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ALSO AVAILABLE on signumclassics 2 CD SET

Beethoven: Lieder und Gesänge John Mark Ainsley / Iain Burnside SIGCD145

Signum continues its foray into Beethoven’s world of songs with one of Britain’s most prolific tenors, John Mark Ainsley, joined by the acclaimed pianist Iain Burnside, for another set of Lieder and Gesänge.

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 139booklet 23/9/08 13:09 Page 3

Beethoven: Lieder und Gesänge CD2 1. An die Geliebte/1 [1.24] 2. Sehnsucht/1 [1.38] CD1 3. An die Geliebte/2 [1.40] 6 Lieder Op. 75 4. Sehnsucht/2 [1.20] 1. Neue Liebe, neues Leben [3.15] 5. Das Geheimnis [1.53] 2. An den fernen Geliebten [3.25] 6. Sehnsucht/3 [1.28] 3. Der Zufriedene [1.24] 7. Als die Geliebte sich trennen wollte [3.29] 4. Gretels Warnung [2.05] 8. Sehnsucht/4 [2.00] 5. Aus Goethes Faust [2.07] 9. Der Kuß Op. 128 [2.09] 6. Mignon - Kennst du das Land [4.07] 10. Sehnsucht (Reissig) [3.07] 11. Der Mann von Wort Op. 99 [2.08] 6 Lieder von Gellert 12. Seufzer eines Ungeliebten und Gegenliebe [6.16] 13. In questa tomba oscura [3.13] 7. Bitten [2.35] 8. Gottes Macht und Vorsehung [1.18] 8 Lieder Op. 52 9. Die Liebe des Nächsten [1.32] 14. Feuerfarb’ [3.08] 10. Vom Tode [2.49] 15. Das Liedchen von der Ruhe [6.39] 11. Die Ehre Gottes aus der Natur [1.49] 16. Mailied [2.07] 12. Bußlied [4.21] 17. Mollys Abschied [4.00] 18. Die Liebe - Ohne Liebe lebe wer da kann [1.30] Vier Arietten und ein Duett Op. 82 (Italian) 19. La Marmotte [1.30] 13. Hoffnung [2.13] 20. Das Blümchen Wunderhold [2.00] 14. Liebes-Klage [3.11] 21. Urians Reise um die Welt [6.09] 15. L’amante impaziente [1.37] 16. L’amante impaziente [2.42] Total Timings [43.33] 17. Lebens-Genuss [2.57] Ann Murray mezzo-soprano • Roderick Williams baritone Iain Burnside piano Total Timings [43.33] www.signumrecords.com 139booklet 23/9/08 13:09 Page 5

“Ich schreibe ungern Lieder” (I don’t like writing concerns on a canvas more intimate than his and someone with whom Beethoven has often incarnate. Christian Ludwig Reissig’s (1783 - ?) songs), Beethoven once famously grumbled, large-scale public works. been compared. Beethoven was not prone to name would probably be unknown to us now if telling the librettist Friedrich Kind on another adulation of others, but in 1825, he would direct Beethoven had not been drawn to his verse for occasion: “When sounds stir within me, I always A note about our title: in Beethoven’s day, there a downright adoring letter to Goethe: “The admiration, eight songs, more than any other poet except hear the full orchestra; I know what to expect of were two large categories of song, and he love, and esteem which I have cherished since my Goethe. The words for An den fernen Geliebten instrumentalists, who are capable of almost contributed to both. “Lieder” designated the youth for the one and only immortal Goethe have came from the first edition in 1809 of Reissig’s everything, but with vocal compositions I must stylistically simpler, shorter, often strophic songs persisted . . . I feel constantly prompted by a strange anthology, Blümchen der Einsamkeit (Little flower always be asking myself: can this be sung?” Song that continued the 18th-century predilection for desire to say all of this to you, seeing that I live in of loneliness). Distant beloveds were a sad was not his native tongue, as it was for his such works, while the word “Gesänge” was your writings.” The words of Neue Liebe, neues obsession of the composer’s; the repetitions in this younger contemporary Schubert; given Beethoven’s reserved for longer, richer, more complex songs in Leben were born of Goethe’s brief betrothal for tiny strophic song convey something essential predilection for the infinite over the finite, for forms other than strophic and often with airs and some months in 1775 to Anne Elisabeth about the nature of grief, whose sufferers traverse universality over the particular, that is not graces borrowed from the operatic realm. Song Schönemann (1758-1817), the daughter of a sad ground over and over. In two sources, one an surprising. On the other hand, Beethoven’s great anthologies, sets, or opuses were frequently patrician family in Frankfurt. Goethe despised the autograph manuscript, one printed, Beethoven biographer Maynard Solomon reminds us that emblazoned with the joint title Lieder und social circle in which “Lili”, as he called her, provides us with slightly different endings to the more than forty percent of the works that the Gesänge; if this translates awkwardly into English moved, and the engagement soon came to strophe, the second with its own built-in echo. As young genius composed in Bonn, before moving to as “Songs and Songs”, the German-speaking shipwreck. In 1830, two years before his death, if to console both the persona of “An den fernen Vienna in 1792, are vocal, and roughly half of his world of the late 18th- and 19th-centuries would have Goethe said of her, “She was the first woman I Geliebten” and us, the same poet-composer pair 600 works call for the human voice. He began understood the distinction. The “simpler”approach to truly and deeply loved; I can also say that she was defines contentment in another strophic song, Der composing songs when he was a student of Lieder does not mean “simplistic:” one need only the last.” Beethoven had a long history of Zufriedene, to a text also taken from Reissig’s Christian Gottlob Neefe (with “Schilderung eines hear the marvelous harmonic subtleties of the engagement with this poem: he sketched it circa Blümchen, in which the pianist alternates Mädchens,” perhaps composed in 1783 when he Lied “Vom Tode” to realize that artistry was 1792, set it to music in 1798/99 (WoO 127), and between unity with the singer and demonstrations was thirteen years old), and he would continue to lavished on these works as well, but there is an revised it thoroughly as Op. 75, no. 2. The energy of of contentment’s merry vitality, the song in accord do so sporadically thereafter. In this genre, he undeniable difference in scale between “Urians Reise new passion bubbles throughout this music, in with the Enlightenment concept of friendship as a could experiment with the artful simplicity of um die Welt” (Lied) and “Adelaïde” (Gesang). which exultation is at war with the desire to break prime source of happiness. Yet another strophic pseudo-folksong and with other vocal styles, and away from such bonds. (Beethoven too knew the song is Gretels Warnung to a poem by Gustav above all with the fitting of word-rhythms to vocal First we have the six songs of Op. 75, published in clash between the longing for intimacy and the Adolph von Halem (1752-1819) that Beethoven melody. Pace those who say that art and life are 1810 but composed at various earlier times, and demands of artistic creativity.) That the persona found either in the Homer translator Johann not enmeshed, song also enabled him to engage with the setting of a poem by Johann Wolfgang von charges right into the proceedings without any Heinrich Voss’s Musen-Almanach for 1793 or with various religious, ethical, erotic, and artistic Goethe (1749-1832), a reigning genius of the age piano introduction is youthful erotic impetuosity Halem’s 1789 anthology of poetry and prose. This

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little song belongs to a sub-category of 18th- and pinpricks and figures that plunge downwards in emphasizing the surge of sudden passion that composer leaps emphatically to the initial syllable 19th-century poetry in which a young woman, diabolical glee. Those who know the first theme of animates each of Mignon’s appeals to Wilhelm. of the word “truth” (“Gottes Wahr – heit”); in that seduced and abandoned, warns the reader against the first movement of his Symphony no. 1 will hear one gesture, one realizes how important truth was incurring—or causing—a similar fate. (Goethe’s its twin in the dynamism of this song’s When Beethoven realized that he was losing his for this man. For a composer who seems to have “Die Spinnerin”, set to music by Schubert, D. 274, introduction. And finally, we end the set with its hearing—”the one sense that ought to be more contemplated suicide when deafness encroached, is a particularly poignant example.) Beethoven’s first song, Mignon, or “Kennst du das Land” from perfect in me than in others”, he lamented in the one would expect him to respond with particular song is in major mode and does not exude Goethe’s novel Wilhelm Meisters Lehrjahre Heiligenstadt Testament of October 1802—he intensity to the poem Vom Tode, and so he did, lamentation, but the rising chromatic tension in (Wilhelm Meister’s Years of Apprenticeship). underwent an immense crisis, personal, musical, setting the song in sepulchral minor mode and mid-strophe to depict Chris’s persistence in Mignon, one of literature’s most haunting figures, and ideological. Sometime before March 1802, employing a degree of chromaticism and dissonance wooing is an eloquent touch. is a quasi-androgynous creature (Goethe calls her the non-doctrinaire Beethoven turned to the 54 not found in the other Gellert songs. This is a a “Knabenmädchen”, or “boy-girl”) in her early Geistliche Oden und Lieder (Spiritual Odes and memento mori, an enjoinder to remember our Beethoven was neither the first nor the last to be teens. Kidnapped when very young, she is rescued Songs) by the pious Leipzig philosopher Christian mortality; hollow sonorities in mid-song and a drawn to Mephistopheles’s “Song of the Flea” (Aus from her harsh life in an acrobatic troupe by the Fürchtegott Gellert (1715-1769); these poems tolling death-knell in the low bass at the end Goethes Faust) from the scene in Auerbach’s Keller, title character Wilhelm Meister and falls in love combining religiosity with Enlightenment rationalism would make anyone think death-haunted already included in Faust. Ein Fragment (the with him. She symbolizes humanity’s two natures, were enormously popular with late 18th - century thoughts. Die Ehre Gottes aus der Natur, like earliest stage of this lifelong project on Goethe’s earthly and spiritual, male and female; she is the composers. For five of the six miniature sermon-songs “Gottes Macht und Vorsehung”, begins in part) and later in Part 1 of the great German spirit of Romantic poetry, and her life is governed first published in August 1803, Beethoven recalls triumphal-proclamatory mode, but switches tragedy. Auerbach’s is a real place: Goethe’s by “Sehnsucht” or “longing”, a form of desire the textures and devices of hymnody, but with suddenly to hushed rapture and pulsing, repeated favourite wine bar, now located below the manifested as affliction. At the beginning of Book nuances indicative of his attentive response to chromatic chords when the numberless stars of Mädlerpassage at Grimmaische Straße 2. According 3, Mignon sings Kennst du das Land with “a Gellert’s words. In Bitten, for example, the the cosmos are invoked: this is a Beethovenian to legend, the alchemist Johann Georg Faust—the certain solemn grandeur, as if . . . she were imparting acclamation of God as “my fortress, my rock, my hallmark and an unforgettable gesture, both here distant progenitor in real life of Goethe’s title something of importance.” Beethoven imbues her treasure” and the plea “to hear my supplication” and elsewhere. The set ends with a surprise in the character—once rode a wine barrel in this memories of her native Italy with the solemnity is set as a single persistent, pleading pitch while form of Bußlied, a much longer, more elaborate establishment from the cellar to the street, a feat and expressivity Goethe wanted and then ends the piano sinks gradually downward. Gottes Macht concluding Lied in two parts. For what exactly he could only have accomplished with the devil’s each stanza with the urgent refrain “Dahin, und Vorsehung begins as a fiery proclamation of Beethoven might have felt penitent, we cannot help. For this satirical song of a king who loved his dahin!” and an appeal to her “Beloved, Protector, God’s strength; if the musical strophe is tiny (18 know, but the intensity of the song’s beginning, flea and forbade his court to kill the miniature Father” (Wilhelm) to take her there. The “moderately measures), there are fifteen verses of text to which the tension-laden ascent in the initial phrase, tormenters, Beethoven intersperses the narrative slow” portion of each verse is set in duple metre, we can hear it repeated, or from which performers does not seem as if issuing from abstraction. in the singer’s part with biting, grace-noted the “faster” refrain in 6/8, Beethoven thus can select. In Die Liebe des Nächsten, the

