright in this recording is owned by Signum Records Ltd. C 2006 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. www.signumrecords.com Recorded live at St. John’s, Smith Square, London, UK Date - October 3, 2005 Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Engineer - Mike Hatch Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Sarah Connolly – a note Producer - Adrian Peacock Assistant Engineer - Andrew Mellor Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval Someone asked me, why choose to make a CD of live performance as the studio-bound singer may turn ‘inward’ and forget to relate to another, Editor - Andrew Mellor system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording opposed to a studio recording; surely the potential minor errors would the whole point of lieder. All my singing teachers have re-iterated that Artwork and design - Woven Design or otherwise, without prior permission from Signum Records Ltd. irritate on replay, and wouldn’t the pressure to get everything right it’s what one does in front of an audience that truly tests one’s nerve and Cover photograph - Malcolm Crowthers SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, hinder a proper ‘no-holds-barred’ performance? Possibly, but in response commitment, which can be to everyone’s advantage. www.signumrecords.com Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] I wondered if in pursuit of the perfect phrase, especially in a song recital, Sarah Connolly - 23 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Haydn: Arianna a Naxos Brahms: Seven Songs For all that Haydn’s quartets and symphonies are standard fare, his Brahms was an inveterate composer of songs – to an extent that EUGENE ASTI music for solo voice has generally been neglected. One of the few will never be fully realised, since he was also an inveterate such works to establish a regular place in the repertoire is his destroyer of fledgling compositions he didn’t feel were up to the EUGENE ASTI studied at the Mannes College of Music, New York cantata Arianna a Naxos, probably written in 1789; the author of mark. Among his very earliest works, for example, were some cycles with Jeannette Haien where he earned his BMus and MA. He has the text remains anonymous. Haydn may have intended it for of Eichendorff settings, but no one knows how much he slung out. received numerous awards including a Fulbright Scholarship to ‘Pepperl’, the daughter of his close friend Maria Anna Genzinger, The solo songs that did survive reach the staggering total of 203 study piano accompaniment with Graham Johnson at the Guildhall like him a member of the Esterházy household (she was married to original works. That’s not including the folksong settings (all School of Music and Drama, the Ferdinand Rauter Memorial Prize Prince Esterházy’s doctor); certainly, the music itself – limited to a German, but for one Neapolitan song) for voice and piano, which (Richard Tauber Competition) and the Megan Foster Prize (Maggie range of a twelfth – points to its having been conceived for add another 85 to the total. The number climbs yet further when Teyte Competition). amateur performance (Haydn’s intention of scoring the keyboard you add the eight solo-voice versions of the Zigeunerlieder,Op. 103, part for orchestra was never realised). the two Gesänge, Op. 91, for voice, viola and piano, and Spruch (a Much in demand as an accompanist, he has performed with many canon for voice and viola), and the seven German folksongs for solo great artists including Dame Felicity Lott, Dame Margaret Price, Arianna a Naxos falls into four sections, two panels each of voice, chorus and piano – and that’s excluding the vocal duets Nancy Argenta and Elizabeth Connell, in places such as the recitative and air. Haydn brings the piano into the action from the and quartets. Wigmore Hall, the Rome House, the Musikverein in Vienna, start, when it seems to be presenting Ariadne’s confused state as the Aix-en-Provence Festival, Paris, Madrid, Brussels, Düsseldorf, she awakens and finds herself alone – and the swelling textures ‘Ständchen’, the first of the 5 Lieder, Op. 106, composed in Vancouver, and New York. He has devised recital series for St. after the first part of the recitative, leading to ‘Già sorge in ciel la 1886–8, sets an archetypically Romantic text by Franz Kugler, a John’s Smith Square and St. George’s Bristol to mark the Brahms roseaNozze Aurora’ di Figaro certainly seem to portray the rise of ‘the rose-coloured Prussian bureaucrat and art-historian as well as a minor poet: its and Mendelssohn anniversaries in 1997 and in 1999 planned a Dawn’. ‘Dove sei’, the words which open the first aria, a broad, themes – the fountain, the moonlight, the students’ serenade, the series for St. John’s Smith Square to mark the Poulenc/Strauss harmonically unstable Largo, draw from Haydn a phrase that so sleeping maiden – were topoi that would feature again and again anniversaries. For the 2002/3 season he devised a recital series for closely resembles ‘Dove sono’, sung by the Countess in Mozart’s Le in Romantic poetry. ‘Da unten im Tale’, No. 6 from Book 1 of the 49 St. John’s Smith Square which honoured Robert Schumann and (written three years previously) that it might be a Deutsche Volkslieder published in 1894, uses another: the peasant which included recitals by many of today’s leading artists. fleeting homage from one great composer to the other – whether girlOriginal-Weisen resigned to the loss of her lover. The source of Brahms’ text in deliberate or not is another question. The darting moods of the this instance was the anthology Deutsche Volkslieder mit ihren Eugene has done much recording work for the BBC, featuring second recitative mirror Ariadne’s conflicting thoughts as, from the (‘German Folksongs with their Original Tunes’) of His many recordings for Hyperion include three volumes of songs regularly on Radio 3’s “Voices” programme with Sophie Daneman, top of the cliff (climbed with the aid of the piano) she sees Theseus 1838–40, assembled by August Kretzschmer and Anton Wilhelm and duets by Felix Mendelssohn with Sarah Connolly, Sophie Sarah Connolly, Christine Rice, Stephan Loges, Rebecca Evans, on board his ship and realises she has been abandoned. The von Zuccalmaglio – none too scrupulously: they filched material Daneman, Stephan Loges, Mark Padmore and Nathan Berg; songs Kate Royal and Jared Holt. second aria begins, Larghetto, as she resigns herself to death – from earlier collections, straightened out some of the tunes to suit by Fanny Mendelssohn with Susan Gritton; and the complete songs but the cantata ends with a Presto explosion of anger: Strauss’ Romantic tastes and incorporated more recent songs, including of Clara Schumann with Susan Gritton and Stephan Loges, all In 2005, he performed a US recital tour with Dame Felicity Lott and Ariadne is saved by Bacchus, but Haydn’s is abandoned to her some of their own, labelled ‘Altdeutsch’. Brahms first got to know receiving much critical acclaim. He has also recorded songs by Eric Angelika Kirchschlager with concerts in New York, Philadelphia, tragic fate. the collection from a copy in Robert Schumann’s library, and was Coates with tenor Richard Edgar-Wilson for Marco Polo. Quebec and Ann Arbor; and also performed a recital with Dame unfazed when Kretzschmer’s and von Zuccalmaglio’s suspect Felicity Lott for the BBC Proms at the new Cadogan Hall in London methods were exposed – their texts had served his purpose, as ‘Da which was broadcast live worldwide. unten im Tale’ beautifully proves.

