FACULTY RECITAL

Yichen Li, countertenor Mariah Boucher,

Krannert Center for the Performing Arts Foellinger Great Hall Friday, February 21, 2020 7:30 pm

FRANZ SCHUBERT Gesänge des Harfners aus (1797-1828) “Wilhelm Meister”, D.478 Wer sich der Einsamkeit ergibt Wer nie sein Brot mit Tränen aß Au die Türen will ich schleichen

FRANZ SCHUBERT Auf dem Wasser zu singen, D. 774 (1797-1828) Nacht und Träume, D. 827 Rastlose Liebe, D. 138

CLARA SCHUMANN Sechs Lieder, op. 13 (1819-1896) Ich stand in dunklen Träumen Sie liebten sich beide Der Mond kommt still gegangen Liebeszauber

intermission

REYNALDO HAHN À Chloris a founding member of the Protea Trio, active in the Detroit area, focusing on works that (1874-1947) Quand je fus pris au pavillon blend Latin, jazz, vocal, and contemporary influences.

L’heure exquise Mariah received both her Masters of Music and Doctor of Musical Arts degree from the

University of Michigan in Collaborative Piano, where she studied with Martin Katz and GABRIEL FAURÉ Nell, op. 18 no. 1 Logan Skelton. As an and art song coach, she works with singers at the South (1845-1924) Le Voyageur, op. 18 no. 2 Bend Lyric Opera as well as the Bayview Music Festival. Mariah currently serves as Automne, op. 18 no. 3 Staff Accompanist at Indiana University South Bend, as well as a Vocal Coach at The University of Notre Dame.

MAURICE RAVEL Cinq Mélodies populaires grecques As an opera and art song coach, Mariah had coached and performed at such festivals as (1875-1937) Chanson de la mariée the Spoleto Music Program, Italian Operatic Experience, Main Street Opera Theater, and Là-bas, vers l’église Opera on Wheels. She has been the Music Director of the South Bend Lyric Opera for the Quel galant m’est comparable past five productions.

Chanson des cueilleuses de lentisques Tout gai!

Yichen Li (countertenor) is a diverse musician who has performed extensively in opera, Program Notes oratorio, and chamber music and has won numerous awards as a vocalist and piano accompanist. The Yangtze Evening Post described him as “Li is like a rising star, who Gesänge des Harfners aus “Wilhelm Meister” has become one of the most outstanding countertenors in China.” Gesänge des Harfners aus “Wilhelm Meister” is possibly the most utterly touching, but nevertheless most cryptic figure in Wilhelm Meister’s Apprenticeship is the Harfner, the As an active performer, Li has recently appeared in leading roles such as Oberon in harp-player, the tragic and incestuous father of enchanting young tomboy Mignon. Britten’s A Midsummer Night’s Dream, Nerone in Monteverdi’s L’incoronazione di The Harfner is the only character in this Bildungsroman (novel of character development) Poppea, and Nero-Caligula in Ilya Demutsky’s Black Square .Past performances include who does not evolve. He simply cannot survive the heartbreaking sorrow that Purcell’s King Arthur, Puccini’s Gianni Schicchi, and Yang Ming’s Sister overwhelms him. Especially notable is Goethe’s harsh play with and interconnection of Jiang. Additionally, Li has performed as a soloist with Sinfonia da Camera Chamber the words Einsamkeit (solitude) and Alleinsein (aloneness), which he uses to deliberately , Concerto Urbano Baroque Ensemble, and Estampe Trio. and cynically evoke people’s compassion.

