Wednesday 13 June 2018 7.30pm In the Presence of His Excellency Arkady Rzegocki, Ambassador of the Republic of Poland

Jakub Józef Orliński Michał Biel piano

Celebrating 100 Years of Poland Regaining Independence Che più si tarda omai... Stille amare from , re di Egitto Music for a while If music be the food of love Z379c What power art thou ‘Cold song’ Strike the viol Franz Schubert Auf der Donau Die Stadt from Schwanengesang D957 Nachtstück

Reynaldo Hahn A Chloris • Mai Paysage • Fêtes galantes L’heure exquise from Chansons grises

I n t e r v a l (20 minutes) Karol Szymanowski Four songs from Kurpie Songs Op. 58 Tadeusz Baird Four Love Sonnets Paweł Łukaszewski Jesień from Three Songs George Frideric Handel Agitato da fiere tempeste from , re d’Inghilterra

We are grateful to The Monument Trust for essential additional support for our expanded vocal series.

Embassy of the Republic of Poland in London

summer cover.indd 1 22/03/2018 17:09 Programme Notes

Handel’s Tolomeo was first performed unfettered rhythms, boldly discordant at the King’s Theatre, Haymarket, on harmonies, his soaring melodies without 30 April 1728 and originally ran for just automatic repetitions of “memorable” seven performances. The and phrases, and especially his love of the ‘Che più si tarda omai... Stille amare’ virtuoso, the operatic and conscious comes from the scene in Act III where exploitation of brilliant sound. … One can Tolomeo drinks poison (which turns out learn endlessly by becoming intimate to be a sleeping potion). The role was with such a gift as his. There seems to taken at the first performance by the be nothing this composer cannot do. (Francesco Bernardi). But almost the greatest importance of I am honoured and privileged to Who made particularly fine impressions Purcell for us today is the example of his welcome you to this exceptional in dramatic such as ‘Inumano prosody. Here surely is the way to make concert celebrating the 100th fratel’. In his General History of Music, the English language live again in song. anniversary of Poland regaining Charles Burney described this moment … No composer has ever loved his native independence after 123 years of as ‘pathetic [i.e. deeply-felt] and masterly tongue as Purcell did. He was indeed occupation. We will hear favourite in a truly grand dramatic style’. the Orpheus Britannicus.’ songs and chosen by the Polish countertenor Jakub Józef Given its première on 11 November 1727, This stirring tribute is amply justified in Orliński with pianist Michał Biel. a few months before Tolomeo (with the a song like ‘Music for a while’ composed Both musicians are widely same starry line-up of principals led as part of the incidental music for a recognised for their outstanding by Senesino, and revival in 1692 of the play Oedipus by talent and performances, and they ) Riccardo primo is set, Dryden and Nathaniel Lee, for which are genuine rising stars in the like Tolomeo, on the island of , Purcell produced a setting that unfurls classical music world. and the plot concerns the marriage of over a serpentine ground . Between King Richard I to a Spanish Princess 1792 and 1795, Purcell made three Jakub Józef Orliński and Michał Biel Costanza in 1191. This is based on settings of ‘If music be the food of are also a new generation of Polish historical events: Richard I married love’, a poem by Henry Heveningham musicians who, by being recognised Berengaria of Navarre at Limassol (1651–1700) inspired by Shakespeare’s abroad, will continue a long tradition on 12 May 1191 and she later became Twelfth Night. The version in this concert of Polish artists serving as the best known as the only queen of England is the last of the three. ‘What power art cultural ambassadors for Poland. never to set foot in the country. Burney thou’ comes from the 1691 semi-opera I would like to express my grateful described Richard’s aria, originally sung King Arthur with a by Dryden. thanks to the Director of Wigmore by Senesino, as ‘in a grand style of The poet Thomas Gray saw a production Hall, John Gilhooly OBE, for inviting bravura’, adding that it must have ‘had a in 1736 and noted that it was ‘the Polish singers, composers and great effect when … thundered by such finest song in the play’. Come ye Sons musicians to this beautiful venue. I a voice’. of Art was written in 1694 for Queen sincerely hope that this tradition will Mary’s birthday and ‘Strike the viol’ was Purcell was one of the greatest be continued for years to come. first published in Orpheus Britannicus, composers of English song. The 250th the anthology of Purcell’s songs first I wish you all an enjoyable concert. anniversary of his death was marked in published in 1698. 1945 with a pair of concerts at Wigmore HE Arkady Rzegocki Hall for which both and ‘Auf der Donau’ is a setting of a poem Republic of Poland Ambassador to the Michael Tippett wrote articles extolling by Johann Mayrhofer (1787–1836) United Kingdom their predecessor’s work. Britten composed by Schubert in 1817 and invited listeners to ‘think of Purcell’s published in 1823. With a title that might