- 22 - - 3 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Brahms often published his solo songs in groups, and Reynaldo Hahn: Five Songs biographY ‘Nachtwandler’, to a text by his friend Max Kalbeck, and Reynaldo Hahn was one of those characters whose lives invite ‘Feldeinsamkeit’, setting a Herrmann Allmers poem, come from disbelief. Born in Caracas in 1874 of a German-Jewish father and seventeen published in 1882 as Op. 84–86, although some of them a mother of Spanish stock, the youngest of twelve children, Hahn SARAH CONNOLLY existed in manuscript at least four years earlier; these two are the moved to Paris with his family at age four; by sixteen he was a third and second of the 6 Lieder, Op. 86. In ‘Nachtwandler’ Brahms respected enough composer to have written the incidental music alternates major and minor chords to suggest the trance-like state for Daudet’s play L’obstacle. He was also a fine light baritone, Born in County Durham, Sarah Connolly studied piano and singing of Kalbeck’s sleepwalker; ‘Feldeinsamkeit’ offers another primary teacher, critic, conductor, soldier in the First World War (he at the Royal College of Music and continued her studies with Gerald Martin Moore. RomanticLieder und topos Gesänge, – the identification of the poet with nature, the volunteered for service, although he was over-age) and refugee darker undercurrent supplied by the suggestion that this oneness from the occupying Nazis in the Second – and Marcel Proust’s lover. might require the death of the poet. ‘Alte Liebe’ comes from another Her concert engagements include appearances at the Salzburg burst of songs, 22 published as Op. 69–72: it is the first of the 5 The exquisite ‘À Chloris’, written in 1916, makes delightful use of Festival, Vienna Konzerthaus, Berlin Philharmonie and Amsterdam Op. 72, the vocal line soaring above chromatic the walking bass of Bach’s ‘Air on a G string’ in the piano part, the Concertgebouw, with such conductors as Sir Simon Rattle, Sir Colin broken chords in the piano. The two songs which open the four voice soaring almost prayerfully above it. In each of the three Davis, Sir Roger Norrington, Edo de Waart and Philippe Herreweghe. Gesänge, Op. 43, similarly appeared in a what must have appeared stanzas of ‘L’Enamourée’, a haunting 1892 setting of the popular She is a regular guest artist at the BBC Promenade Concerts at to Brahms’ public as a something of a song-burst, although many Parnassian poet Théodore de Banville, the lyrical outburst of the Royal Albert Hall and was invited to take part in the opening of them had been written earlier: their publication in 1868 was text is the more effective for its emergence from an introspective festival of Carnegie’s new Zankel Hall in New York. Committed to followed in the same year by Op. 46, 47, 48 and 49–25 songs in all. introduction. In ‘Trois jours de vendange’, a Daudet setting from promoting new music, her world premiere performances include At the climax of ‘Die Mainacht’, an 1866 setting of the short-lived 1891, the folky charm of the opening is gradually transformed into Mark-Anthony Turnage’s ‘Twice through the heart’ with The Ludwig Hölty, there’s a clear pre-echo of a work Brahms was to deep sadness as the girl the poet has met sickens and dies – the Schoenberg Ensemble conducted by Oliver Knussen and Jonathan begin two years later – the Rhapsodie for contralto, male chorus loss underpinned by the ‘Dies Irae’ in the piano in the final stanza. Harvey’s ‘Songs of Li Po’ at the Aldeburgh Festival. Elysées as Juno, and at the Festival in the title role in ‘The and orchestra. ‘L’Heure exquise’ is the fifth of the seven Chansons grises – Rape of Lucretia’. At English National Opera her roles include Verlaine settings written in 1887–90 while Hahn was still a student In the 1999/2000 season, her U.S. debut in the title role of Handel’s ‘Xerxes’ and ‘Ariodante’, Ruggiero (‘Alcina’), Susie (‘The This Brahms group ends with a song which is not simply one of the at the Paris Conservatoire and first performed chez Daudet in the ‘Ariodante’ for the New York City Opera was hailed as an enormous Silver Tassie’), Ottavia (‘L’Incoronazione di Poppea’), Sesto (‘La greatest he wrote – ‘Von ewiger Liebe’ is one of the greatest art- presence of Verlaine himself. ‘L’Heure exquise’ was one of the success and was described in the New York Times as clemenza di Tito’), Dido (‘Dido and Aeneas’ and ‘The Trojans’), songs anybody wrote, the imminent betrayal suggested by the handful of songs that kept its place in the repertoire before the ‘Phenomenal…[her] voice is dark and true, remarkably flexible and Romeo (‘I Capuleti ed i Montecchi’) and the title role in ‘The Rape words (by Hoffmann von Fallersleben, not Joseph Wenzig, as all the revival of interest in Hahn’s music from the 1970s onwards. Finally, filled with the required heat’. This was followed in the 2000/2001 of Lucretia’ which was televised for the BBC. She recently sang the printed editions claim) redeemed by music of such passionate and ‘Quand je fus pris au pavillon’ of 1899, which matches the text, by season by her debut at the San Francisco Opera singing both Ino title role in ‘Giulio Cesare’ at Glyndebourne. dignified intensity that makes a performance such as the one of the mediaeval prince-poet Charles, Duc d’Orléans, with teasingly and Juno in ‘Semele’. She has since returned to the NYCO as Romeo this CD a profoundly moving experience. old-fashioned music. As in ‘À Chloris’, Hahn seems to impose the in ‘I Capuleti ed i Montecchi’ and the title role of ‘Xerxes’. This Sarah Connolly’s recording of Handel arias with The Sixteen, vocal line on a piano part which is already self-sufficient. season she made an acclaimed debut as Annio ‘Heroes and Heroines’, has been described as “the definition of in ‘La clemenza di Tito’ and her Carnegie Hall recital debut in the captivating” by Classics Today. Among her other recordings are Weill Hall. ‘Das Knaben Wunderhorn’ with L’Orchestre des Champs-Élysées and Philippe Herreweghe for Harmonia Mundi and Mozart’s ‘Mass European engagements include Nerone in ‘L’Incoronazione di in C Minor’ and Haydn’s ‘Scena di Bernice’ with the Gabrieli Consort Poppea’ at the Maggio Musicale in Florence and her débuts at the and Paul McCreesh for Deutsche Grammophon. She sings the title Paris Opera as Sesto in ‘Giulio Cesare’, the Theatre des Champs role in Purcell’s ‘Dido and Aeneas’ at La Scala in 2006.