In addition to Li’s career as a vocalist, he has earned many achievements as a pianist. Auf dem Wasser zu singen Highlights of Li’s piano accomplishments include the first places in both solo piano and Auf dem Wasser zu singen is a Lied composed by Franz Schubert in 1823, based on the piano accompanying at the 5th Jiangsu Collegiate Music Competition. poem of the same name by Friedrich Leopold zu Stolberg-Stolberg. The text describes a scene on the water from the perspective of the narrator who is in a boat, and delves into Li earned a Bachelor of Arts degree in music education (piano concentration) from the narrator‘s reflections on the passing of time. The song‘s piano accompaniment Nanjing Normal University, where he served as a teaching assistant in several music recreates the texture of the shimmering waves (der Freude sanftschimmernden Wellen) classes. He received a Master of Music degree in vocal performance from Illinois State mentioned in the third line of the poem and its rhythmic style in the 6/8 meter is University and a Doctor of Musical Arts degree in vocal performance and literature at reminiscent of a barcarole. Harmonically, the song as a whole and within each stanza the University of Illinois under the tutelage of Ollie Watts Davis. Before joining the traces a movement from the minor mode to the major mode. faculty at the University of Illinois at Urbana-Champaign, Li taught at the University of Illinois at Springfield and Illinois College. Li also serves as a member of the National Nacht und Träume Association of Teachers of Singing (NATS) and the Music Teachers National Association Nacht und Träume is a Lied for voice and piano by Franz Schubert, from a text by (MTNA). Matthäus von Collin, and published in 1825. The vocal line stretches into the void and lures moonlight, memories and spirits to visit our dreams. In the piano, slow unruffled Described as “unique and riveting” by Harmonie magazine, American pianist Mariah semiquavers breathe steadily. There is however a touch of lonely, resounding desolation Boucher has distinguished herself as a leading collaborator, specializing in chamber on the diminished chord of ‚Rufen, wenn der Tag erwacht‘: we plead for night‘s return music and vocal coaching. Active as a chamber musician and piano soloist, Mariah has in order to live again in a better world, to recapture the joys that we once possessed. This performed in venues across the United States, including the Aspen Music Festival, Bay is a theme of a number of Schubert‘s greatest songs. Many years before Freud, the poet View Music Festival, Detroit Institute of the Arts, and West Michigan Symphony Series. knew that sleep—the other side of the coin of death—is the key to our past joys and Mariah is a strong proponent of new music. She has worked closely with contemporary troubles. composers, including Gabriela Lena Frank, Pierre Jalbert, Evan Chambers, Michael Daugherty,Roger Zare, and Logan Skelton. Mariah has also worked with the Kresge Rastlose Liebe Literary Fellow Terry Blackhawk, presenting her poetry with newly commissioned Rastlose Liebe is a Lied composed by Franz Schubert and published in July 1821. The music at the Art X Festival, as well as poets Marsha Music and Justin Rogers. She is also song, dedicated to Anton Salieri, is based on a text by Johann Wolfgang von Goethe, written during a snowstorm in the Thuringian Forest. The whirling semiquavers in the Tout gai! Everyone is joyous! right hand are marked sempre ligato; the ascending scale in the left hand in crotchets and quavers, partially chromatic and marked sempre staccato, sturdily underpins the Tout gai! gai, Ha, tout gai! Everyone is joyous, joyous! flurry and pushes it forward. The text suggests a moto perpetuo with a flurry of Belle jambe, tireli, qui danse; Beautiful legs, tireli, which dance, semiquavers. Reichardt set it thus in 1794, as did Zelter in 1812. Schubert of course Belle jambe, la vaisselle danse, Beautiful legs; even the dishes are dancing! follows suit; he might have known these settings but it seems more likely that it was Tra la la la la... Tra la la, la la la! Goethe‘s text alone which suggested the restless Bewegung.

Sechs Lieder, op. 13 Clara Schumann’s presence in the history of European music has become firmly fixed in recent years: the many new biographies, editions, recordings and performances of her compositions are testimony to her significance and influence. Her songs, not as well known as her works for piano, are among the treasures of her creative work and can take their place with the best of the German Lieder repertoire. op. 13, a collection of six songs, was assembled from songs composed between 1840 and 1843. Robert presumably chose the songs and negotiated for their publication in 1844. The collection is dedicated to Queen Caroline Amalie of Denmark with whom Clara became acquainted on her concert tour to Denmark in 1842. A reviewer described Clara Schumann’s op. 13 as ‘tender, gracious outpourings of a bounteous heart, quiet and unadorned, but conceived as warmly and sincerely as they are expressed: simply, clearly, unpretentiously’.

À Chloris À Chloris is beyond doubt the summit of Reynaldo Hahn’s art as a pasticheur, and it ranks as perhaps the most successful example of musical time-travelling in the French mélodie repertoire. À Chloris has charm, elegance, gravity and the ability to move audiences—what more could one ask of a song, whether or not it is a pastiche? The fact that it is based on the striding line of Bach’s ‘Air on the G-string’ seems irrelevant: one smiles at the composer’s audacity at the beginning, but one stays to listen to the music, Hahn’s music, in its own right. It uses one of his favorite devices where the accompaniment is a piano piece with its own momentum; over this the voice embroiders an inspired overlay which seems half sung and half spoken, moving with conversational grace between whispered confidences and declarations of love in full voice.