www.wigmore-hall.org.uk suggest something rather charming, Massenet in the late 1880s. Hahn sets a and songs of the Highlanders in the particularly for Schubert’s Viennese poem by François Coppée (1842–1908), Zakopane region of the Tatra mountains audience, its deceptively gentle opening a poet who also worked as archivist of where he lived – inspiring works such soon gives way to a much more agitated the Comédie française. His poetry was as the ballet Harnasie and the Fourth section and an imposing dramatic parodied at the time by his younger Symphony. But Szymanowski was also span that leads to a desolate close. colleague Arthur Rimbaud, but it fascinated by other traditional Polish ‘Nachtstück’ is another Mayrhofer remains of interest today for its attempt music, especially the songs of the Kurpie setting, composed in 1819. The anguished to express the emotions of Parisian Forest in north-eastern Poland. His chromatic piano introduction becomes working people. Hahn’s treatment of source was a collection of songs made an accompaniment when the voice ‘Mai’ is a delectable waltz-song. Of by Władysław Skierkowski (1886–1941). enters. This gives way to a sublime all the poets set by Hahn, the name In an introductory note to the twelve new section, a kind of musical farewell of André Theuriet (1833–1907) is one songs composed in 1930–1932, accompanied by rich piano arpeggios. of the least familiar today, though he Szymanowski wrote: ‘The melodies Eventually the song seems to dissolve enjoyed considerable success as a and texts of these arrangements … have into tranquility. ‘Die Stadt’ was playwright. In contrast to Coppée’s been taken from Father Władysław composed in 1828, one of six Heine poetry about city life, Theuriet was Skierkowski’s work Puszcza Kurpiowska settings included in Schwanengesang. A interested in evoking the countryside w pieśni [‘The Kurpie Forest in Song’]. ghostly piano introduction gives way to of France and its regions. ‘Paysage’ Let me here express to the venerable a song in which the singer muses on the describes a landscape in Brittany and author not only my deepest appreciation town – glimpsed in the fog – where he Hahn’s setting, composed in 1890 and of his beautiful and valuable work but lost his beloved. influenced by his teacher Massenet, is also sincere gratitude for giving us, anchored by a repeating phrase in the the musicians of Poland, access to this Reynaldo Hahn was born in Venezuela piano part and some very attractive little-known and immensely rich source but his family moved to Paris when shifting harmonies. ‘Fêtes galantes’ of what is perhaps the most beautiful he was a child. He first came to public is based on the famous poem by Paul Polish folk music.’ Skierkowski was attention in his early teens with settings Verlaine (1844–1896) that was also set a priest, forced to flee into the Kurpie of Victor Hugo. Paul Verlaine, whose by Fauré and Debussy (among others). Forest during World War One and it poems Hahn often set, declared that he First published in 1893, the song opens was during these years that he became ‘wept to hear Hahn’s songs’. Hahn was with a repeating phrase in thirds, high in immersed in the culture of the Kurpie Marcel Proust’s lover for a year in the the piano’s register, that returns several people. He started to collect songs and 1890s, and they remained very close; times as a ritornello between verses and published a large collection of them in Proust once said that ‘Everything I have as a short epilogue. ‘L’heure exquise’ 1928, from which Szymanowski took the done is thanks to Reynaldo’. ‘A Chloris’ from Hahn’s Chansons grises, a set of words and tunes arranged here. was composed in 1916 on a poem by seven Verlaine settings first published the Théophile de Viau (1590–1626) First composed in 1956 for baritone in 1891. From the start, the piano – a poet whose writing got him into and orchestra, the version with piano arpeggios set a mood that is both tender constant trouble during his short lifetime is also by Baird. The settings of four and sultry, while the voice weaves a (at one point he was sentenced to be Shakespeare Sonnets (Nos. 23, 91, line of elegant and exquisite simplicity burned alive, and he was subsequently 56 and 97) were originally written as culminating in the final line, ‘C’est imprisoned in the Conciergerie). Hahn’s part of Baird’s incidental music for a l’heure exquise’. Graham Johnson has setting cleverly travels back towards 1956 production of Romeo and Juliet in written of this song that ‘out of utterly the time of the poem, using a bassline Warsaw before being rearranged as a ordinary, even hackneyed, ingredients, similar to Bach’s Air on a G string concert work the following year. Baird Hahn has created a masterpiece’. and keyboard figurations that suggest himself wrote of them as ‘an expression Baroque ornaments. ‘Mai’ is from In his later years, Szymanowski of my respect and love for the art of much earlier in Hahn’s career, written immersed himself in the folk music past ages, a proof of my lively interest at around the time of his studies with of Poland, particularly the dances in literature’, adding that in these songs