- 4 - - 21 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

The shades stretched out, And hung you up stiff on a hook, Tom Noddy, Erich Wolfgang Korngold: Four Songs Kurt Weill: Two Songs And paths were faint; and flocking fears From a stone-cold pantry shelf, Only twenty years ago modernist critics still looked down their Like Korngold in Hollywood, Kurt Weill took refuge from the Nazis in Brought cup-eyed care and doubt. Whence your eyes will glare in an empty stare, noses at the music of Erich Wolfgang Korngold – ‘more korn than America – he on the East Coast, composing for the New York Sings he that song on Sundays Till you are cooked yourself! gold’ was the tired cliché usually trotted out when his music was theatres. Weill’s Lost in the Stars, billed as ‘A Musical Tragedy’, was In some dim land afar, (Walter de la Mare) mentioned. Since then, with the rise in interest in the composers based on Alan Paton’s novel Cry the Beloved Country and was On Saturdays, or Mondays, whose careers were blighted by the Nazis, Korngold’s star has been composed in the spring and summer of 1949, to a book and lyrics As when the evening star in the ascendant, and virtually all of his music has been recorded, by Maxwell Perkins. In spite of the serious nature of the subject – Glimpsed in upon his bending face, some pieces many times over. the racial tensions of apartheid South Africa – Lost in the Stars And my hanging hair, was a considerable success: after its opening on 30 October 1949, And time untouched me with a trace The four Abschiedslieder (‘Songs of Farewell’), Op. 14, Korngold’s it ran for no fewer than 273 performances. Of soul-smart or despair? finest song-cycle, were completed in 1920 and first performed by (Robert Hardy) Maria Olszewska in Hamburg on 5 November 1921, with Korngold One Touch of Venus was written six years earlier, in the summer of himself at the piano. The intense and long-breathed ‘Sterbelied’, 1943; opening in New York on 7 October that year, it ran for an No. 1, asks its singer to negotiate some operatically precipitous astonishing 567 performances. ‘Speak Low’ is one of the songs Benjamin Britten (1913–1976) portamenti and there are some awkward intervals (elevenths and entrusted to the goddess Venus, brought to life from a statue when twelfths). The apparent optimism of ‘Gefasster Abschied’, the a ring is slipped over her fingers and pursues the barber who put Tit for Tat closing song of the cycle (the text specially written for Korngold in it there. 1919 by the poet Ernst Lothar), is undermined by the chromatic Have you been catching fish, Tom Noddy? twists in the piano part – this farewell is not as painless as the text Have you snared a weeping hare? suggests. Are the references to Mahler’s Fourth Symphony in the SarahHardy, Connolly sang two encores at her St John’s recital: John Have you whistled “No Nunny” and gunned a poor bunny, piano part also pointers to lost happiness? Ireland’s ‘Her Song’, the second of Three Songs to Poems by Thomas Or blinded a bird of the air? published in 1925, and Benjamin Britten’s Walter de la Mare Korngold, one of the most feted composers in Hollywood, turned to setting is the last of a set of five he composed between 1928 and Have you trod like a murderer through the green woods, the music he had written for studios. “Gluckwunsch” uses the main 1931 (in his late teens), revising them in the summer of 1968 and Through the dewy deep dingles and glooms, theme from Devotion from 1943, and ‘Alt-Spanisch’ was re-written publishing them as Tit for Tat. While every small creature screamed shrill to Dame Nature for The Sea Hawk in 1940, though the music itself reaches further Martin Anderson © 2005 “He comes - and he comes!”? back – its first form was as Das Mädchen, written in 1911, when Korngold was fourteen. Wonder I very much do, Tom Noddy, If ever, when off you roam, An ogre from space will stoop a lean face, And lug you home:

Lug you home over his fence, Tom Noddy, Of thorn-sticks nine yards high, With your bent knees strung round his old iron gun And your head a dan-dangling by:

- 20 - - 5 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Franz Joseph Haydn (1732–1809) Kurt Weill (1900–1950) Speak Low (from One Touch of Venus)

Arianna a Naxos Lost in the Stars (from Lost in the Stars) Speak low when you speak, love. Our summer day withers away too soon, too soon. Teseo mio ben, Theseus my beloved, Before Lord God made the sea and the land, Speak low when you speak, love. Ove sei tu? where are you? He held all the stars in the palm of his hand, Our moment is swift, like ships adrift, we’re swept apart, too soon. Vicino d’averti mi parea I seem to have you near me, And they ran through his fingers like grains of sand, Speak low, darling, speak low. Ma un lusinghiero sogno fallace m’ingannò. but a flattering treacherous dream deceives me. And one little star fall alone. Love is a spark, lost in the dark too soon, too soon. Già sorge in ciel la rosea Aurora Already rose-coloured Dawn is rising in the sky I feel wherever I go that tomorrow is near, tomorrow is here and E l’erbe e i fior colora Febo and Phoebus colours the grass and flowers Then the Lord God hunted through the wild night air always too soon. Uscendo dal mar col crine aurato. rising from the sea with his golden hair. For the little dark star in the wind down there, Time is so old and love so brief, Sposo adorato, dove guidasti il piè? Adored husband, where have your footsteps led you? And he stated and promised he’d take special care Love is pure gold and time a thief, Forse le fere ad inseguir ti chiama il tuo nobile ardor. Perhaps your noble ardour calls you to pursue wild beasts. So it wouldn’t get lost again. We’re late, darling, we’re late. Ah vieni, O caro Ah come, my dearest The curtain descends, ev’rything ends too soon, too soon, Ed offrirò più grata preda a tuoi lacci. and I shall offer a more pleasing prey to your snares., Now, man don’t mind if the stars grow dim, I wait, darling, I wait, Il cor d’Arianna amante, che t’adora costante, Clasp Ariadne’s loving heart, which adores you faithfully, And the clouds blow over and darken him. Will you speak low to me, speak love to me and soon. Stringi con nodo più tenace with a firmer knot, So long as the Lord God’s watching over him, (Ogden Nash) E più bella la face splenda dal nostro amor. and let the torch of our love shine more beautifully. Keeping track how it all goes on. Soffrir non posso I cannot bear D’esser da te divisa un sol istante. to be apart from you for a single moment. But I’ve been walking through the night and the day, John Ireland (1879–1962) Ah di vederti, O caro, già mi strugge il desio. Ah beloved, I am already consumed with longing to see you. Till my eyes get weary and my hair turns grey, Ti sospira il mio cuor. My heart sighs for you. And sometimes it seems maybe God’s gone away, Her Song Vieni, idol mio. Come, my idol. Forgetting the promise that we heard him say. I sang that song on Sunday, And we’re lost out here in the stars. To which an idle while, Little stars, big stars, I sang that song on Monday, Aria: Largo Aria: Largo Blowing through the night. As fittest to beguile: I sang it as the year outwore, Dove sei, mio bel tesoro? Where are you, my treasure? And we’re lost out here in the stars. And the new slid in; Chi t’invola a questo cor? Who stole you from this heart? Little stars, big stars, I thought not what might shape before Se non vieni, io già mi moro, If you do not come, death is already mine, Blowing through the night. Another would begin. Né resisto al mio dolor. nor do I resist my grief. Se pietade avete, O Dei, If you have pity, O Gods, And we’re lost out here in the stars. I sang that song in summer, Secondate i voti miei; fulfil my desires; (Maxwell Anderson) All unforeknowingly, A me torni il caro ben. return my dear beloved to me. To him as a new-comer Dove sei? Teseo! Where are you? Theseus! From regions strange to me: I sang it when in afteryears