Quand je fus pris au pavillon Quand je fus pris au pavillon is to a poem by Charles, Duke of Orleans (1394–1464). Hahn, ever the stylistic chameleon, matches the ancient poem with a delightfully mock- L’église, ô Vierge sainte, The church, o blessed Virgin, archaic style. Les étoiles (poem by Théodore de Banville, 1823–1891) shows the L’église Ayio Costanndino, The church of Ayio Costanndino, composer’s skill in building up to a climax by intensifying and then relaxing the rhythm Se sont réunis, There are gathered, of the accompaniment. L’automne (also by de Banville) is in a 7/4 metre and subtly Rassemblés en nombre infini, Assembled in numbers infinite, combines mellow regret with a kind of exhilaration admirably suited to the mood of the Du monde, ô Vierge sainte, The world’s, o blessed Virgin, text. Infidélité is a setting of a poem by Théophile Gautier (1811–1872), the apostle of the Du monde tous les plus braves! All the world’s most decent folk! doctrine of art for art’s sake (de Banville was one of his followers). Both here and in L’enamourée (text by de Banville), Hahn shows a suppleness of melodic inflexion and a capacity to convey an atmosphere that is almost visual. Quel galant m’est comparable What gallant compares with me Quel galant m’est comparable, What gallant compares with me, L‘heure exquise D’entre ceux qu’on voit passer? Among those one sees passing by? Based on a poem by the French great writer Paul Verlaine, L‘heure exquise (The Dis, dame Vassiliki? Tell me, lady Vassiliki! exquisite hour) is one of the best known songs of Reynaldo Hahn. Published in 1892, it is the fifth of a group of seven songs entitled Chansons grises (Gray songs). Verlaine often Vois, pendus à ma ceinture, See, hanging on my belt, drew inspiration from the delicate paintings of Watteau, which is reflected in his text for pistolets et sabre aigu... My pistols and my curved sword. this song as well as in Hahn‘s tender melody. The composer perfectly captures the Et c’est toi que j’aime! And it is you whom I love! image of a moon-drenched evening when lovers come together to share „the exquisite hour.“ The delicate melody line requires the utmost vocal control on the part of the singer and the ability to spin floating high notes at the end of each verse. Chanson des cueilleuses de lentisques The Song of the Girls Collecting Mastic Nell Ô joie de mon âme, O joy of my soul, The poem by Leconte de Lisle is from his first collection, Poèmes antiques (1852), where Joie de mon coeur, joy of my heart, there is a quasi-Scottish subsection that includes the poems Jane (set by the young Trésor qui m’est si cher ; treasure which is so dear to me, Debussy), Nanny (set by Chausson) and La fille aux cheveux de lin (made into a piano Joie de l’âme et du cœur, joy of my soul and heart, piece by Debussy). Everything in this song comes together to make a masterpiece: Toi que j’aime ardemment, you whom I love ardently, melody, harmonic texture, depth of feeling, the matching of the literary means to the Tu es plus beau qu’un ange. you are more handsome than an angel. musical. There is a pudeur in this Parnassian-poetry-via-the-Highlands that perfectly Ô lorsque tu parais, O when you appear, suits this composer’s personality. The music murmurs as gently as a cool mountain Ange si doux angel so sweet, stream, but it is pungent as peat. Devant nos yeux, Before our eyes,

Comme un bel ange blond, Like a fine, blond angel, Le Voyageur Sous le clair soleil, under the bright sun, This is Fauré’s first setting of Armand Silvestre. The poem appears in Les ailes d’or Hélas ! tous nos pauvres cœurs soupirent ! Alas! all of our poor hearts sigh! (1880) in a sub-section entitled ‘Vers pour être chantés’. Le voyageur is by no means