Box Office: 020 7935 2141 his ‘passion bore its fruit.’ The setting UK when Stephen Layton and the choir of Sonnet 23 presents a simple melody, of Trinity College, Cambridge released Forthcoming concerts elegantly harmonised. Sonnet 91 is more a recording of his choral music for vigorous, with a spiky accompaniment Hyperion in 2008. Łukaszewski has figure heard at the start and returning also composed a number of orchestral Thursday 28 June 7.30pm several times. Sonnet 56 is a strikingly works as well as solo songs. The Three Elizabeth Watts soprano beautiful setting notable for the subtle Songs on poems by Maria Pawlikowska- Roderick Williams baritone shifts in Baird’s harmony. The music for Jasnorzewska were composed in 1992. Roger Vignoles piano Sonnet 97 has sparser, more austere ‘Jesień’ [‘Autumn’] is the first of the set. Wolf Italienisches Liederbuch textures for the most part, bringing the A long piano introduction, much of it set to a thoughtful and haunting close. over long pedal notes, eventually gives way to the voice in a song that has a Łukaszewski comes from a musical Saturday 30 June 7.30pm predominantly melancholy mood. family (his father and brother are both Sophie Bevan soprano composers) and he is best known for © Nigel Simeone 2018 Ryan Wigglesworth piano an extensive output of church music: Musorgsky The Nursery his work became better known in the Ryan Wigglesworth New work Stravinsky Three Little Songs (Recollections of my Childhood) Messiaen Poèmes pour Mi Both concerts £38 £33 £27 £20 £15

Disabled Access and Facilities Full details from 020 7935 2141 Coughing can be very disturbing for both the artists and other The Wigmore Hall Trust HRH The Duke of Kent, KG Royal Patron members of the audience. Registered Charity No. 1024838 • www.wigmore-hall.org.uk • John Gilhooly Director Please suppress any coughing as Aubrey Adams OBE Chairman; Tony Allen; Lady Julia Boyd; Mark Hawtin; Alan Leibowitz; much as possible. Cough lozenges Dame Felicity Lott; Lady Mary Stirrup. are on sale in the foyer or may be Wigmore Hall is a no smoking venue. No recording or photographic equipment may be obtained from the ushers. taken into the auditorium nor used in any other part of the Hall without the prior written permission of the management. Wigmore Hall is equipped with a ‘Loop’ to help hearing Would patrons please ensure that aid users receive clear sound without background noise. Patrons can use this facility by mobile phones are switched off switching hearing aids to ‘T’. Please also ensure that watch In accordance with the requirements of City of Westminster persons shall not be permitted alarms and other electronic devices to stand or sit in any of the gangways intersecting the seating, or to sit in any other which can become audible are gangways. If standing is permitted in the gangways at the sides and rear of the seating, it shall be limited to the number indicated in the notices exhibited in those positions. switched off. At Wigmore Hall our core value is that all staff and visitors must be treated with Wigmore Hall is equipped with a ‘Loop’ to courtesy and respect. We ask that you treat everybody with respect too. We adopt a zero tolerance approach to anyone who interacts with our staff or with fellow audience help hearing aid users receive clear sound members in an intimidating, aggressive or threatening manner. We are committed without background noise. to accessibility and we ask that you demonstrate understanding and compassion Patrons can use this facility by switching their towards those around you. If you notice anyone who needs assistance, or if you require hearing aids over to ‘T’. assistance yourself, an usher will be happy to help you. Pianos maintained by Steinway & Sons Auditorium flowers by Helen Aristidov 020 7538 8484 Media enquiries: Albion Media 020 3077 4930 Printed concert programmes edited by Sophie Donat and William Ellis

www.wigmore-hall.org.uk (1685–1759) If music be the food of love Z379c (1692–5) George Frideric Handel (Henry Heveningham)