- 6 - - 19 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Gefasster abschied op. 14, no.4 Resigned farewell Recitative Recitative

Weine nicht, daß ich jetzt gehe, Do not weep that I am now going, Ma, a chi parlo? But to whom am I speaking? Heiter laß dich von mir küssen. Be cheerful and let me kiss you. Gli accenti eco ripete sol. Only echo repeats my words. Blüht das Glück nicht aus der Nähe, If joy does not bloom when we are near, Teseo non m’ode, Theseus does not hear me, Von ferne wird’s dich keuscher grüßen. It will greet you more chastely from afar. Teseo non mi risponde, Theseus does not answer me, E portano le voci e l’aure e l’onde and my words are carried away by the wind and the waves. Nimm diese Blumen, die ich pflückte, Take these flowers that I have picked, Poco da me lontano esser egli dovria. He must not be far from me. Monatsrosen rot und Nelken, Red China roses and carnations, Salgasi quello che più d’ogni altro s’alza alpestro scoglio: Let me climb the highest of these steep rocks: Laß die Trauer, die dich drückte, Shake off the sorrow that oppressed you, Ivi lo scoprirò. I shall discover him thus. Herzens Blume kann nicht welken. The heart’s blossom cannot wither. Che miro? What do I see? O stelle! O heavens! Lächle nicht mit bitter’m Lächeln, Do not smile a bitter smile, Misera me! What a wretch am I! Stoße mich nicht stumm zur Seite. Do not push me aside in silence. Quest’è l’argivo legno, That is the wooden Argosy, Linde Luft wird bald dich wieder fächeln, A soft breeze will soon fan you once more, Greci son quelli. those men are Greeks. Bald ist Liebe sein Geleite! Love will soon escort you! Teseo! Theseus! Ei sulla prora! He is on the prow! Ah, m’inganassi almen ... O may I at least be mistaken ... Gib deine Hand mir ohne Zittern, Give me your hand without trembling, No no, non m’inganno. No, no, I am not mistaken. Letztem Kuß gib alle Wonne. Give all your rapture to this last kiss. Ei fugge, He flees, Bang’ vor Sturm nicht: aus Gewittern Be not afraid of tempests: after storms Ei qui mi lascia in abbandono. he leaves me abandoned here. Geht strahlender auf die Sonne. The sun rises more resplendently. Più speranza non v’è, tradita io sono. There is no longer any hope for me, I am betrayed. Teseo, Teseo, m’ascolta Teseo! Theseus, Theseus, listen to me Theseus! So schau zuletzt noch die schöne Linde, So, take one last look at the lovely lime-tree, Ma oimè! Vaneggio. But alas! I am raving. Drunter uns kein Auge je erspähte. Beneath which no eye ever saw us. I flutti e il vento lo involano per sempre agli occhi miei. The waves and the wind are stealing him from my eyes for ever. Glaub, o glaub, daß ich dich wiederfinde, Believe, O believe, I shall find you again, Ah, siete ingiusti, O Dei Ah, you are unjust, O Gods Denn ernten wird, wer Liebe lächelnd säte. For they who sowed love with a smile shall reaps its harvest. Se l’empio non punite! if you do not punish the infidel! (Ernst Lothar) Ingrato! Perchè ti trassi dalla morte? Ungrateful man! Why did I snatch you away from death? Translations © Richard Stokes, from The Book of Lieder published in 2005 by Faber and Faber Limited Dunque tu dovevi tradirmi? So you had to betray me? E le promesse, e i giuramenti tuoi? And your promises and your oaths? Spergiuro! Infido! Perjurer! Infidel! Hai cor di lasciarmi! Have you the heart to leave me? A chi mi volgo? To whom can I turn? Da chi pietà sperar? From whom can I hope for pity? Già più non reggo: I can already bear no more: Il piè vacilla, my step falters, E in così amaro istante and in so bitter a moment Sento mancarmi in sen l’alma tremante. I feel my trembling soul weaken.

- 18 - - 7 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Aria: Larghetto Aria: Larghetto Alt-Spanisch op. 38, no.3 (1940) Old Spanish Song

Ah, che morir vorrei Ah, how I should like to die Steht ein Mädchen an dem Fenster, A girl stands at her window, In si fatal momento, in so fatal a moment, in die Ferne schweift ihr Blick. Gazes sadly out to sea. Ma al mio crudel tormento but the heavens unjustly keep me Blaß die Wangen, schwer ihr Herze, With pale cheeks and heavy heart, Mi serba ingiusto il ciel. in my cruel torment. singt sie von entschwundnem Glück: She sings of vanished happiness: ‘Mein Lieb kehrt nicht zurück!’ ‘My love does not return!’

Presto Presto Der Abend dämmert sacht, Evening gently falls, ein Stern ersehnt die Nacht. A star longs for night. Misera abbandonata Wretched and abandoned Und im Winde klinget leise And in the wind there softly sounds Non ho chi mi consola. I have no one to console me. eine bange Traummusik. The timid music of dreams. Chi tanto amai s’invola, He whom I loved so much has fled, Wie ein Echo tönt die Weise: Like an echo the tune rings out: Barbaro ed infidel. barbarian and infidel. ‘Mein Lieb kehrt nicht zurück!’ ‘My love does not return!’ (Howard Koch) Translation © Misha Donat.