typical of the Silvestre settings which are known for their grace and easy charm. In the outer sections of the song the accompaniment is in accented crotchets: a dotted rhythm on the first beat resounds through the entire bar like the tolling of a bell, the vocal line roams the stave with manly determination. The imagery of verse 3, where a star sets towards the horizon, inspires the song’s great musical surprise. The vocal line is marked Automne Autumn dolce and is suddenly muted and contained: the texture of the accompaniment is different from anything that has gone before. In fact this extraordinary passage, Automne au ciel brumeux, aux horizons Autumn, time of misty skies and heart- banished by a return of the louder music of the opening after eighteen bars, would not navrants. breaking horizons, have seemed out of place in a late work like Mirages – a prophetic glimpse of a style-to- Aux rapides couchants, aux aurores pâlies, of rapid sunsets and pale dawns, come. Je regarde couler, comme l’eau du torrent, I watch your melancholy days Tes jours faits de mélancolie. flow past like a torrent. Automne This is a justly famous song, one that would number in most people’s top-ten hit- Sur l’aile des regrets mes esprits emportés, My thoughts borne off on the wings of regret parades of Fauré’s mélodies. It is little wonder, for the grandeur of these ‘horizons Comme s’il se pouvait que notre âge renaisse! as if our time could ever be relived! navrants’ has inspired a setting of genius. An opening bar of empty, restless triplets Parcourent, en rêvant, les coteaux enchantés, dreamingly wander the enchanted slopes churns in the pianist’s right hand; leaping on to the next available bar-line the left hand Où jadis sourit ma jeunesse! where my youth once used to smile. jumps a fifth in octaves. The rhetoric of this writing is intensified by the kick of syncopation, something bitter and querulous. At the time of its composition Fauré was Je sens, au clair soleil du souvenir vainqueur, In the bright sunlight of triumphant memory thirty-five, just old enough to look back on his youth with regret. It is a miracle how, in Refleurir en bouquet les roses deliées, I feel the scattered roses reblooming in the midst of this bluster, a pianistic interlude of the purest sweetness and calm is Et monter à mes yeux des larmes, qu’en mon bouquets; allowed to flower as an introduction to the middle verse of this ABA structure. coeur, and tears well up in my eyes, tears which my Mes vingt ans avaient oubliées! heart Cinq Mélodies populaires grecques at twenty had already forgotten! The earliest of Ravel’s Cinq mélodies populaires grecques were written in 1904 at the urgent request of Pierre Aubry, who needed to illustrate a lecture he was giving on Chanson de la mariée The song to the bride Greek folksong. A mutual friend of his and Ravel’s, Michel D Calvocoressi (himself of Réveille-toi, réveille-toi, perdrix mignonne, Awake, awake, my darling partridge, Greek descent), found five choice examples and Ravel supplied a piano accompaniment Ouvre au matin tes ailes. Open to the morning your wings. for them in a mere thirty-six hours. Calvocoressi, impressed by this ‘extraordinary feat’, Trois grains de beauté, Three beauty marks; then produced three more and commissioned Ravel to set those as well. The new mon cœur en est brûlé! my heart is on fire! collection, selected from the total eight, was first performed (in Greek) and published in

French translation in 1906. Ravel began the task of orchestrating them but soon lost Vois le ruban d’or que je t’apporte, See the ribbon of gold that I bring interest (Rosenthal completed the task in 1935). The version for voice and harp recorded Pour le nouer autour de tes cheveux. To tie round your hair. here was made in 1930 by the American harpist Carlos Salzedo, who had Ravel’s Si tu veux, ma belle, viens nous marier! If you want, my beauty, we shall marry! complete approval. Dans nos deux familles, tous sont alliés! In our two families, everyone is related!

Làbas, vers l’église Yonder by the church

Là-bas, vers l’église, Yonder, by the church, Vers l’église Ayio Sidéro, By the church of Ayio Sidero, Ô mon cœur, sa plainte amoureuse. singing their love-songs, oh my heart! Text and Translation

Que ta perle est douce au ciel parfumé. How sweet in the flame-red sky is the pearl, Wer sich der Einsamkeit ergibt Who gives himself to loneliness Étoile de la nuit pensive! the star of pensive night! Wer sich der Einsamkeit ergibt, Who gives himself to loneliness, Mais combien plus douce est la clarté vive But how much sweeter is the vivid glow Ach! der ist bald allein; Ah, he is soon alone; Qui rayonne en mon coeur, en mon cœur that shines in my enchanted heart! Ein jeder lebt, ein jeder liebt, Others—they live, they love charmé! Und lässt ihn seiner Pein. And leave him to his pain. The singing sea all along its shores Ja! lasst mich meiner Qual! Yes! To my torment leave me! La chantante mer. Le long du rivage, will end its eternal murmuring Und kann ich nur And can I but once Taira son murmure éternel, before your image, oh Nell my love, Recht einsam sein, Truly lonely be, Avant qu’en mon cœur, chère amour. ceases to bloom in my heart. Dann bin ich nicht allein. Then I’ll not be alone. Ô Nell, ne fleurisse plus ton image! Es schleicht ein Liebender lauschend sacht, A lover softly spying steals Le voyageur The traveler Ob seine Freundin allein? His loved one, is she alone? So überschleicht bei Tag und Nacht So, by day and night, steals Voyageur, où vas-tu, marchant Traveler, where are you off to, Mich Einsamen die Pein, Upon me who am lonely, the pain, Dans l’or vibrant de la poussière? treading the vibrant golden dust? Mich Einsamen die Pein. Upon me who am lonely, the pain. Je m’en vais au soleil couchant, “I’m off to the setting sun, Ach, werd’ ich erst einmal Ah, when I shall be at last Pour m’endormir dans la lumière. to go to sleep in the light; Einsam im Grabe sein, Lonely in my grave,