If music be the food of love, Che più si tarda omai... Stille amare Sing on till I am fill’d with joy; from Tolomeo, re di Egitto HWV25 (1728) For then my list’ning soul you move (Nicola Haym, after Carlo Sigismondo Capeci ‘Tolomeo et ’) To pleasures that can never cloy. Your eyes, your mien, your tongue declare Tolomeo, con coppa di veleno. Tolomeo, holding a cup of poison. That you are music ev’rywhere. Che più si tarda omai, Why delay longer, O neghittose labbra, reluctant lips, Pleasures invade both eye and ear, A dissetar con queste poche stille to drink these few drops So fierce the transports are, they wound, Che Elisa a te presenta, brought to you by Elisa And all my senses feasted are, L’empio furor della tua sorte irata? and sate your destiny’s pitiless anger? Tho’ yet the treat is only sound, Si beva, sì, si beva. Drink, yes, drink. Sure I must perish by your charms, Unless you save me in your arms. Beve il veleno e getta He drinks the poison and throws la coppa. aside the cup. Inumano fratel, barbara madre, Inhuman brother, cruel mother, What power art thou 'Cold song' Ingiusto Araspe, dispietata Elisa, unjust Araspe, merciless Elisa, from King Arthur, or The British Worthy Z628/20 (1691) Numi, o furie del Ciel, Cielo nemico, you gods, furies of an inimical heaven, (John Dryden) Implacabil destin, tiranna sorte, implacable destiny, tyrannical fate, Tutti, tutti v’invito I invite you all What power art thou, who from below A gustare il piacer della mia morte. to savour the pleasure of my death. Hast made me rise unwillingly and slow Ma tu, consorte amata, But you, my beloved wife, From beds of everlasting snow? Non pianger no, mentre che do not weep as I happily breathe See’st thou not how stiff and wondrous old, lieto spiro; my last; Far unfit to bear the bitter cold, Basta, che ad incontrar l’anima mia I ask only that to meet my soul I can scarcely move or draw my breath? Quando uscirà dal sen, mandi as it leaves my breast, you breathe Let me, let me freeze again to death. un sospiro. a sigh for me.

Stille amare, già vi sento Bitter drops, I feel you coursing Strike the viol from Come, ye Sons of Art Away Z323/4 (1694) Tutte in seno la morte a chiamar. through my breast to summon death. (?Nahum Tate) Già vi sento smorzare il tormento, I feel you easing my pain, Già vi sento tornarmi a bear. I feel you returning me to joy. Strike the viol, touch the lute, Wake the harp, inspire the flute. Sing your patroness’s praise, In cheerful and harmonious lays. Henry Purcell (1659–1695) Franz Schubert (1797–1828) Music for a while from Oedipus Z583/2 (?1692) (John Dryden/Nathaniel Lee) Auf der Donau D553 (1817) On the Danube Music for a while (Johann Baptist Mayrhofer) Shall all your cares beguile: Wond’ring how your pains were eas’d, Auf der Wellen Spiegel The boat glides And disdaining to be pleas’d Schwimmt der Kahn. on the waves’ surface. Till Alecto free the dead Alte Burgen ragen Old castles soar From their eternal bands, Himmelan; heavenward; Till the snakes drop from her head, Tannenwälder rauschen pine-forests stir And the whip from out her hands. Geistergleich – like ghosts – Music for a while Und das Herz im Busen and our hearts grow Shall all your cares beguile. Wird uns weich. faint within us.

Box Office: 020 7935 2141 Denn der Menschen Werke For the works of man Die grünen Bäume rauschen dann, Then the green trees will rustle: Sinken all’; all perish; Schlaf süss, du guter alter Mann; sleep well, good old man; Wo ist Turm, wo Pforte, where are towers, where gates, Die Gräser lispeln wankend fort, the swaying grass will whisper: Wo der Wall, where ramparts, Wir decken seinen Ruheort; we will cover his resting-place; Wo sie selbst, die Starken? where are the mighty themselves? Und mancher liebe Vogel ruft, and many a sweet bird will call: Erzgeschirmt, Who clad in bronze armour, O lass ihn ruh’n in Rasengruft!“ – O let him rest in his grassy grave!’ – Die in Krieg und Jagden stormed Hingestürmt. into wars and hunts. Der Alte horcht, der Alte The old man listens, the old schweigt – man is silent – Trauriges Gestrüppe Melancholy briars Der Tod hat sich zu ihm geneigt. death has inclined towards him. Wuchert fort, grow rank and rampant, Während frommer Sage while the power Kraft verdorrt. of pious myth withers. Und im kleinen Kahne And in our small boat Wird uns bang – we grow afraid – Reynaldo Hahn (1874–1947) Wellen droh’n, wie Zeiten, waves, like time, threaten Untergang. destruction. A Chloris (1916) To Chloris (Théophile de Viau) Die Stadt The town from Schwanengesang S’il est vrai, Chloris, que tu If it be true, Chloris, that you D957 (1828) m’aimes, love me, (Heinrich Heine) Mais j’entends que tu m’aimes (and I’m told you love me bien, dearly), Am fernen Horizonte On the distant horizon Je ne crois pas que les rois I do not believe that even Erscheint, wie ein Nebelbild, the town with its turrets mêmes kings Die Stadt mit ihren Türmen looms like a misty vision, Aient un bonheur pareil au can match the happiness In Abenddämmrung gehüllt. veiled in evening light. mien. I know. Que la mort serait importune Even death would be powerless Ein feuchter Windzug kräuselt A dank breeze ruffles A venir changer ma fortune to alter my fortune Die graue Wasserbahn; the gloomy waterway; Pour la félicité des cieux! with the promise of heavenly bliss! Mit traurigem Takte rudert with sad and measured strokes Tout ce qu’on dit de l’ambroisie All that they say of ambrosia Der Schiffer in meinem Kahn. the boatman rows my boat. Ne touche point ma fantaisie does not stir my imagination Au prix des grâces de tes yeux. like the favour of your eyes! Die Sonne hebt sich noch einmal The sun rises once again, Leuchtend vom Boden empor, gleaming from the earth, Und zeigt mir jene Stelle, and shows me that place Mai (1889) May Wo ich das Liebste verlor. where I lost what I loved most. (François Coppée)