Sterbelied op. 14, no.1 Requiem Johannes Brahms (1833–1897)

Laß, Liebste, wenn ich tot bin, When I am dead, my dearest, Ständchen op. 106, no.1 (c.1888) Serenade Laß du von Klagen ab. Do not lament. Statt Rosen und Cypressen Instead of roses and cypress, Der Mond steht über dem Berge, The moon shines over the mountain, Wächst Gras auf meinem Grab. Grass shall cover my grave. So recht für verliebte Leut; Just right for people in love; Im Garten rieselt ein Brunnen, A fountain purls in the garden – Ich schlafe still im Zwielichtschein I shall sleep quietly in the twilight, Sonst Stille weit und breit. Otherwise silence far and wide. In schwerer Dämmernis. In the heavy dusk. Und wenn du willst, gedenke mein, And if you will, remember, Neben der Mauer, im Schatten, By the wall in the shadows, Und wenn du willst, vergiß. And if you will, forget. Da stehn der Studenten drei Three students stand Mit Flöt’ und Geig’ und Zither With flute and fiddle and zither, Ich fühle nicht den Regen, I shall not feel the rain, Und singen und spielen dabei. And sing and play. Ich seh’ nicht, ob es tagt, I shall not see the dawn Ich höre nicht die Nachtigall, I shall not hear the nightingale Die Klänge schleichen der Schönsten The sounds steal softly into the dreams Die in den Bäumen klagt. Lamenting in the trees. Sacht in den Traum hinein, Of the loveliest of girls, Sie schaut den blonden Geliebten She sees her fair-headed love Vom Schlaf erweckt mich keiner, No one shall ever wake me, Und lispelt: ‘Vergiß nicht mein!’ And whispers ‘Remember me!’ Die Erdenwelt verblich. All the world has vanished. (Franz Kugler) Vielleicht gedenk ich deiner, Perhaps I shall remember you, Vielleicht vergaß ich dich. Perhaps I’ll have forgotten you. (Christina Rossetti trans. Alfred Kerr) - 8 - - 17 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Je rougis comme vermillon, I flushed crimson Da unten im Tale (Deutsche Volkslieder no.6) (1894) Down there in the valley À la clarté d’une étincelle, In the brightness of a spark, Quand je fus pris au pavillon When I was caught in the pavilion Da unten im Tale Down there in the valley De ma dame, très gente et belle. Of my most beautiful and noble lady. Läufts Wasser so trüb, The water runs so bleakly, Und i kann dirs net sagen, And I cannot tell you Si j’eusse été esmerillon If I had been a merlin I hab di so lieb. How much I love you. Ou que j’eusse eu aussi bonne aile, Or had wings as strong, Je me fusse gardé de celle I should have shielded myself Sprichst allweil von Liebe, You speak only of love, Qui me bailla de l’aiguillon, From her who pierced me with her arrows, Sprichst allweil von Treu, Speak only of constancy Quand je fus pris au pavillon. When I was caught in the pavilion. Und a bissele Falschheit And a bit of falsehood (Charles d’Orléans) Is auch wohl dabei. Goes with it too. Translations © Richard Stokes, from A French Song Companion (Johnson and Stokes) published in 2000 by Oxford University Press. Und wenn i dir’s zehnmal sag, And if I tell you ten times Daß i di lieb und mag, That I love you, Und du willst nit verstehn, And you don’t understand – Erich Wolfgang Korngold (1897–1957) Muß i halt weiter gehn. I shall have to go on my way. Glückwunsch op. 38, no.1 (1947) Congratulation Für die Zeit, wo du g’liebt mi hast, For the time that you loved me, Da dank i dir schön, I thank you so much, Ich wünsche dir Glück. I wish you happiness. Und i wünsch, daß dirs anderswo And wish that elsewhere Ich bring’ dir die Sonne in meinem Blick. I bring you the sun in my gaze. Besser mag gehn. You might fare better. Ich fühle dein Herz in meiner Brust; I feel your heart beat in my breast; (Anon) es wünscht dir mehr als eitel Lust. it wishes you more than mere pleasure. Es fühlt und wünscht: die Sonne scheint, It feels and hopes: the sun shines, auch wenn dein Blick zu brechen meint. even when your eyes think to close in death. Nachtwandler op. 86, no.3 (c.1877) Sleepwalker Es wünscht dir Blicke so sehnsuchtslos, It wishes your eyes to be as free of yearning, als trügest du die Welt im Schoß. as if you carried the world in your womb. Störe nicht den leisen Schlummer Do not disturb the gentle slumber Es wünscht dir Blicke so voll Begehren, It wishes your eyes to be full of desire, Deß, den lind ein Traum umfangen! Of one whom dreams softly embraced! als sei die Erde neu zu gebären. as if the earth were to be born again. Laß ihm seinen süßen Kummer! Leave him to his sweet grief! Es wünscht dir Blicke voll der Kraft, It wishes your eyes to be full of the strength Ihm sein schmerzliches Verlangen! To his painful longing! die aus Winter sich Frühling schafft. that fashions spring from winter. Und täglich leuchte durch dein Haus And may your house be daily lit Sorgen und Gefahren drohen, Though cares and dangers threaten, aller Liebe Blumenstrauß! By the gleaming bouquet of love! Aber keine wird ihn schrecken, None of them will frighten him, (Richard Dehmel) Kommst du nicht, den Schlafesfrohen Unless you with harsh words Durch ein hartes Wort zu wecken. Rouse him from his happy sleep.