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Ariettas and a Duet Beethoven took seriously the challenge of fitting gasps of lamentation. In mid-song, there is a La pace fra la virtù e la bellezza. Here, Beethoven for one of the most famous poems in world music and words together, and the Op. 82 Four “purple patch” of heightened intensity to devises exquisitely rustling breezes and streams literature. In the novel, it appears at the end of , first published in London and harmonies based on the flatted sixth degree of the in the piano; against this backdrop, the singers Book 4, chapter 12, when Wilhelm hears a “free Leipzig in 1811, are a case-study in cross-cultural scale: this is one hallmark of Beethoven’s musical both announce that Nature sings of love and that duet” sung by Mignon and the mysterious, song: the original text in Italian goes hand-in- language. The third and fourth songs, Stille Frage each hearer will know from experience whether it melancholy-mad Harper, whose tragic history we hand with a singer’s paraphrase in German. Three and Liebes-Ungeduld, are actually settings of the brings delight or sorrow. only learn after his suicide near the end of the of the texts (one is set twice) come from the works same text by Metastasio, L’amante impaziente or novel. He was once Augustin, the son of the of the great librettist Pietro Metastasio (the “Che fa il mio bene?” from act 2, scene 6 of the Composers often revisit a text already set, eccentric Marquis Cipriani in Italy; brought up pseudonym of Pietro Antonio Domenico Trapassi, secondin Siria version of his dramma per musica, Adriano sometimes to tweak details, sometimes to alter apart from his younger sister Sperata (her name 1698-1782) whose texts were set to music by . Here, Beethoven engages in a demonstration the entire conception of the song, and Beethoven derived from “Speranza”, or hope) and ignorant of Handel, Mozart, and a host of other composers. of how to derive two different emotional contexts too engages in the exercise; one would hardly her existence, he meets her as a young man, they Both Beethoven and Schubert would study from the same words: the first is subtitled “arietta expect otherwise from this perfectionist composer. fall in love, and she bears him a child: Mignon. composition for a time with Antonio Salieri, and buffa” and the second “arietta assai seriosa.” The The words of An die Geliebte are by Josef Ludwig Fate brings father and daughter together in both would set Metastasio to music under his German paraphrases (author unknown), however, Stoll (1778-1815), a Viennese journalist who also Germany—but they do not know their close tutelage. But we do not know who wrote the words register the difference in tone: “Will I never be inspired three songs from Schubert’s pen. In this kinship with one another. Because this poem was for the first song of Op. 82, Hoffnung (Dimmi, ben allowed to approach you?”, the comic lover poem, appearing first in the almanach Selam for included among the “Mignon” poems in Goethe’s mio, che m’ami); in this lover’s plea, Beethoven complains, while the second—perhaps having 1814 and Johann Erichson’s Musen-Almanach, a poetic anthologies, it was often set as a solo song, drapes the reference to the beloved’s smile – been given his walking papers in the interim— lover pleads that he be allowed to drink the tears and it drew composers like iron filings to a “Cara, con un sorriso” – in mildly flowery vocal laments, “And so I must renounce the hope I from his beloved’s cheeks so that her sorrows may magnet. Beethoven’s first three versions are all ornament, followed by a change of tonal place nourished so long?” In the buffa air, we can become his (tears are poetic transpositions tiny, strophic (two verses), devoid of piano that clearly signifies the paradise of reciprocal practically see the impatient lover pacing back upwards of erotic fluids). The second version (WoO introductions, and musically modest, as if Beethoven love (“tu m’apri il paradiso”). Liebes-Klage, or and forth, tethered to the spot where he waits, 140) is a refinement of the previous version, not a had tried to match Goethe’s own preference for T’intendo, sì, mio cor comes from Metastasio’s while the more serious version alternates between reconceptualisation: the accompaniment is less music that respected his poetry by taking a back cantata, “Amor timido”, set to music by Antonio slower and faster tempi, between duple and busy the second time around, and prosodic seat to it. But even in these deliberately modest Vivaldi and a score of other composers. Because compound metres, like a fever chart of fresh matters are corrected (“in seinem liebevollen works, Beethoven was experimenting with different the lover addresses this plaint to his heart, saying rejection. Love’s utterances, Beethoven tells us, Schein” no longer begins on a downbeat). With metres for Goethe’s rhythmically complex words— that he can hear its wild beating, Beethoven must be interpreted. The set ends with the duet, Sehnsucht, WoO 134, its four versions spanning a duple, triple, compound metres—and minor or devises a stylized figure in the right part that is Lebens-Genuss, to Metastasio’s words, Odi l’aura period from before March 1808 to circa 1823, we major mode as the most appropriate musical garb evocative both of a palpitating heart and sobs or che dolce sospira from the 1738 “azione teatrale” return to Mignon and Wilhelm Meisters Lehrjahre for this enigmatic character. After two versions in

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minor, we hear a third version in major mode, its and Beethoven repeats the answer at song’s end comes from the poet’s Scherzhaften Liedern Musical nationalism tends to the absence of opening mood of calm abnegation intensified in in quiet emphasis. The words of Als (Jesting Songs) of 1758, reprinted in the first subtleties and ambiguities, so one should not look midstream by the rise to “aller Freude”, those joys die Geliebte sich trennen wollte (Empfindungen volume of the same poet’s Kleine lyrische Gedichte for Beethoven’s most radical strains here, but the now lost. Only in the fourth version, no longer bei Lydiens Untreue), WoO 132 of 1806 (?), are (Little Lyrical Poems) of 1772, the latter probably energy is undeniable. strophic, does Beethoven invest Goethe’s Old still ascribed in older editions to Frédéric Soulié as Beethoven’s source. Here, the eponymous Chloe Testament-like language about burning bowels translated by Beethoven’s friend Stephan von seems to resist the persona’s advances but only When Beethoven set Gottfried August Bürger’s (“Es brennt mein Eingeweide”) with throbbing Breuning, but Soulié was born in 1800 and could makes good on her threat to scream at the point of (1748-1794) Seufzer eines Ungeliebten— pulsations in the piano and make even more of the not have written an erotic lament at six years orgasm, when her cries assume an altogether Gegenliebe, WoO 188, in 1794, he probably knew Neapolitan harmonies (chords on the flatted 2nd of age or even nine years (the song was published different meaning. Hearing this saucy exercise in the simple settings by Johann Abraham Peter degree of the scale) that first appear in the second in 1809). We now know that it was François mutual seduction, one can and should ascribe Schulz from the Lieder im Volkston of 1782, and version. When Schubert came to set the same text, Benoît Hoffmann (1760-1828) who wrote the lubricious meanings to the rising sequence in the yet the later composer adopts operatic airs and he too would make the gravitational force of this poem “Je te perds, fugitive espérance”, rendered piano introduction and the long-drawn-out flourishes for the first poem, complete with harmony an element of poetic expression for the into German by Breuning. Love obsessed with conclusion. The Sehnsucht (WoO 146, 1815 -1816) dramatic recitative. The first words, “Wüßt’ ich”, tragic figures of Mignon and the Harper. Time, with what “remains eternal” and what is of Christian Reissig’s poem is not Goethe’s of “Gegenliebe” become the musical bridge forgotten, is the subject here, and Beethoven knew indefinable and profound yearning for something between the two Bürger poems, and no listener Das Geheimnis. Liebe und Wahrheit, WoO 145, to intensify the words “bleibt ewig” and beyond our knowledge but a more commonplace could fail to hear that the melody of the pendant first published in a Viennese almanach in 1816, is “vergessen” harmonically. Rejection in love was, matter of nocturnal longing for the sweetheart. song anticipates both the Choral Fantasy and the a setting of a poem by Ignaz Heinrich Freiherr von sadly, something the composer knew well by this In Beethoven’s reading, the song quickens as Ninth Symphony’s “Ode to Joy.” If the prosody Wessenberg (1774-1860), a liberal Catholic point, in the wake of futile attractions to Jeanette thoughts of love overwhelm the persona; we hear leaves something to be desired, it is nonetheless churchman who advocated a German national d’Honrath in Bonn, Eleonore von Breuning, a built-in accelerando as the song wends its way. fascinating that this melodic idea was brewing in church and incurred papal displeasure for it. Here, Magdalena Willmann, Giulietta Guicciardi and Der Mann von Wort, Op. 99 of 1816, to a text by Beethoven’s brain literally for decades and that the poet asks the Muse for the whereabouts of the Giulietta’s cousin Josephine von Brunsvik née Friedrich August Kleinschmid (1749-1838), is in the song’s impulse gave rise to the mighty flower that never fades and the star that shines Deym, and more pain of the same sort would follow another vein altogether; as German nationalism symphony. In questa tomba oscura, WoO 133, is forever, and the Muse bids him search within for after this song was printed. post-Napoleon was in its initial fervent stages, the result of a musical challenge issued in 1807- those enduring treasures. No wonder Beethoven Beethoven, who was prone to the occasional 1808, when composers were invited to set this was drawn to this poem: could he have read it In the wake of such tragic themes, we turn to a bit outburst of patriotic sentiment in song, set this poem by Giuseppe Carpani (1752-1825), an personally as signifying the inner treasure of of comic relief, a delightfully sexy romp set to poem about German honour, masculine pride, and Italian poet resident in Vienna. Sixty-three of them musical creativity? The initial very soft questions Christian Felix Weisse’s (1726-1804) pastoral- Teutonic worthiness to stirring strains (“a little obliged, but Beethoven’s setting is the only –- this is a query to the self –- rise straight upward, erotic poem Der Kuß, Op. 128 of 1822; the text military piece”, or “Feldstück”, he called it). memorable version of this poem on an antique