Depuis un moi, chère exilée, It is a month, dear exile, Nachtstück D672 (1819) Nocturne Loin de mes yeux tu t’en allas, since you vanished from my gaze, (Johann Baptist Mayrhofer) Et j’ai vu fleurir des lilas and I have watched the lilacs bloom Avec ma peine inconsolée. with my sorrow unassuaged. Wenn über Berge sich der When mist spreads over the Nebel breitet, mountains, Seul, je fuis ce ciel clair et beau Alone, I avoid these lovely clear skies, Und Luna mit Gewölken kämpft, and Luna battles with the clouds, Dont l’ardent effluve me trouble, whose blazing rays disquiet me, Car l’horreur de l’exil se double for an exile’s dread increases So nimmt der Alte seine Harfe, the old man takes up his harp, De la splendeur du with the splendour of nature’s und schreitet, and steps renouveau. renewal. Und singt waldeinwärts und into the forest, singing gedämpft: softly: En vain le soleil a souri, In vain the sun has smiled; „Du heil’ge Nacht! ‘O holy night! Au printemps je ferme ma porte, I close my door to the spring, Bald ist’s vollbracht. Soon it shall be done. Et veux seulement qu’on and wish only to be Bald schlaf’ ich ihn Soon I shall sleep m’apporte brought Den langen Schlummer, the long sleep, Un rameau de lilas fleuri! a lilac branch in bloom! Der mich erlöst that shall free me Von allem Kummer. from all affliction. Song continues overleaf. Please turn the page as quietly as possible

www.wigmore-hall.org.uk Car l’amour dont mon âme est For Love, which fills my heart to Tourbillonnent dans l’extase whirl madly in the rapture pleine overflowing, D’une lune rose et grise, of a grey and roseate moon, Y trouve parmi ses douleurs finds among its sorrows Et la mandoline jase and the mandolin jangles on Ton regard, dans ces chères your gaze in the midst of those Parmi les frissons de brise. in the shivering breeze. fleurs, dear flowers, Et dans leur parfum ton and in their fragrance your haleine! sweet breath! L’heure exquise Exquisite hour from Chansons grises (1887–90) (Paul Verlaine) Paysage (1890) A landscape (André Theuriet) La lune blanche The white moon Luit dans les bois; gleams in the woods; A deux pas de la mer qu’on Close by the booming De chaque branche from every branch entend bourdonner sea, Part une voix there comes a voice Je sais un coin perdu de la terre in Brittany I know a sequestered Sous la ramée ... beneath the boughs ... bretonne spot Où j’aurais tant aimé, pendant where in autumn I would so Ô bien-aimée. O my beloved. les jours d’automne, have wished, Chère, à vous emmener! my love, to go with you! L’étang reflète, The pool reflects, Profond miroir, deep mirror, Des chênes faisant cercle Oaks encircling a La silhouette the silhouette autour d’une fontaine, fountain, Du saule noir of the black willow Quelques hêtres épars, un vieux scattered beech, an old Où le vent pleure ... where the wind is weeping ... moulin désert, abandoned mill, Une source dont l’eau claire a a well whose clear waters Rêvons, c’est l’heure. Let us dream, it is the hour. le reflet vert reflected De vos yeux de sirène ... the green of your Siren’s eyes ... Un vaste et tendre A vast and tender Apaisement consolation La mésange, au matin, sous la The bluetit, each morning, Semble descendre seems to fall feuille jaunie, among yellowed leaves Du firmament from the sky Viendrait chanter pour nous ... would come to sing for us ... Que l’astre irise ... the moon illumines ... Et la mer, nuit et jour, And the sea, night and day, Viendrait accompagner nos accompany our loving caresses d’amour caresses C’est l’heure exquise. Exquisite hour. De sa basse infinie! with its boundless bass!