- 16 - - 9 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Still in seinen Traum versunken, Silently immersed in his dream, L’Heure exquise The Exquisite hour Geht er über Abgrundtiefen, He passes over deep abysses, Wie vom Licht des Vollmonds trunken, As though drunk with the full moon’s light, La lune blanche The white moon Weh den Lippen, die ihn riefen! Woe to the lips that would call him! Luit dans les bois; Gleams in the woods; (Max Kalbeck) De chaque branche From every branch Part une voix There comes a voice Sous la ramée… Beneath the boughs… Feldeinsamkeit op. 86, no.2 (c.1879) Alone in fields Ô bien-aimée. O my beloved. Ich ruhe still im hohen grünen Gras I rest at peace in tall green grass Und sende lange meinen Blick nach oben, And gaze steadily aloft, L’étang reflète, The pool reflects, Von Grillen rings umschwirrt ohn’ Unterlaß, Surrounded by unceasing crickets, Profond miroir, Deep mirror, Von Himmelsbläue wundersam umwoben. Wondrously interwoven with blue sky. La silhouette The silhouette Du saule noir Of the black willow Die schönen weißen Wolken ziehn dahin The lovely white clouds go drifting by Où le vent pleure… Where the wind is weeping… Durchs tiefe Blau, wie schöne stille Träume; – Through the deep blue, like lovely silent dreams; Mir ist, als ob ich längst gestorben bin, I feel as if I have long been dead, Rêvons, c’est l’heure. Let us dream, it is the hour. Und ziehe selig mit durch ew’ge Räume. Drifting happily with them through eternal space. (Hermann Allmers) Un vaste et tendre A vast and tender Apaisement Consolation Semble descendre Seems to fall Alte Liebe op. 72, no.1 (c.1876) Old Love Du firmament From the sky Que l’astre irise… The moon illumines… Es kehrt die dunkle Schwalbe The dark swallow returns Aus fernem Land zurück, From a distant land, C’est l’heure exquise. The Exquisite hour. Die frommen Störche kehren The pious storks return (Paul Verlaine) Und bringen neues Glück. And bring new happiness.

An diesem Frühlingsmorgen, On this Spring morning, Quand je fus pris au pavillon When I was caught in the pavilion So trüb verhängt und warm, So bleakly veiled and warm, Ist mir, als fänd ich wieder I seem to rediscover Quand je fus pris au pavillon When I was caught in the pavilion Den alten Liebesharm. Love’s grief of old. De ma dame, très gente et belle, Of my most beautiful and noble lady, Je me brûlay à la chandelle, I burnt myself in the candle’s flame, Es ist, als ob mich leise It is as if someone Ainsi que fait le papillon. As the moth does. Wer auf die Schulter schlug, Tapped me on the shoulder, Als ob ich säuseln hörte, As if I heard a whirring, Wie einer Taube Flug. Like a dove in flight.

- 10 - - 15 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Trois jours de vendange Three days of vintaging Es klopft an meine Türe There’s a knock at my door, Und ist doch niemand draus; Yet no one stands outside; Je l’ai recontrée un jour de vendange, During the vintage I met her one day, Ich atme Jasmindüfte, I breathe the scent of jasmine, La jupe troussée et le pied mignon; Skirt tucked in and dainty feet; Und habe keinen Strauß. Yet have no bouquet. Point de guimpe jaune et point de chignon: No yellow veil and no coiled-up hair: L’air d’une bacchante et les yeux d’un ange. A maenad with an angel’s eyes. Es ruft mir aus der Ferne, Someone calls me from afar, Ein Auge sieht mich an, Eyes are watching me, Suspendue an bras d’un doux compagnon, She was leaning on a sweet friend’s arm, Ein alter Traum erfaßt mich An old dream takes hold of me Je l’ai recontrée aux champs d’Avignon, When I met her at Avignon in the fields, Und führt mich seine Bahn. And leads me on its path. Un jour de vendange. During the vintage one day. (Karl Candidus)

Je l’ai recontrée un jour de vendange. During the vintage I met her one day. La plaine était morne et le ciel brûlant; The plain was bleak and the sky ablaze; Die Mainacht op. 43, no.2 (c.1866) May Night Elle marchait seule et d’un pas tremblant, She was walking alone and with faltering steps, Son regard brillait d’une flamme étrange. Her face was lit by a curious glow. Wann der silberne Mond durch die Gesträuche blinkt When the silvery moon gleams through the bushes,