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theme: the dead lover’s reproach to the “ingrata”, death, thoughts born of the persona’s forced penned by the great Enlightenment philosopher the ticket for Urian’s refusal to espy difference in the faithless woman. The dark, chromatic parting from his Elise, elicited a gently lovely song and writer Gotthold Ephraim Lessing (1729-1781) the world. liquefaction of the texture in mid-song, at the plea from Beethoven. Marmotte comes from Goethe’s in pained awareness of Beethoven’s frustrated to allow “the naked ghosts” their peace in the 1773/1778 (he revised it) comic play, “Das longing for those same joys; this song was, of © Susan Youens tomb, is extraordinary. Jahrmarkts-Fest auf Plundersweilern” (“Plunder” course, composed long before the composer’s is “trash”). Here, a young beggar-lad from the “marriage project” came to an end. Das Blümchen A Note on the English Versions of the Poems With the eight songs of Op. 52, composed in the Savoie sings a simple song about travels with his Wunderhold is the epitome of the folk-like Lied early 1790s, we return to the domain of strophic “marmotte”, a ground squirrel that sometimes (Lied im Volkston), its musical modesty appropriate We enjoy songs in languages we don’t know in a song and to poetic subjects whose attraction for accompanied hurdy-gurdy players and other such for Bürger’s allegory of the wondrously fair flower whole variety of ways, often whilst following a this composer we can easily discern. Feuerfarb is itinerant musicians. Another text by Goethe, “Bescheidenheit”, or Modesty (only verses 1, 2, 3, translation as it displays, word for word, the a setting of a poem by the Romantic writer Sophie “Maifest” or Mailied, is one of the so-called and 10 appear in the song); note the unison of equivalent of the original vocabulary. Mostly the Friederike Mereau (1770-1806), a gifted woman Sesenheimer Lieder associated with Goethe’s brief voice and piano for the initial phrase establishing music takes pre-eminence, the text is some sort who died in childbirth three years after her stormy dalliance in the spring of 1771 with “Mamselle the fairy-story atmosphere of it all. And finally, we of bonus. marriage to the great Romantic poet Clemens Rikchen”, or Friederike Elisabeth Brion (1752-1815), conclude with a song that is a comic counterpoint Brentano. (He was half-brother to Franz Brentano, the pastor’s daughter in the Alsatian village of to 18th-century Germany’s fascination with travel Several very famous singers have insisted that the the husband of Antonie Brentano, née von Sesenheim near Strasbourg. The affair does Goethe writing and the literature of exploration long listener does not need the words, their artistry is Birkenstock, who has been tentatively but little credit—she was crushed by it—but the poem before its later ventures into imperialism. Flitting such that the meaning is fully conveyed. However, convincingly identified by Maynard Solomon as is wonderful, a variation on the antique genre of around the world leads to no good, warns Matthias our appreciation of a song sung in our own Beethoven’s “immortal beloved.”) Sophie Mereau’s the spring song in order to celebrate the immediacy Claudius’s (1740-1815) Mr. Urian, who suffers language is quite different; the words add a vital unconventionality is on display in this song, in of contact between the feeling heart and the beatings, extreme heat and cold, bizarre sustenance dimension which we would not wish to be without. which she extols the fiery hue of truth. Not for her object of its emotion. The “Molly” of Mollys Abschied (that pitcher of blubber), and inhospitable the usual feminine tint of rose petals symbolic of was Bürger’s sister-in-law Auguste Leonhart; he landscapes in Urians Reise um die Welt, only to Also, we realise that in the case of these songs it love that fades or the white of innocence, soon married her in 1785, but she died in childbirth a discover that people are just the same everywhere. was the poem which came first. It follows that the besmirched by envy and defamation: she, and year later. (Bürger led a life as stormy as some of The chorus of listeners, who for thirteen verses poem must have had some quality that ‘inspired’ Beethoven, preferred truth. The poet Hermann his immense, extended ballads.) At the end of have encouraged his serial tales of Mexico, the composer, that ‘struck a chord’ and it is this Wilhelm Franz Ueltzen (1759-1808) may have each strophic expression of longing and loss in her America, China, Africa and elsewhere take that underlies the writing of the song. And, of sunk into deserved obscurity after his death, but voice, we hear a melisma expressive of desire in exception to his concluding moral and declare the course, this was more than just the words, it was his meditation in Das Liedchen von der Ruhe about the postlude. Present-day listeners come to Lied, proceedings at an end. Fourteen iterations of the the poetry of the text. whether greater repose is to be found in love or with its sweet plea for a wife and domesticity same tiny twelve-bar musical strophe are just

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The problem then is to find a way in which the original in the new language and this has been TEXTS listener can appreciate some of this essential recognised by the composer. I hope that I have to third dimension of a song, the poetry, without a some extent been able to match their achievement. CD 1 working knowledge of the original language. Uri Liebrecht, 2008 1. Neue Liebe, neues Leben A new Love, a new Life In these English versions of the poems I have tried Johann Wolfgang von Goethe (1749-1832) to convey some measure of this poetic sense, the quality that gives the text its life, to help the Herz, mein Herz, was soll das geben? What, my heart, is going on? reader to a fuller appreciation and enjoyment of Was bedränget dich so sehr? What’s distressing you so much? the song. Welch ein fremdes neues Leben! This is a strange and new existence Ich erkenne dich nicht mehr! And I’ve totally lost touch. Of necessity things have been changed and as a Weg ist alles, was du liebtest, Gone is all that gave you pleasure, consequence the listener will not be able slavishly Weg, warum du dich betrübtest, Gone, what made you shed a tear, to follow the text during the performance. Weg dein Fleiß und deine Ruh’, Gone, your hard work and your leisure; Inevitably, as in any translation, problems of Ach, wie kamst du nur dazu! How, oh how did we get here? interpretation arise, layers of subtext may have been omitted, elements may have been added in Fesselt dich die Jugendblüte, Have you been struck down by the beauty the service of clarity. Diese liebliche Gestalt, Of this dear person, this young flower Dieser Blick voll Treu und Güte Whose eyes show kindness, loyal duty But, the many famous settings in translation of, Mit unendlicher Gewalt? And exert an infinite power? for instance, Shakespeare, Robert Burns, Byron, Will ich rasch mich ihr entziehen, If I try to hold my distance, Sir Walter Scott etc. lose nothing from the fact Mich ermannen, ihr entfliehen, Assert myself free from this bane, that the German version frequently bears only very Führet mich im Augenblick In no time the road I’ve taken limited comparison to the originals. They are true Ach, mein Weg zu ihr zurück. Leads me back to her again. to the originals, yes, in their fashion; meaning that, despite the words having been changed a Und an diesem Zauberfädchen, And it’s by this magic thread, bit, or even quite a lot, they do manage to convey Das sich nicht zerreissen läßt, Which it seems just can’t be broken, that original, characteristic quality. The translators Hält das liebe, lose Mädchen That my wayward darling holds me have managed to capture the essence of the Mich so wider Willen fest, Despite all the words I’ve spoken! Muß in ihrem Zauberkreise I live subject to her magic powers, - 14 - - 15 - 139booklet 23/9/08 13:09 Page 17