Fêtes galantes (1892) Fêtes galantes (Paul Verlaine) Interval

Les donneurs de sérénades The gallant serenaders Et les belles écouteuses and their fair listeners There is a complimentary drink for every member of the audience at the Échangent des propos fades exchange sweet nothings interval of tonight’s concert Sous les ramures chanteuses. beneath singing boughs. Please go to the following designated areas: C’est Tircis et c’est Aminte, Tirsis is there, Aminte is there, Bechstein Room: Front Stalls Rows AA–I. Please use the doors on Et c’est l’éternel Clitandre, and tedious Clitandre too, either side of the stage. Et c’est Damis qui pour and Damis who for many a Foyer: Stalls Rows J–R mainte cruel maid Restaurant: Rear Stalls Rows S–X; Balcony Rows A–D Cruelle fait maint vers tendre. writes many a tender song. Please check that your phone is turned off, especially if you used it Leurs courtes vestes de soie, Their short silken doublets, during the interval. Leurs longues robes à queues, their long trailing gowns, Leur élégance, leur joie their elegance, their joy Et leurs molles ombres bleues and their soft blue shadows

Box Office: 020 7935 2141 (1882–1937) Bo pólno róza roz do And a wild rose only flowers once Karol Szymanowski roku kście, a year, Cianskoć temu syrcoziu mojemu, and my little heart grows heavy Chto kogo nie chce. if I do not like someone. Four songs from Kurpie Songs Op. 58 (1930–33) (Folk texts from Puszcza kurpiowska w pieśni [‘Songs of the A chto kogo chce, na strónie But if I do like someone, I stand Kurpiowska Forest’]) stoi, aside. Skorz go, Boze, ach mój Mocny Punish, God, oh dear God Lecioły zórazie The cranes Boze, almighty, Chto na mnie nastoi. the man who is pressing me. Lecioły zórazie krzycały: mój The cranes flew past crying: ‘My Boze, God, Kalina z jeworem rozstać się the guelder rose cannot part with nie może. the sycamore tree.’ U jeziorecka There by the lake Kalina z jeworem rozstać się The guelder rose did not want to U jeziorecka, u bystry There by the lake, by the nie chciała, part with the sycamore tree, wody, fast-flowing waters, A ja z Jasiuleckiem rozstać się but I had to part with my darling Tamój dziwcyna zbzira jagody. my girl was gathering bilberries. musiała. Jacek. Kalina z jeworem rozstać sie The guelder rose cannot part with I uzbzirała pełen dzbanusek, She had already gathered a jugful nie moze, the sycamore tree, I wysypała w modry and was pouring them into a blue A ja sie rozstała - ach mój but I parted with him – oh, dear fartusek. apron mocny Boze. God almighty! Nadjechał ci jo Jasiulek młody: when young Jacek came riding up. Tutaj dziwcyno lepse jagody. ‘There are better bilberries here, girl.’ Wysła burzycka There is a storm coming Z konika sprysnuł, za He jumped down from his horse Wysła burzycka, bandzie desc, There is a storm coming. When it runcke ścisnuł: and squeezed her hand. desc, rains, Przystań dziwcyno do moji myśli. ‘Be mine, dear girl, give your consent.’ Gdzie sie ptasecku podziejes? where will you go, little bird?

Oj polece ja, do boru, Ah, I shall fly to the forest, Oj nie przystane, rety la Boga! ‘Ah, I’ll not consent, God forbid! Pod gałązańke jeworu. under a sycamore branch. Słunecko nisko, The sun is already low in the sky daleka droga. and the way is long. Tamoj mnie descyk niepryśnie, There the rain will not run down Oj nie przystane, zdrady Ah, I’ll not give my consent, I’m Na te psiórecka złociste. these golden feathers. sie boje. afraid you’ll betray me.’

Tamoj mnie descyk nie kanie, There the rain will not touch Nie bój sie, dziwce, na ‘Don’t be afraid, girlie, I want to be Na te psiórecka ruciane. these russet feathers. kuniu stoje. on my way. Przystań dziwcyno do moji myśli. Be mine, dear girl, give your consent.’

Uwoz mamo Consider well, mother Oj nie przystane, mój ‘Oh, I’ll not give my consent, my Jasianiecku, dear Jacek, Uwoz mamo roz, komu Consider well, mother, to whom Bo juz nie bande chodzić w for then I’ll no longer be able to córke dos. you give your daughter. zionecku. wear my maiden’s crown.’ Nie daj ze ji za Don’t give her to the first man to lada jekigo, come along, Jej urody that would be a shame given her zol. beauty.

Bo jej uroda jek bystra For her beauty is like swift-flowing woda, water, Prawe licko jej sie zrunieniło her right cheek has grown flushed Jek pólno róza. like the wild rose.