Je frissonne encore en me rappelant I still shudder as I remember Und sein schlummerndes Licht über den Rasen streut, And sheds its slumbering light on the grass, Comme je te vis, cher fantôme blanc, How I saw you, dear white spectre, Un jour de vendange! During the vintage one day! Und die Nachtigall flötet, And the nightingale is fluting, Wandl’ ich traurig von Busch zu Busch. I wander sadly from bush to bush. Je l’ai rencontrée un jour de vendange, During the vintage I met her one day, Et j’en rêve encor presque tous les jours. And still almost daily I dream of it. Überhüllet vom Laub, girret ein Taubenpaar Covered by leaves, a pair of doves Sein Entzücken mir vor; aber ich wende mich, Coo to me their ecstasy; but I turn away, Le cercueil était couvert en velours, The coffin was draped in velvet, Suche dunklere Schatten, Seek darker shadows, Le drap noir portait une double frange. The black shroud had a double fringe. Und die einsame Träne rinnt. And the lonely tear flows down. Les sœurs d’Avignon pleuraient tout autour… The Avignon nuns wept all around it… La vigne avait trop de raisin; l’Amour The vine had too many grapes; Love Wann, o lächelndes Bild, welches wie Morgenrot When, O smiling vision, that shines through my soul Avait fait la vendange. Had gathered its harvest. Durch die Seele mir strahlt, find’ ich auf Erden dich? Like the red of dawn, shall I find you here on earth? (Alphonse Daudet) Und die einsame Träne And the lonely tear Bebt mir heißer die Wang’ herab. Quivers more ardently down my cheek. (Ludwig Hölty)

- 14 - - 11 - CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer SIGNUMCLASSICS YELLOW Catalogue No. SIGCD072 BLACK Job Title Sarah Connolly Page Nos.

Von ewiger Liebe op. 43, no.1 (1864) Of Eternal Love Reynaldo Hahn (1875–1947)

Dunkel, wie dunkel in Wald und in Feld! Dark, how dark in forest and field! À Chloris To Chloris Abend schon ist es, nun schweiget die Welt! Evening already, and the world is silent. S’il est vrai, Chloris, que tu m’aimes, If it be true, Chloris, that you love me, Nirgend noch Licht und nirgend noch Rauch, Nowhere a light and nowhere smoke, Mais j’entends que tu m’aimes bien, (And I’m told you love me dearly), Ja, und die Lerche sie schweiget nun auch. And even the lark is silent now too. Je ne crois pas que les rois mêmes I do not believe that even kings Aient un bonheur pareil au mien. Can match the happiness I know. Que la mort serait importune Even death would be powerless Kommt aus dem Dorfe der Bursche heraus, Out of the village there comes a lad, À venir changer ma fortune To alter my fortune Gibt das Geleit der Geliebten nach Haus, Escorting his sweetheart home, Pour la félicité des cieux! With the promise of heavenly bliss! Tout ce qu’on dit de l’ambroisie All that they say of ambrosia Führt sie am Weidengebüsche vorbei, He leads her past the willow-copse, Ne touche point ma fantaisie Does not stir my imagination Redet so viel und so mancherlei: Talking so much and of so many things: Au prix des grâce de tes yeux. Like the favour of your eyes! (Théophile de Viau) ‘Leidest du Schmach und betrübest du dich, ‘If you suffer sorrow and suffer shame, Leidest du Schmach von andern um mich, Shame for what others think of me, L’Énamourée The loved one Werde die Liebe getrennt so geschwind, Then let our love be severed as swiftly, Schnell wie wir früher vereiniget sind. As swiftly as once we two were plighted. Ils se disent, ma colombe, They say, my dove, Que tu rêves, morte encore, That, though dead, you dream Scheide mit Regen und scheide mit Wind, Let us depart in rain and depart in wind, Sous la pierre d’une tombe: Beneath the headstone of a grave: Schnell wie wir früher vereiniget sind.’ As swiftly as once we two were plighted.’ Mais pour l’âme qui t’adore, But for the soul that adores you, Tu t’éveilles ranimée, You waken, restored to life, Ô pensive bien-aimée! O pensive beloved! Spricht das Mägdelein, Mägdelein spricht: The girl speaks, the girl says: ‘Unsere Liebe, sie trennet sich nicht! ‘Our love cannot be severed! Par les blanches nuits d’étoiles, During sleepless, starlit nights, Dans la brise qui murmure, In the murmuring breeze, Fest ist der Stahl und das Eisen gar sehr, Steel is strong, and so is iron, Je caresse tes longs voiles, I caress your long veils, Unsere Liebe ist fester noch mehr. Our love is even stronger still. Ta mouvante chevelure, Your billowing hair, Et tes ailes demi-closes And your half-folded wings Eisen und Stahl, man schmiedet sie um, Iron and steel can both be reforged, Qui voltigent sur les roses! That flutter over roses! Unsere Liebe, wer wandelt sie um? But our love, who shall change it? Ô délices! je respire Oh delights! I inhale Eisen und Stahl, sie können zergehn, Iron and steel can be melted down, Tes divines tresses blondes! Your divine blonde tresses! Unsere Liebe muß ewig bestehn!’ Our love must endure for ever!’ Ta voix pure, cette lyre, Your pure voice, this lyre, (Heinrich Hoffman von Fallersleben) Suit la vague sur les ondes, Follows the waves across the water, Translations © Richard Stokes, from The Book of Lieder published in 2005 by Et, suave, les effleure, And softly ripples them, Faber and Faber Limited Comme un cygne qui se pleure! Like a lamenting swan! (Théodore de Banville) - 12 - - 13 -