Leben nun auf ihre Weise. Do everything she says - just so …. Das ist mein Geist, der flehend dich umsäuselt: My friend, whom I chose on this earth, Die Verändrung, ach wie groß! My life - what disruption! ,,Vergiß mein nicht!`` Remember me. Liebe, Liebe, laß mich los! Love, O Love, O please let go! Wirst du im Vollmondschein dich nach mir sehnen, Should you, when the moon was full, 2. An den fernen Geliebten To my Man, Far Away Wie Zephyrs Weh’n Have yearned for me as zephyrs blew, Christian Ludwig Reissig (1783-1822) Wird dir’s melodisch durch die Lüfte tönen: Their music sure conveyed ,,Auf Wiederseh’n!`` My fond Adieu. Einst wohnten süße Ruh’ und gold’ner Frieden Once sweet calm and golden peace In meiner Brust; Dwelt in my heart, 3. Der Zufriedene The Contented Man Nun mischt sich Wehmut, ach! seit wir geschieden, Now yearning colours every joy Christian Ludwig Reissig (1783-1822) In jede Lust. Since we did part. Zwar schuf das Glück hienieden It has not been my birthright Der Trennung Stunde hör’ ich immer hallen The hour of your leaving Mich weder reich noch groß, To be either rich or great, So dumpf und hohl, I hear like a cracked bell, Allein ich bin zufrieden, Yet I find that I’m quite content, Mir tönt im Abendlied der Nachtigallen The evensong of nightingales Wie mit dem schönsten Los. Could wish for no better fate. Dein Lebewohl! I hear as your farewell. So ganz nach meinem Herzen Fortune has given me a friend, Wohin ich wandle, schwebt vor meinen Blicken Where’er I go, before my eyes Ward mir ein Freund vergönnt, A man after my own heart, Dein holdes Bild, Your dear face stays in sight, Denn Küssen, Trinken, Scherzen Where drinking, kissing, fooling around Das mir mit banger Sehnsucht und Entzücken Which fills my heart Ist auch sein Element. All play a major part. Den Busen füllt. With anxious longing and delight. Mit ihm wird froh und weise We approach our drinking wisely, Stets mahn’ es flehend deine schöne Seele, Should, by moonlight, some random breeze manch Fläschchen ausgeleert! Drain each bottle to the dregs, Was Liebe spricht: Make your hair flow free, Denn auf der Lebensreise For it’s known that on life’s journey ,,Ach Freund! den ich aus einer Welt erwähle, That is my spirit beseeching you: ist Wein das beste Pferd. Wine gives a man new legs. Vergiß mein nicht!`` Remember me. Wenn mir bei diesem Lose Should my present way of life Wenn sanft ein Lüftchen deine Locken kräuselt Your dear soul, Love’s words address Nun auch ein trüb’res fällt, Yield to one more forlorn, Im Mondenlicht; Now with this plea: So denk’ ich: keine Rose Remember, in this world no rose Blüht dornlos in der Welt. Flowers without a thorn. - 16 - - 17 - 139booklet 23/9/08 13:09 Page 19

4. Gretels Warnung Gretel’s Cautionary Tale Sein Kuß, der tief zur Seele drang, Have cost my self-esteem. Gerhard Anton von Halem (1752-1819) Erfreut nicht fürder mich. Look sisters, at my sorry fate, Schaut meinen Fall, And sisters, if of late Mit Liebesblick und Spiel und Sang With twinkling eye, music and song Ihr Schwestern all’, Some rat has set his cap at you, Warb Christel jung und schön; Handsome young Christel wooed. Für die der Folsche glüht, Don’t trust his word, whate’er you do; So lieblich war, so frisch und schlank No other boy was half as nice Und trauet nicht dem, was er spricht. Just look at me, at wretched me, Kein Jüngling rings zu seh’n. In all the neighbourhood. O seht mich an, mich Arme an, Just look at me and flee. Nein, keiner war No, not one O seht mich an, und flieht! In ihrer Schaar, Was so much fun Für den ich das gefühlt! Or held me in his sway. 5. Aus Goethes Faust Song of the Flea Das merkt er, ach! But, all too aware, Johann Wolfgang von Goethe (1749-1832) Und ließ nicht nach, He brought pressure to bear Bis er es all, bis er es all, Till he had had his way. Es war einmal ein König, There once was a King who had a great flea, Bis er es all erhielt! Der hatt’ einen großen Floh, He loved it like one of the family. Den liebt’ er gar nicht wenig, He called on his tailor to make it some clothes, Wohl war im Dorfe mancher Mann, True, there was many another boy Als wie seinen eig’nen Sohn. Not forgetting a pair of tight-fitting hose. So jung und schön wie er; As good-looking as him, Da rief er seinen Schneider, Doch sah’n nur ihn die Mädchen an But all the girls wanted to toy, Der Schneider kam heran; Und kos’ten um ihn her. Make eyes and flirt with him. “Da, miß dem Junker Kleider Bald riß ihr Wort Soon, their flattery won the day Und miß ihm Hosen an!” Ihn schmeichelnd fort, And they had wrenched his heart away; Gewonnen war sein Herz. His affection had been turned. In Sammet und in Seide Now, got up smartly in velvet and silk Mir ward er kalt, Despite my appeals War er nun angetan, With sashes and medals, Dann floh er bald He took to his heels Hatte Bänder auf dem Kleide, the first of his ilk Und ließ mich hier, und ließ mich hier, And here he left me - spurned. Hatt’ auch ein Kreuz daran, As Minister of State, und ließ mich hier im Schmerz. Und war sogleich Minister, a Great Star he could sport, His twinkling eye, music and song, Und hatt einen großen Stern. And all his relations held positions at Court. Sein Liebesblick und Spiel und Sang, Which had seemed like a dream, Da wurden seine Geschwister So süß und wonniglich, His kiss which lasted all night long, Bei Hof auch große Herrn.

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Und Herrn und Frau’n am Hofe, The Lords and the Ladies were bitten to bits Kennst du den Berg und seinen Wolkensteg? Do you know the mountain, its path in the cloud? Die waren sehr geplagt, As the Court played host to this plague of nits. Das Maultier sucht im Nebel seinen Weg; The mule picks his way through the mist, its Die Königin und die Zofe The Queen and her maid were suffering too; In Höhlen wohnt der Drachen alte Brut; head bowed. Gestochen und genagt, But there was absolutely nothing anyone could do. Es stürzt der Fels und über ihn die Flut! In caves there, you’ll find antique dragons’ kin, Und durften sie nicht knicken, Now we, once bitten, Kennst du ihn wohl? The sheer rock face, the great water-fall’s din. Und weg sie jucken nicht. we wouldn’t delay, Dahin! dahin Do you know it then? It is there, there Wir knicken und ersticken We’d pinch, squash and crush’em till they’d Geht unser Weg! O Vater, laß uns ziehn! We must go, Father - O let us go now! Doch gleich, wenn einer sticht. gone away. Sechs Lieder von Gellert Six Gellert Songs 6. Mignon - Kennst du das Land Do you know the Country Christian Fürchtegott Gellert (1715-1769) Johann Wolfgang von Goethe (1749-1832) 7. Bitten Supplication Kennst du das Land, wo die Zitronen blühn, Do you know the country where lemons grow? Im dunkeln Laub die Gold-Orangen glühn, Where through dark-green leaves golden Gott, deine Güte reicht so weit, God, your goodness extends Ein sanfter Wind vom blauen Himmel weht, oranges glow? So weit die Wolken gehen, As far as the clouds travel. Die Myrte still und hoch der Lorbeer steht? Where gentle breezes come from a clear sky Du krönst uns mit Barmherzigkeit You honour us with compassion Kennst du es wohl? And the myrtle is still and the laurel grows high? Und eilst, uns beizustehen. And are quick to our support. Dahin! dahin Do you know it, then? It is there, there Herr! Meine Burg, mein Fels, mein Hort, Lord, my fortress, rock and refuge, Möcht ich mit dir, o mein Geliebter, ziehn. I would go, my beloved, with you. Vernimm mein Flehn, merk auf mein Wort; Hear my petition and heed my words, Denn ich will vor dir beten! For it is in your presence that I desire to pray. Kennst du das Haus? Auf Säulen ruht sein Dach. Do you know the house, its roof rests Es glänzt der Saal, es schimmert das Gemach, on colonnades? So bitt ich dich, Herr Zebaoth, I ask of you, Lord Zebaoth, Und Marmorbilder stehn und sehn mich an: Its great hall is agleam, it has balconnades Auch nicht um langes Leben. Not for a life that’s long; Was hat man dir, du armes Kind, getan? And marble figures lean down and say: Im Glücke Demut, Mut in Not, Humility in fortune, in need to be strong; Kennst du es wohl? ‘Poor child, what have they done to you, pray?’ Das wolltest du mir geben. That that should be my lot. Dahin! dahin Do you know it, then? It is there, there In deiner Hand steht meine Zeit; My days rest in your hand; Möcht ich mit dir, o mein Beschützer, ziehn. I would go, my protector, with you. Laß du mich nur Barmherzigkeit When in death before you I stand, Vor dir im Tode finden. Show me your mercy.

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8. Gottes Macht und Vorsehung God’s Might and Providence Das sieht Er, mein Erlöser, an, That my Saviour does regard as living proof Als hätt ich’s ihm erwiesen. Of my good worth. Gott ist mein Lied! The Lord is my song! Und ich, ich sollt ein Mensch noch sein, Could I a man of God remain Er ist der Gott der Stärke, The God of strength, Und Gott in Brüdern nicht erfreun? And not delighting in my brothers? Hehr ist sein Nam’ Exalted his name and great his works. Und groß sind seine Werke, His dominion, 10. Vom Tode Of Death Und alle Himmel sein Gebiet. the heavens’ length. Meine Lebenszeit verstreicht, My life is ending and with each hour Licht ist sein Kleid, He is clothed in light, Stündlich eil ich zu dem Grabe, I move more swiftly to the grave. Und seine Wahl das Beste; Decrees the best that’s known. Und was ist’s, das ich vielleicht, What is there left Er herrscht als Gott, und seines Thrones Feste The reigning Lord defends his throne Das ich noch zu leben habe? For me to do in life? Ist Wahrheit und Gerechtigkeit. With Truth and what is Right. Denk, o Mensch, an deinen Tod! Think, my man, on the nature of your death. Säume nicht, denn Eins ist Not! Do not delay, there is one more thing to be done. Wer kann die Pracht Who can grasp the glory Von deinen Wundern fassen? Of the miracles You have wrought? Überwind ihn durch Vertraun, Overcome Death through your faith. Ein jeder Staub, den du hast werden lassen, No grain of dust can be ignored; Sprich: Ich weiß, an wen ich gläube, Say: I know whom I believe in Verkündigt seines Schöpfers Macht. It proclaims the power of the Lord. Und ich weiß, ich werd ihn schaun And I know that I shall see Him Einst in diesem meinem Leibe. Manifest in this my body. 9. Liebe des Nächsten Love of one’s Neighbour Er, der rief: Es ist vollbracht! He who cried: It has been done! Nahm dem Tode seine Macht. Ensure’s Death’s powers now are none. So jemand spricht: Ich liebe Gott, A man who says: I love God, Und haßt doch seine Brüder, yet hates his brothers, 11. Die Ehre Gottes aus der Natur The Glory of God in Nature Der treibt mit Gottes Wahrheit Spott makes a mockery of God’s truth Und reißt sie ganz darnieder. and demeans it. Die Himmel rühmen des Ewigen Ehre; The heavens sing the praises of God Gott ist die Lieb, und will, daß ich God is love and it is his will that I Ihr Schall pflanzt seinen Namen fort. Resoundingly spreading his name. Den Nächsten liebe, gleich als mich. should love my neighbour as myself. Ihn rühmt der Erdkreis, ihn preisen die Meere; The earth exalts him, the seas extol him. Vernimm, o Mensch, ihr göttlich Wort! Hear their divine word. Was ich den Frommen hier getan, What I have done for good men on earth, Dem Kleinsten auch von diesen, For the smallest even of these others,

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Wer trägt der Himmel unzählbare Sterne? Who sustains heaven’s innumerable stars? Laß deinen Weg mich wieder freudig wallen Let me once more follow in your path with joy, Wer führt die Sonn aus ihrem Zelt? Who leads the sun from its resting place Und lehre mich dein heilig Recht Instruct me in your holy law Sie kommt und leuchtet und lacht uns von ferne To come and shine and smile on us Mich täglich tun nach deinem Wohlgefallen; So that I may daily do your pleasure. Und läuft den Weg gleich als ein Held. And like a hero run its course? Du bist mein Gott, ich bin dein Knecht. You are my God and I, your servant.