Please do not turn the page until the song and its accompaniment have ended

www.wigmore-hall.org.uk (1928–1981) I każdy jedno ma and every humour hath his adjunct Tadeusz Baird upodobanie, pleasure, Które najwięcej radości mu wherein it finds a joy above the sprawia, rest: Four Love Sonnets (1956) Lecz nie chcę z nimi wchodzić but these particulars are not my (William Shakespeare, trans. Maciej Słomczyński) w porównanie, measure; Nad wszystko dobre, moje all these I better in one general Sonet 23: Sonnet 23: lepszym stawiam. best. Spójrz co tu ciche serce O learn to read what silent love Dla mnie twa miłość lepsza, niż Thy love is better than high birth wypisało hath writ! ród stary, to me, Droższa niż skarby i strojów richer than wealth, prouder than Jak lichy aktor, co stojąc na scenie, As an unperfect actor on the stage, przepychy, garments’ cost, Zapomniał z trwogi słów do who with his fear is put besides Milsza niż sokół, konie of more delight than hawks or swojej roli, his part, i ogary. horses be; Lub ogarnięte wściekłością or some fierce thing replete with Drwię, mając ciebie, z całej and having thee, of all men’s pride stworzenie, too much rage, ludzkiej pychy. I boast: Któremu gniew się ruszyć whose strength’s abundance Lecz wynędzniałem od tego wretched in this alone, that thou nie pozwoli, weakens his own heart; zarazem, may’st take Tak ja, nie wierząc, bym umiał so I, for fear of trust, forget to Drżąc, że odejdziesz, czyniąc all this away, and me most wysłowić say mnie nędzarzem. wretched make. Nadmiar miłości, straciłem już the perfect ceremony of love’s wiarę rite, I tonę w uczuć wezbranych and in mine own love’s strength Sonet 56: Sonnet 56: powodzi seem to decay, Słodka miłości Sweet Love Pod namiętności zbyt wielkim o’ercharged with burden of mine ciężarem. own love’s might. Słodka miłości, wróć, by nie Sweet love, renew thy force; be it O, niech więc za mnie mówią O let my books be then the mówiono, not said księgi moje, eloquence Że siły twoje od twych pragnień thy edge should blunter be than Milczący serca mojego and dumb presagers of my słabsze, appetite, posłowie, speaking breast, Pragnienia, choć je dzisiaj which but today by feeding is Które o miłość błaga i who plead for love and look for nakarmiono, allay’d, nagrodę, recompense Jutro powrócą, tak ostre jak tomorrow sharpened in his former Chociaż słowami tego nie more than that tongue that more zawsze. might: wypowie. hath more express’d. Więc wróć! Choć dzisiaj twoje so, love, be thou; although today Spójrz, co tu ciche serce O learn to read what silent love głodne oczy thou fill wypisało: hath writ! Mrużą się, ciężkie sennym thy hungry eyes even till they wink nasyceniem, with fullness, Słuchaj oczyma, to miłości To hear with eyes belongs to love’s Jutro spójrz znowu i ducha tomorrow see again, and do not prawo. fine wit. miłości kill Nie chciej zabijać zbyt długim the spirit of love with a perpetual znużeniem. dullness. Sonet 91: Sonnet 91: Niech odpoczynek będzie Let this sad interim like the ocean Drwię, mając ciebie, z całej Having thee, of all men’s pride oceanem be ludzkiej pychy I boast Dzielącym brzegi, na które which parts the shore, where two przybyło contracted new Jedni ród sławią, inni zręczność Some glory in their birth, some in Dwoje kochanków młodych, by come daily to the banks, that when swoją, their skill, nad ranem they see Inni swe skarby, inni some in their wealth, some in their Pobłogosławić wracającą return of love, more blest may be ciała siłę, body’s force, miłość. the view; Inni strój modny, choć im źle go some in their garments, though Lub zwij to zimą, której mroźna else call it winter, which being full skroją, new-fangled ill, szata of care, Inni sokoły, psy i konie some in their hawks and hounds, Po trzykroć każe oczekiwać makes summer’s welcome, thrice miłe. some in their horse; lata. more wish’d, more rare.

Box Office: 020 7935 2141 Sonet 97: Sonnet 97: Jakże podobna zimie jest How like a winter hath my George Frideric Handel rozłąka absence been