12. Bußlied Song of Penitence Herr, eile du, mein Schutz, mir beizustehen, Lord, protector, may you soon be at my side Und leite mich auf ebner Bahn. And lead me along straight pathways. An dir allein, an dir hab ich gesündigt, Against you alone, Er hört mein Schrei’n, der Herr erhört mein Flehen He hears my call, the Lord listens to my cries Und übel oft vor dir getan. against you have I sinned Und nimmt sich meiner Seele an. And he accepts my soul. Du siehst die Schuld, die mir den And often in your sight done wrong. Fluch verkündigt; You see the sin that justifies your curse, Vier Arietten und ein Duo Op. 82 Sieh, Gott, auch meinen Jammer an. God, note also my distress. Pietro Metastasio (1698-1782)

Dir ist mein Flehn, mein Seufzen nicht verborgen, From you my pleas, my sighs are not concealed, 13. Hoffnung Hope Und meine Tränen sind vor dir. My tears fall in your sight, Ach Gott, mein Gott, wie lange soll ich sorgen? My God, how long am I to sorrow, Dimmi, ben mio, che m’ami, Say, my love, you love me, Wie lang entfernst du dich von mir? For how long will you stay apart? Dimmi che mia tu sei. Say that you are mine E non invidio ai Dei And I will not envy Herr, handle nicht mit mir nach meinen Sünden, Lord, do not treat me according to my sins, La lor’ divinità! The gods their power divine. Vergilt mir nicht nach meiner Schuld. Or deal with me according to my guilt. Ich suche dich, laß mich dein Antlitz finden, I search for you, grant that I should find your face. Con un tuo sguardo solo, With one single look from you, Du Gott der Langmut und Geduld. God of patience and forbearance. Cara, con un sorriso My dear, with just one smile Tu m’apri il paradiso You will show me paradise, Früh wollst du mich mit deiner Gnade füllen, Once you wished to fill me with your grace, Di mia felicità! Blissful content the while. Gott, Vater der Barmherzigeit. God, father of compassion, Erfreue mich um deines Namens willen, Show mercy now, for your name’s sake, 14. Liebes-Klage Expression of Love Du bist mein Gott, der gern erfreut. You are my God. T’intendo si, mio cor; I hear you well, my heart, Con tanto palpitar Beating so very hard,

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So che ti vuoi lagnar Expressing your complaint, I know, Senti l’onda, che rauca s’aggira, Hear the wave caress the shore, Che amante sei. That you are now in love. mentre geme radendo le sponde; Gruffly moaning as it ebbs; se l’intendi, se l’intendi, Know, it complains to you of love. Ah! Taci il tuo dolor; But, still you pain, si lagna d’amor, sì, si lagna d’amor. Ah! Soffri il tuo martir; Bear your affliction Tacilo, e non tradir Silently and please don’t betray Quell’affetto chi sente nel petto, This sensation in your heart, Gli affetti miei. My desperate affection. sa per prova, se nuoce se giova, Known from what has come before se diletto produce o dolor, As bringing hurt or bringing joy, 15 - 16. L’amante impaziente The Impatient Lover se diletto produce o dolor! Makes for pain or sheer delight.

Che fa, che fa il mio bene? What is my darling doing? CD2 Perchè, perchè non viene? Perhaps she will not come? Vedermi vuole languir She likes to see me pine away 1. An die Geliebte (3) To my beloved girl Così, così, così! Like this …….. Josef Ludwig Stoll (1778-1815)

Oh come è lento nel corso il sole! How slowly the sun runs its course, O daß ich dir vom stillen Auge O that I might from your eyes, Ogni momento mi sembra un dì, Every second’s like a day. In seinem liebevollen Schein My beloved, from your cheek Ogni momento mi sembra un dì, What is my darling doing? Die Träne von der Wange sauge, Kiss away that tear Sì, sì, mi sembra un dì! Perhaps she will not come ……. ? Eh sie die Erde trinket ein! Before it falls to thirsty earth. She likes to see me pine away Like this …….. Wohl hält sie zögernd auf der Wange See, it hovers, hesitant Und will sich heiß der Treue weihn. In burning promise of faithful love. 17. Lebens-Genuß Appreciation of Life Nun ich sie so im Kuß empfange, If I now catch it in a kiss Nun sind auch deine Schmerzen mein. Your troubles will be mine, I wis. Odi l’aura che dolce sospira, Hear the breeze in flight mentre fugge scuotendo lo fronde; Sigh sweetly through the stirring fronds; se l’intendi, se l’intendi, Know, it speaks to you of love. ti parla d’amor, sì, ti parla d’amor.

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2. Sehnsucht Yearning 5. Das Geheinmis. Liebe und Wahrheit The Secret. Love and Truth Johann Wolfgang von Goethe (1749-1832) Ignaz Heinrich Freiherr von Wessenberg (1774-1860)

Nur wer die Sehnsucht kennt Only someone sick with yearning Wo blüht das Blümchen, das nie verblüht? The flower that never fades, where does it grow? Weiß, was ich leide! Knows just what it is I feel; Wo strahlt das Sternlein, das ewig glüht? The star that never pales, where does it glow? Allein und abgetrennt Alone, cut off Dein Mund, o Muse! dein heil’ger Mund From your sacred lips, O Muse, now let me hear Von aller Freude, From any pleasure Tu’ mir das Blümchen und Sternlein kund. Where I will find them, far or near? Seh ich ans Firmament I scan the heavens Nach jener Seite. In the distance there. “Verkünden kann es dir nicht mein Mund, ‘You will hear nothing from my lips Macht es dein Innerstes dir nicht kund! If in your heart of hearts you do not know Ach! der mich liebt und kennt, But he who knows and loves me Im Innersten glühet und blüht es zart, That deep within, the gentle bloom and glow Ist in der Weite. Is so far from anywhere! Wohl jedem, der es getreu bewahrt!” Flourish for all who, in faith, maintain it so.’ Es schwindelt mir, es brennt My heart and soul are burning, Mein Eingeweide. And how my head does reel! 6. Sehnsucht Nur wer die Sehnsucht kennt Only someone who’s been sick with yearning Weiß, was ich leide! Knows just what it is I feel. Text as for No 2

3. An die Geliebte (2) 7. Als die Geliebte sich trennen wollte When my Beloved wanted to leave me (Empfindungen bei Lydiens Untreue) (Reactions to Lydia's Inconstancy) Text as for No.1 Der Hoffnung letzter Schimmer sinkt dahin, The last rays of hope are fading; 4. Sehnsucht Sie brach die Schwüre all’ mit flücht’gem Sinn; She broke her vows with scarce a thought. So schwinde mir zum Trost auch immerdar Could I but forget, in consolation, Text as for No.2 Bewußtsein, Bewußtsein, daß ich zu glücklich war! The happiness that she had brought.

Was sprach ich? Nein, von diesen meinen Ketten Stop! What did I say? Why from these chains Kann kein Entschluß, kann keine Macht mich retten; No resolve or power can save me. Ach! selbst am Rande der Verzweifelung bleibt ewig, Even on the brink of black despair Bleibt ewig süß mir die Erinnerung! That memory will always stay me.

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Ha! holde Hoffnung, kehr’ zu mir zurücke, Ha, dear hope come back to me 10. Sehnsucht Yearning Reg’ all mein Feuer auf mit einem Blicke, And stoke my fires with a single glance. Christian Ludwig Reissig (1783-1822) Der Liebe Leiden seien noch so groß, wer liebt, However great the pangs of love are, Wer liebt, fühlt ganz unglücklich nie sein Los! Lovers feel there’s still a chance. Die stille Nacht umdunkelt Night, silent, deepens, Erquickend Tal und Höh’, Refreshing hill and vale. Und du, die treue Lieb’ mit Kränkung lohnet, And you, who reward loyalty with hurt, Der Stern der Liebe funkelt Love’s star glimmers Fürcht’ nicht die Brust, in der dein Bild noch wohnet, Don’t fear the heart you treated with disdain. Sanft wallend in dem See. As waves the lake assail. Dich hassen könnte nie dies fühlend’ Herz, This sentient soul could never hate you. Vergessen, vergessen? eh’ erliegt es seinem Schmerz. Forget? I’d sooner live with all the pain. Verstummt sind in den Zweigen Voiceless, nature’s singers Die Sänger der Natur; Lie hidden in the trees 8. Sehnsucht Geheimnisvolles Schweigen And silence, full of secrets Ruht auf der Blumenflur. Rests o’er the flowery leas. Text as for No 2 Ach, mir nur schließt kein Schlummer My weary eyes alone 9. Ariette - Der Kuß The Kiss Die müden Augen zu: Sleep does not deign to close. Christian Felix Weisse (1726-1804) Komm, lindre meinen Kummer, Come and salve my sorrow, Du stiller Gott der Ruh! O god of sweet repose. Ich war bei Chloen ganz allein, I was all alone with Chloe Und küssen wollt ich sie: Minded to give her a kiss, Sanft trockne mir die Tränen Dry my tears so gently, Jedoch sie sprach, She said, Gib süßer Freude Raum, Make for joy a space, Sie würde schrein, “I’ll scream the house down, so ye Komm, täusche hold mein Sehnen Boldly deceive my yearning Es sei vergebne Müh. ‘ll best give that a miss!” Mit einem Wonnetraum. With dreams of blissful grace.