Jakże podobna zimie jest How like a winter hath my Agitato da fiere tempeste rozłąka absence been from Riccardo primo, re d’Inghilterra HWV23 (1727) Z tobą, radości przelotnego from thee, the pleasure of the (Paolo Antonio Rolli after Francesco Briani: Isacio tiranno) roku! fleeting year! Jakiż chłód czułem, w jakich What freezings have I felt, what Agitato da fiere tempeste, If, amid the buffeting of violent storms, mrokach, dark days seen! Se il nocchiero rivede the helmsman catches sight of his Jaka grudniowa pustka była What old December’s bareness sua stella guiding star, wokół! everywhere! Tutto lieto e sicuro he sails onwards, joyful and A przecież właśnie And yet this time remov’d was sen va ... protected … przechodziło lato summer’s time, I jesień płodna, cała w drogich the teeming autumn, big with rich Più non teme procelle He no longer fears the tempest’s plonach, increase, funeste, dire threat Niosąc wiosny urodzaj bearing the wanton burden of the Se mostrato gli viene da quella if that star shows him the course bogaty prime, Il cammino, che salvo lo fa ... to steer that will keep him safe … Jak owdowiała i brzemienna like widow’d wombs after their żona. lord’s decease. Agitato da fiere tempeste ... If, amid the buffeting … Lecz dla mnie były te plony Yet this abundant issue seem’d dojrzałe to me Gorzkim owocem mego smutku but hope of orphans and tylko, unfather’d fruit; Translations of Handel arias by Susannah Howe. Schubert songs by Richard Stokes from Bo czym bez ciebie jest lato for summer and his pleasures wait The Book of Lieder published by Faber & Faber, with thanks to George Bird, co-author of The Fischer-Dieskau Book of Lieder published by Victor Gollancz Ltd, 1976. A Chloris, Fêtes galantes wspaniałe? on thee, and L’heure exquise by Richard Stokes from A French Song Companion (Johnson/Stokes) Gdy ciebie nie ma, nawet ptaki and thou away, the very birds are published by OUP. Mai and Paysage by Richard Stokes. Szymanowski and Łukaszewski by milkną mute; Susan Baxter. Copyright for the Polish translation of the Baird Shakespeare Sonnets by The Lub zaczynają z takim or if they sing, ’tis with so dull a Estate of Maciej Słomczyński, 2018, printed by kind permission of Teresa Słomczyńska. smutkiem śpiewać, cheer Że, drżąc przed zimą, liść that leaves look pale, dreading the blednie na drzewach. winter’s near.

Paweł Łukaszewski (b.1968)

Jesień from Three Songs Autumn (1992) (Maria Pawlikowska-Jasnorzewska)

Zardzewiałe róże jesieni Rust-coloured autumn roses Patrzą w przestrzeń białą od look out into a space pale with deszczu – rain – Deszcz niebo przyszywa do the rain is sewing the sky to the ziemi earth Tysiącem ściegów i dreszczów, – with a thousand stitches and shivers,

I wszystko psuje się, and everything is breaking down, paczy, twisting out of shape, Cieknie, zgnilizną broczy, dripping, haemorrhaging rottenness, Lecz nie na zawsze, z rozpaczy – not for ever out of despair – Ale na krótko, z rozkoszy. but briefly, for pleasure.

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Anita Wasik

Jakub Józef Orliński Michał Biel

Polish countertenor Jakub Józef Orliński was a winner at the Polish-born Michał Biel has held residencies as a pianist and Grand Finals of the 2016 Metropolitan Opera National Council coach, including at the Internationale Meistersinger Akademie Auditions and at the 2015 Kosciuszko Foundation Marcella in Neumarkt, The Song Continues at Carnegie Hall, the Mozart Sembrich International Voice Competition. This season, he Residency at The Académie du Festival d’Aix, the 31st Winter made his debut at Oper Frankfurt in the title role of Handel’s Singing Course in Duszniki Zdrój and the International Festival , and joins Festival d’Aix-en-Provence on tour in Wratislavia Cantans. Cavalli’s Erismena at the Château de Versailles and Festival de Since 2013 he has been a member of the Opera Academy Saint-Denis. Concert appearances include a tour of Handel’s at Teatr Wielki, where he has worked with Izabela Kłosińska, Rinaldo as Eustazio with The English Concert and Harry Rudolf Piernay, Neil Shicoff, Richard Cross, Brenda Hurley, Bicket, a performance with Chicago’s Music of the Baroque Eytan Pessen, Olga Pasichnyk and Matthias Rexroth. In 2014 and Handel’s with the Portland Baroque Orchestra. he graduated from the Karol Szymanowski Academy of Music Jakub Józef Orliński has performed with Houston Symphony, in Katowice, where he studied piano under Andrzej Jasiński Musica Sacra and Oratorio Society of New York, and at and chamber music with Grzegorz Biegas. Later, in 2017, Festival d’Aix-en-Provence. His engagements have taken him he graduated from The Juilliard School, where he studied to Carnegie Hall, Karlsruhe International Handel Festival and collaborative piano under Brian Zeger, Margo Garrett, Jonathan Oper Leipzig. He trained at the Fryderyk Chopin University of Feldman and JJ Penna. This season, he is a Piano Fellow at Music in Warsaw and The Juilliard School. He is an exclusive The Juilliard School Vocal Arts department. Erato/Warner Classics recording artist.

Jakub Józef Orliński appears by arrangement with IMG Artists

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