Ich wagt es doch und küßte sie, I went ahead unbowed, though O zaubre meinen Blicken Conjure up before my eyes Trotz ihrer Gegenwehr. She did try to resist. Die Holde, die mich flieht, My beloved as she flees, Und schrie sie nicht? Did she scream? Laß mich ans Herz sie drücken, Let me press her to my heart - Jawohl, sie schrie, Aye, she did scream very loud, though Daß edle Lieb’ entglüht! Love brings me to my knees! Doch lange hinterher. Long after we had kissed.

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Du Holde, die ich meine, Sweet one, who’s ever in my mind, Warum bin ich allein vergessen, So why am I alone left out, Wie sehn’ ich mich nach dir; I long so much for you. Auch meine Mutter du! du Natur? I ask of you, my mother, Nature? Erscheine, ach, erscheine O let me see your face again Und läche Hoffnung mir! To keep hope’s smile in view. Wo lebte wohl in Forst und Hürde, Is there in forest or in pen, Und wo in Luft und Meer, ein Tier, In the air or in the sea 11. Der Mann von Wort A Man of his Word Das nimmermehr geliebet würde? An animal that’s without love? Friedrich August Kleinschmidt (1749-?) Geliebt wird alles, wird alles ausser mir, ja alles All find love except for me. außer mir! Du sagtest, Freund, an diesen Ort You said, Friend, I shall return. Granted that in woodland, pasture, mead komm ich zurück, das war dein Wort. That was your word. Wenngleich im Hain, auf Flur und Matten Trees, mosses, plants in love, Du kamest nicht; ist das ein Mann, You did not come. Is this a man Sich Baum und Staude, Moos und Kraut In mutual love combine. auf dessen Wort man trauen kann? Inspiring trust, when heard? Durch Liebe und Gegenliebe gatten; Yet bride is there none that I call mine. Vermählt sich mir doch keine Braut. Ein Wort, ein Mann, war deutscher Klang, ‘The Word, The Man’ that had a German ring; From that, the sweetest of desires der von dem Mund zum Herzen drang, No sooner uttered than taken right to heart Mir wächst vom süßesten der Triebe No honied fruit ensues for me, und das der Schlag von deutscher Hand, And sealed there like the sacred oath Nie Honigfrucht zur Lust heran. For I do lack that mutual love gleich heil’gen Eiden, fest verband. Made by a German shake of hands on either part. Denn ach! Mir mangelt Gegenliebe, That only one can grant, ‘tis she. Die Eine, nur Eine gewähren kann. Nun sind wir auch der Deutschen wert, Come, we’re as good as any German, des Volkes, das die Welt verehrt. The people whom all in the world admire. Gegenliebe Requited Love Hier meine Hand; wir schlagen ein, Here, take my hand, we’ll shake on it, und wollen deutsche Männer sein. To be German men is our desire. Wüsst’ ich, dass du mich If you thought well of me, lieb und wert ein bisschen hieltest, Held me in some regard - if I but knew 12. Seufzer eines Ungeliebten und Gegenliebe Plaint of a Loveless Man and Requited Love und von dem, was ich für dich, You felt some fraction Gottfried August Bürger (1747-1794) nur ein Hundertteilchen fühltest; Of what I feel for you,

Seufzer eines Ungeliebten Plaint of a Loveless Man: dass dein Danken meinem Gruß To know my greeting Hast du nicht Liebe zugemessen Did you not grant a share of love halben Wegs entgegenkäme, Is not taken amiss, Dem Leben jeder Kreatur? To the life of every creature?

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und dein Mund den Wechselkuss That your lips enjoy both 14. Feuerfarb’ The Colour of Fire gerne gäb’ und wieder nähme: Giving and getting a kiss, Sophie Mereau (1770-1806)

Dann, o Himmel, außer sich, Then, O heavens, my heart, Ich weiß eine Farbe, der bin ich so hold, There is a colour dear to me, würde ganz mein Herz zerlodern! Would burst with joy; Die achte ich höher als Silber und Gold; Dearer than silver and gold, Leib und Leben könnt’ ich dich Your life and soul Die trag’ ich so gerne um Stirn und Gewand I wear it on my brow and my clothes; nicht vergebens lassen fordern! You shan’t, in vain, destroy! Und habe sie ,,Farbe der Wahrheit`` genannt. The colour of Truth it is called.

Gegengunst erhöhet Gunst, Kindness shared increases kindness’ power, Wohl blühet in lieblicher, sanfter Gestalt True, the blooms of the dear, gentle rose Liebe nähret Gegenliebe Mutual loving feeds on love, and so Die glühende Rose, doch bleichet sie bald. Glow, but soon they will fade. und entflammt zu Feuersbrunst, What would remain a spark in ashes Drum weihte zur Blume der Liebe man sie; That’s been called the colour of love; was ein Aschenfünkchen bliebe. Becomes a red-hot, fiery glow. Ihr Reiz ist unendlich, doch welket er früh. An attractive, but unreliable shade.

13. In Questa Tomba Oscura In This Dark Tomb Die Bläue das Himmels strahlt herrlich und mild, The blue of the heavens is gentle and mild, Giuseppe Carpani (1752-1825) D’rum gab man der Treue dies freundliche Bild. So, represents all that is loyal. Doch trübet manch’ Wölkchen den Äther so rein! But, small clouds tend to dim a pure sky In questa tomba oscura In this dark tomb So schleichen beim Treuen oft Sorgen sich ein. As worries steadfastness foil. Lasciami riposar; Let me find rest. Quando vivevo, ingrata, When, O cruel one, I was alive, Die Farbe des Schnees, so strahlend und licht, The colour of snow, so shiny and white Dovevi a me pensar. Then you should have thought of me. Heißt Farbe der Unschuld, doch dauert sie nicht. Represents innocence, but just for a while; Bald ist es verdunkelt, das blendende Kleid, The dazzling white dress is sullied so soon, Lascia che l’ombre ignude Now, at least, So trüben auch Unschuld Verläumdung und Neid. As bad feelings innocence defile. Godansi pace almen Leave my denuded shade in peace, E non, e non bagnar mie ceneri And don’t defile my ashes Warum ich, so fragt ihr, der Farbe so hold Why, you may ask, did I endow D’inutile velen. With futile tears. Den heiligen Namen der Wahrheit gezollt? This colour in sacred Truth’s name? Weil flammender Schimmer von ihr sich ergießt Because it pours forth a fiery glow, Und ruhige Dauer sie schützend umschließt. A protective and durable flame.

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Ihr schadet der nässende Regenguß nicht, It is not affected by storms of rain, Ach, wo ich wohl noch ruhen soll Where then shall I find some rest, Noch bleicht sie der Sonne verzehrendes Licht: Or bleached by the light of the sun. Von jeglicher Beschwerde, Where free from aggravation’s round … D’rum trag’ ich so gern sie um Stirn’ und Gewand That’s why I wear it on my clothes and my brow; In Arm der Liebe ruht sich’s wohl, To rest at peace in loving arms is good, Und habe sie ,,Farbe der Wahrheit`` genannt. The colour of the Truth we can’t shun. Wohl auch im Schoß der Erde! As is rest deep within the ground. Bald muß ich ruhen, und wo es sei, Now, rest I soon must find - but where? 15. Das Liedchen von der Ruhe A Reflection on Peace Es ist dem Müden einerlei. The man who’s truly tired doesn’t care. Hermann Wilhelm Franz Ueltzen (1759-1808) 16. Mailied May Song Im Arm der Liebe ruht sich’s wohl, To rest at peace in loving arms is good, Johann Wolfgang von Goethe (1749-1832) Wohl auch im Schoß der Erde. As is rest deep within the ground. Ob’s dort noch, oder hier sein soll, But, be it here, or be it there Wie herrlich leuchtet mir die Natur, To me, so glorious nature seems; Wo Ruh’ ich finden werde: That longed for peace is found Wie glänzt die Sonne, wie lacht die Flur! The laughing meadows, the sunshine’s beams, Das forscht mein Geist und sinnt und denkt My soul is striving to find out Es dringen Blüten aus jedem Zweig Blossom bursting from every stem, Und fleht zur Vorsicht, die sie schenkt. To quell all future lingering doubt. Und tausend Stimmen aus dem Gesträuch, A thousand voices with their Amen, Und Freud und Wonne aus jeder Brust; Their joy, delight in every breast, In Arm der Liebe ruht sich’s wohl, To rest at peace in loving arms is good. O Erd’, o Sonne, o Glück, o Lust! O Earth, O Sun, rebirth expressed. Mir winkt sie ach! vergebens. Alas, though not for me. Bei dir Elise fand ich wohl I’d known that peace with you, Elise, O Lieb’, o Liebe! So golden schön O Love, O love, such glorious sights Die Ruhe meines Lebens. But it was not to be. Wie Morgenwolken auf jenen Höhn! As morning clouds on distant heights. Dich wehrt mir harter Menschen Sinn Men’s prejudice kept me at bay Du segnest herrlich das frische Feld, Gloriously you bless the greening fields, Und in der Blüte welk’ ich hin! And youthful prime wasted away. Im Blütendampfe die volle Welt. A cloud of bloom the rich earth yields. O Mädchen, Mädchen, wie lieb ich dich! My girl, dear girl how I love thee! Im Schoß der Erde ruht sich’s wohl, To rest at peace deep in the ground is good, Wie blickt dein Auge, wie liebst du mich! How your eyes show that you love me. So still und ungestöret, So quiet and undisturbed. Hier ist das Herz so kummervoll Here one’s heart’s so full of care, So liebt die Lerche Gesang und Luft, Just as the lark loves song and flight Dort wird’s durch nichts beschweret. There it stays unperturbed. Und Morgenblumen den Himmelsduft And morning flowers the heavens’ light, Man schläft so sanft, schläft so süß Sleep is sweet, gentle, free from vice Wie ich dich liebe mit warmen Blut, So I love thee wholeheartedly Hinüber in das Paradies. As you cross into Paradise. Die du mir Jugend und Freud und Mut Who lent me youth and made me free Zu neuen Liedern und Tänzen gibst. To sing new songs, and dance again. Sei ewig glücklich, wie du mich liebst! Be happy always your love retain. - 36 - - 37 - 139booklet 23/9/08 13:09 Page 39

17. Mollys Abschied Molly’s Farewell 18. Die Liebe Song Gottfried August Bürger (1747-1794) Gotthold Ephraim Lessing (1729-1781)

Lebewohl, du Mann der Lust und Schmerzen, Farewell, my man of joy and pain, Ohne Liebe lebe, wer da kann; Live without love, he who can; Mann der Liebe, meines Lebens Stab! Man of love, my life’s mainstay. Wenn er auch ein Mensch schon bliebe, He’ll be a being, Gott mit dir, Geliebter, tief zu Herzen God be with you and may my blessing Bleibt er doch kein Mann. But never a man. Halle dir mein Segensruf hinab! Resonate within your heart while you’re away. Süße Liebe mach’ mein Lebensüß, Sweet love, grant me sweet life: Zum Gedächtnis biet’ ich dir statt Goldes, As souvenir, instead of gold, Stille ein die regen Triebe May yearning never subside, Was ist Gold und goldeswerter Tand? For what is gold but costly folly? Sonder Hindernis! Put hurdles aside. Biet’ ich lieber was dein Auge Holdes, I’d give you what your eye admired, Was dein Herz an Molly Liebes fand. What your heart found to love in Molly. Schmachten lassen sei der Schönen Pflicht; To let us languish is every girl’s right; Nur uns ewig schmachten lassen, To languish for ever, Vom Gesicht, der Waltstatt deiner Küße, From my face, the field of all your kisses, Dieses sei sie nicht! Should be no man’s plight. Nimm, so lang’ ich ferne von dir bin, Take, whilst you’re away from me, Halb zum Mindesten im Schattenrisse This copy of one half in silhouette 19. La Marmotte The Marmot Für die Phantasie die Abschrift hin! To stimulate your fantasy. Johann Wolfgang von Goethe (1749-1832)

Nimm, du süßer Schmeichler, von den Locken, Take, flatterer, of the locks of hair Ich komme schon durch manches Land, I have travelled far and wide Die du oft zerwühltest und verschobst, Which you often left in disarray. Avec que la marmotte, With my marmot at my side, Wann du über Flachs an Pallas Rocken, Finer than Athene’s flax, Und immer was zu essen fand, Food and drink I’d find nearby Über Gold und Seide sie erhobst! Than gold or silk, is what you’d say. Avec que la marmotte. With my ………

Meiner Augen Denkmal sei dies blaue To remind you of my eyes, this blue Refrain: Marmot here, marmot there, Kränzchen flehender Vergißmeinnicht Bunch of forget-me-nots beseech, Avec que sí, avec que là, With my marmot everywhere. Oft beträufelt von der Wehmut Taue, Besprinkled by the dews of yearning Avec que la marmotte. Der hervor durch sie von Herzen bricht! That through them from my heart do leach. Ich hab gesehn gar manchen Herrn, Many a gentleman I’ve seen Avec que la marmotte, Who on the ladies was too keen.

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der hat die Jungfrau gar zu gern, With my …… etc Was kein geheimes Elixier Ah, had you only met my love Avec que la marmotte. Dir sonst gewähren kann, Whom cruel Death took away, Das leistet traun! mein Blümchen dir. You would have seen the light of truth Hab’ auch gesehn die Jungfer schön, And the occasional lady I did see Man säh’ es ihm nicht an. Shine like the light of day. Avec que la marmotte, Who cast a glance at little me. die täte nach mir Kleinem sehn, With my …… etc Wer Wunderhold im Busen hegt, (In me she caused that flower to bloom, Avec que la marmotte. Wird wie ein Engel schön. Made sure it was secure; Das hab’ ich, inniglich bewegt, Impatience tore it from my breast. Nun lasst mich nicht so gehn, ihr Herrn, Now you’d not let me go, I think - An Mann und Weib gesehn. Would it did still endure. Avec que la marmotte, We chaps enjoy our food and drink. An Mann und Weib, alt oder jung, die Burschen essen und trinken gern, With my …… etc Zieht’s, wie ein Talisman, Avec que la marmotte. Der schönsten Seelen Huldigung Unwiderstehlich an. 20. Das Blümchen Wunderhold Wondrouswort Gottfried August Bürger (1747-1794) Ach! hättest du nur die gekannt, The marvels this flower brought about Die einst mein Kleinod war - Are too many to be told, Es blüht ein Blümchen irgendwo In a distant vale a flower grows Der Tod entriß sie meiner Hand Because of its ability - In einem stillen Tal. Which all the folk acclaim Hart hinterm Traualtar - To enhance more than gold - Das schmeichelt Aug’ und Herz so froh More valuable than any jewel, Dann würdest du es ganz verstehn, I call it wondrouswort, you see. Wie Abendsonnenstrahl. It’s wondrouswort by name. Was Wunderhold vermag, The world calls it - Humility.) Das ist viel köstlicher als Gold, I could sing at length of its effect Und in das Licht der Wahrheit sehn, Als Perl’ und Diamant. On body and on mind; Wie in den hellen Tag. Drum wird es “Blümchen Wunderhold” No elixir on earth can match Mit gutem Fug genannt. Its powers you will find. 21. Urians Reise um die Welt The Travails of a Bore* Matthias Claudius (1740-1815) Wohl sänge sich ein langes Lied Someone who bears it in his heart Von meines Blümchens Kraft; Reveals an angel’s beauty. Wenn jemand eine Reise tut, A chap who goes a’travellin’ Wie es am Leib’ und am Gemüt It draws the purest souls on earth So kann er was verzählen. Can tell you many a tale; So hohe Wunder schafft. In homage, awe and duty. D’rum nahm ich meinen Stock und Hut I took my stick, put on my hat

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Und tät das Reisen wählen. And so I hit the trail. Da hat er gar nicht übel drum getan, There’s a thing! .... etc Da hat er gar nicht übel drum getan, There’s a thing! Well done, old chum, Verzähl’ er doch weiter, Herr Urian! Verzähl’ er doch weiter, Herr Urian! Er, what’s yer name, go on, go on ….. Flugs ich an Bord und aus in’s Meer, I jumped aboard, went out to sea, Zuerst ging’s an den Nordpol hin; First I went north to the pole. Den Tubus festgebunden, ‘Scope clamped to my right eye, Da war es kalt bei Ehre! By golly it was cold! Und suchte sie die Kreuz und Quer But couldn’t find it anywhere, Da dacht’ ich denn in meinem Sinn, Not long till I had realised, Und hab’ sie nicht gefunden. Though I searched low and high. Das es hier beßer wäre. Best not have left the fold. Da hat er gar nicht übel drum getan, There’s a thing! .... etc Da hat er gar nicht übel drum getan, There’s a thing! …. etc Verzähl’ er doch weiter, Herr Urian! Verzähl’ er doch weiter, Herr Urian! Von hier ging ich nach Mexico - From here I went to Mexico - In Grönland freuten sie sich sehr, In Greenland they were very pleased Ist weiter als nach Bremen - It’s as far as Brum and back - Mich ihres Ort’s zu sehen, To have me pay a visit. Da, dacht’ ich, liegt das Gold wie Stroh; I’d heard that there was lots of gold Und setzten mir den Trankrug her: They brought me a great jug of beer. Du sollst’n Sack voll nehmen. And so I took a sack. Ich ließ ihn aber stehen. Not quite my tipple, is it? Da hat er gar nicht übel drum getan, There’s a thing! .... etc Da hat er gar nicht übel drum getan, There’s a thing! .... etc Verzähl’ er doch weiter, Herr Urian! Verzähl’ er doch weiter, Herr Urian! Allein, allein, allein, allein, Just how very,very, very, very Die Eskimos sind wild und groß, The Eskimos are big and wild, Wie kann ein Mensch sich trügen! Wrong a chap can be! Zu allen Guten träge: Those from Terra Nova. Ich fand da nichts als Sand und Stein, There was nought but sand and stone. Da schalt ich Einen einen Kloß I punched one of them on the nose Und ließ den Sack da liegen. So, I had a cup of tea. Und kriegte viele Schlänge. And got a going over. Da hat er gar nicht übel drum getan, There’s a thing! .... etc Da hat er gar nicht übel drum getan, There’s a thing! .... etc Verzähl’ er doch weiter, Herr Urian! Verzähl’ er doch weiter, Herr Urian! D’rauf kauft’ ich etwas kalte Kost I bought myself a bit of ham, Nun war ich in Amerika! Now I was in America, Und Kieler Sprott und Kuchen Sprats, Dundee cake, a feast! Da sagt ich zu mir: Lieber! I said, Well, wha’ d’you know, Und setzte mich auf Extrapost, I took a seat on the express Nordwestpassage ist doch da, It’s where the Northwest Passage is, Land Asia zu besuchen. And made my journey East. Mach’ dich einmal darüber. Why, that’s the way to go. Da hat er gar nicht übel drum getan, There’s a thing! .... etc Verzähl’ er doch weiter, Herr Urian! - 42 - - 43 - 139booklet 23/9/08 13:09 Page 45

Der Mogul ist ein großer Mann The Mogul’s an important man, Und fand es überall wie hier, Everywhere was just like here, Und gnädig über Massen Kind to his folk, forsooth. Fand überall ‘n Sparren, Everywhere a crackpot. Und klug; er war itzt eben dran, He was with his dentist Die Menschen grade so wie wir, Those people, just like us, ‘n Zahn auszieh’n zu lassen. Who was pulling out a tooth. Und eben solche Narren. All fools, and that’s the upshot. Da hat er gar nicht übel drum getan, There’s a thing! .... etc Da hat er übel, übel dran getan, Say, that won’t do at all, old son. Verzähl’ er doch weiter, Herr Urian! Verzähl’ er nicht weiter, Herr Urian! Er, what’s yer name, have done, have done.

Hm! dacht’ ich, der hat Zähnepein, Hmm, I thought, he is in pain, Translations © Uri Liebrecht *Note: Herr Urian = a stranger > unwelcome guest > a bore. Bei aller Größ’ und Gaben! However high his status. www.uritext.co.uk Was hilfts denn auch noch Mogul sein? What point in being a Mogul Die kann man so wohl haben! With toothache, that’s atrocious. BIOGRAPHIES Da hat er gar nicht übel drum getan, There’s a thing! .... etc Verzähl’ er doch weiter, Herr Urian! ANN MURRAY Ich gab dem Wirt mein Ehrenwort, I promised our landlord Ihn nächstens zu bezahlen; That I’d pay for what was due, Ann Murray was born in Dublin and studied with Und damit reist’ ich weiter fort, Then sallied forth to China Frederick Cox at the Royal Manchester College of Nach China und Bengalen. And then to Timbuktu. Music. She has close links with English National Da hat er gar nicht übel drum getan, There’s a thing! .... etc Opera, for whom she has sung Handel’s Xerxes and Verzähl’ er doch weiter, Herr Urian! Ariodante and Donizetti’s Maria Stuarda, and the Royal Opera, Covent Garden, where her roles have Nach Java und nach Otaheit To the Indies and to Java, included Cherubino, Dorabella, Despina, Idamantes, Und Afrika nicht minder; Africa and its nations, Sifare, the Composer, Octavian, Rosina, Amaltea, Und sah bei der Gelegenheit On my travels I explored Ruggiero and Giulio Cesare. Viel Städt’ und Menschenkinder. Their towns and populations. Da hat er gar nicht übel drum getan, There’s a thing! .... etc She has appeared with the world’s great orchestras Verzähl’ er doch weiter, Herr Urian! and conductors and in the major concert halls and has been a regular guest at the BBC Promenade

Concerts. Her discography reflects both her broad © Sian Trenberth

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Young Lovers concert and recital repertoire and also her great DonSiviglia Giovanni, The Count/Le nozze di Figaro, Augustine with the BBC National Orchestra of operatic roles. Guglielmo/Cosi fan tutte, Figaro/Il barbiere di Wales at the 2005 BBC Proms, Henze’s Elegy for and Ned Keene/Peter Grimes. For Scottish with the Orchestre Philharmonique Her operatic engagements have taken her to Opera roles have included Marcello/La bohème de Radio France, and the world premiere of Hamburg, Brussels, Paris, Berlin, Cologne, and Lord Byron in the word premiere of Sally Birtwistle’s The Ring Dance of the Nazarene with Amsterdam, Chicago, the Metropolitan Opera, New Beamish’sMidnight Monster. Other notable world premieres VARA Radio (repeated at the BBC Proms). York, the Vienna State Opera, and notably, the have included David Sawer’s From Morning to Bavarian State Opera. and Martin Butler’s A Better Place for Future engagements include a return to ENO to English National Opera, as well as Alexander sing Papageno and Saariaho L’amour de loin for She is an Honorary Doctor of Music at the National Knaifel’s Alice in Wonderland and Michel van der English National Opera, the La bohème at the Royal University of Ireland, a Kammersängerin of the Aa’s After Life for Netherlands Opera. Opera, Van der Aa’s After Life for Netherlands Opera, Bavarian State Opera and an Honorary Fellow of as well as concerts with the OAE, RIAS Kammerchor, the Royal Academy of Music. In the 2002 Golden Among Roderick Williams’ many performances of Britten Sinfonia, Scottish Chamber Orchestra, Garden Jubilee Queen’s Birthday Honours she was opera in concert are recent appearances with the London Sinfonietta and Philharmonia Baroque appointed an honorary Dame Commander of the BBCKong Symphony Orchestra in Tippett’s The Knot Orchestra in San Francisco. Most Excellent Order of the British Empire. (Barbican) and Birtwistle’s The Second Mrs (Royal Festival Hall) and with the London He is also an accomplished recital artist who can RODERICK WILLIAMS Symphony Orchestra and Daniel Harding Billy Budd. be heard at Wigmore Hall, at many festivals, and He has also sung the role of Eddie in Mark-Anthony on Radio 3, where he has appeared on Iain Burnside’s

Roderick Williams is active in the opera house, on Turnage’s Greek for the BBC. He has taken major © Kieth Saunders Voices programme. His numerous recordings include the concert platform and in recital, encompassing roles in conductor Richard Hickox’s semi-staged Vaughan Williams, Berkeley and Britten operas for a repertoire from the baroque to world premieres. performances of opera, including Britten’s Gloriana including the Royal Scottish National Orchestra, Chandos, Verdi’s Don Carlos (conducted by Bernard (Aldeburgh, 2003), Walton’s Troilus and Cressidaand Deutsches Symphonie-Orchester Berlin, Russian Haitink) for Philips, and two discs of English song He has enjoyed close associations with Opera North most of the Vaughan Williams operas. Other concert National Orchestra, Academy of Ancient Music, with pianist Iain Burnside for Naxos. Roderick and Scottish Opera, and forthcoming engagements performances include Henze, Strauss, Stravinsky and Bamberg Symphony Orchestra. Recent successes Williams is also a composer and has had works take him to English National Opera for Papageno and Wagner (Donner in Das Rheingold for ENO). include Britten’s War Requiem and Pilgrim in premiered at the Wigmore and Barbican Halls, the Gerontius /Die Zauberflöte and to the Royal Opera House Vaughan Williams’s The Pilgrim’s Progress (semi- Purcell Room and live on national radio. Covent Garden for Schaunard/La bohème. For Roderick Williams has sung concert repertoire with staged) with the Philharmonia, Elgar’s Dream of Opera North his roles have included the title role in all the BBC orchestras, and many other ensembles in Toulouse, Tippett’s The Vision of St

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IAIN BURNSIDE Iain’s broadcasting career covers both Radio and TV and has been honoured with a Sony Radio Award. Iain Burnside enjoys a unique reputation as pianist Following BBC Radio3’s Voices, he now presents and broadcaster, forged through his commitment his own Sunday morning programme Iain Burnside. to the song repertoire and his collaborations with leading international singers. In recent seasons Susan Youens such artists have included Galina Gorchakova, Ailish Tynan, Lisa Milne, Rebecca Evans, Joan Rodgers, Susan Youens received her doctorate in Susan Gritton and Yvonne Kenny; Susan Bickley, musicology from Harvard University in 1975 and is Ann Murray and Sarah Connolly; John Mark Ainsley, currently the J. W. Van Gorkom Professor of Music Mark Padmore and Andrew Kennedy; Roderick at the University of Notre Dame. She is the author Williams, Christopher Maltman and Bryn Terfel. of numerous scholarly articles and eight books on Late Lieder: Beyond the Songth Cycles GermanWolf and song his inMörike the Songs19 century, including His recording portfolio reflects Iain’s passion for Heinrich Heine and the Lied (2007); Schubert’s Müller and Die schöne Müllerin British music. For Signum he has recorded Tippett (2002); Hugo (Ainsley,) Judith Weir (Tynan/Bickley/Kennedy), FG (2000); Schubert, Scott (Milne/Williams) and Herbert Hughes (1997); and (Tynan). Naxos CDs include the complete songs of Schubert’s poets and the making of lieder (1996), Gerald Finzi (Ainsley/Williams), together with all from Cambridge University Press. She is Vaughan Williams and William Alwyn. Forthcoming currently working on A Social History of the Lied. Signum releases include Korngold (Connolly/ poetry, presented with huge success in Brussels Dazeley) and Liszt (Evans/Kennedy/Rose). More and Barcelona with the collaboration of actors Vaughan Williams has just been released on the such as Fiona Shaw and Simon Russell Beale. His new Albion label. Black Box recordings feature professorial position at London’s Guildhall School Debussy, Schoenberg and an acclaimed disc of has been expanded to include a directorial role, Copland with the late Susan Chilcott. staging specially conceived programmes with student singers and pianists. He has given Acclaimed as a programmer, Iain has devised a masterclasses throughout Europe, at New York’s number of innovative recitals combining music and Juilliard School and the Banff Centre, Canada.

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ALSO AVAILABLE on signumclassics

Heinz Liebrecht was born in 1908. On 9 November 1938 he was taken to the Nazi concentration camp in Dachau, declared a non-person and stripped of all human dignity, as were the millions of others. On 9 November 1998 he arrived at Buckingham Palace to receive the MBE for Services to Music. He continued with this work up to his death in 2005.

These recordings are dedicated to those who were killed Remember Your Lovers On Buying a Horse Songs of FG Scott Songs by Tippett, Britten, Purcell & The songs of Judith Weir Moonstruck and to the survivors who devoted themselves Pelham Humfrey Susan Bickley mezzo-soprano Lisa Milne soprano to enhancing the quality of our lives. John Mark Ainsley tenor Andrew Kennedy tenor Roderick Williams baritone Iain Burnside piano Ailish Tynan soprano Iain Burnside piano SIGCD066 Iain Burnside piano SIGCD096 SIGCD087 Recorded at The Warehouse, London 18 - 19 February 2008 & 18 - 19 March 2008 Producer and editor - John H West Engineer - Andrew Mellor Britten Abroad Cover Image: Shutterstock A collection of songs by Benjamin Design and Artwork - Woven Design Britten set in Italian, Russian, French www.wovendesign.co.uk & German Susan Gritton soprano P 2008 The copyright in this recording is owned by Signum Records Ltd. Mark Padmore tenor C 2008 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd. Iain Burnside piano SIGCD122 Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact 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 Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. A Purse of Gold SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK +44 (0) 20 8997 4000 E-mail: [email protected] Irish Songs by Herbert Hughes www.signumrecords.com Ailish Tynan soprano Iain Burnside piano SIGCD106

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