Da lässt sie mich allein! Then it will leave me alone! Car j’ai vécu n’ayant qu’un Dieu, for I’ve lived worshipping only one God,

L’astre qui luit et qui féconde. that light-giving, life-giving orb Et c’est dans son linceul de feu and in its shroud of fire Wer nie sein Brod mit Thränen aß Who has never eaten his bread with tears Que je veux m’en aller du monde! I wish to depart from the world!” Wer nie sein Brot mit Tränen aß, Who has never eaten his bread with tears,

Wer nie die kummervollen Nächte who, through nights of grief, Voyageur, presse donc le pas: Then, traveler, walk faster: Auf seinem Bette weinend saß, has never sat weeping on his bed, L’astre, vers l’horizon, décline... the sun is sinking to the horizon... Der kennt euch nicht, ihr himmlischen knows you not, heavenly powers. Que m’importe, j’irai plus bas “I don’t care, I’ll go further down Mächte! You bring us into life; L’attendre au pied de la colline. to await it at the foot of the hill. Ihr führt ins Leben uns hinein, you let the poor wretch fall into guilt,

Ihr lasst den Armen schuldig werden, then you abandon him to his agony: Et lui montrant mon coeur ouvert. And showing it my open heart Dann überlasst ihr ihn der Pein: for all guilt is avenged on earth. Saignant de son amour fidèle. which bleeds with its faithful love, Denn alle Schuld rächt sich auf Erden. Je lui dirai: j’ai trop souffert: I will say, ‘Oh sun, I’ve suffered too much,

Soleil! emporte-moi loin d’elle! carry me far away from her!’”

An die Thüren will ich schleichen I shall steal from door to door L’Heure exquise Exquisite hour

La lune blanche The white moon An die Türen will ich schleichen, I shall steal from door to door Luit dans les bois; Gleams in the woods; Still und sittsam will ich stehen, and stand there, silent and humble; De chaque branche From every branch Fromme Hand wird Nahrung reichen, a kind hand will offer food Part une voix There comes a voice Und ich werde weiter gehn. and I shall go on my way. Sous la ramée... Beneath the boughs... Jeder wird sich glücklich scheinen, Each will deem himself happy Wenn mein Bild vor ihm erscheint, when he sees me before him. Ô bien aimée. O my beloved. Eine Träne wird er weinen, He will shed a tear; Und ich weiss nicht, was er weint. and yet I know not why he should weep. L’étang reflète, The pool reflects, Profond miroir, Deep mirror, La silhouette The silhouette Auf dem Wasser zu singen To be sung on the water Du saule noir Of the black willow Mitten im Schimmer der spiegelnden Wellen Amid the shimmer of the mirroring waves Où le vent pleure... Where the wind is weeping... Gleitet, wie Schwäne, der wankende Kahn; the rocking boat glides, swan-like, Ach, auf der Freude sanft schimmernden on gently shimmering waves of joy. Rêvons, c’est l’heure. Let us dream, it is the hour. Wellen The soul, too, glides like a boat. Gleitet die Seele dahin wie der Kahn; For from the sky the setting sun Un vaste et tendre A vast and tender Denn von dem Himmel herab auf die Wellen dances upon the waves around the boat. Apaisement Consolation Tanzet das Abendrot rund um den Kahn. Semble descendre Seems to fall Above the tree-tops of the western grove Du firmament From the sky Über den Wipfeln des westlichen Haines the red glow beckons kindly to us; Que l’astre irise... The moon illumines... Winket uns freundlich der rötliche Schein; beneath the branches of the eastern grove Unter den Zweigen des östlichen Haines the reeds whisper in the red glow. C’est l’heure exquise. Exquisite hour. Säuselt der Kalmus im rötlichen Schein; The soul breathes the joy of heaven, Nell Nell Freude des Himmels und Ruhe des Haines the peace of the grove, in the reddening glow. Atmet die Seel’ im errötenden Schein. Ta rose de pourpre à ton clair soleil, Under your bright sun, oh summer, Alas, with dewy wings Ô Juin, étincelle enivrée, your red, red rose sparkles ecstatically. Ach, es entschwindet mit tauigem Flügel time vanishes from me on the rocking waves. Penche aussi vers moi ta coupe dorée: Lean over me too with your golden cup Mir auf den wiegenden Wellen die Zeit. Tomorrow let time again vanish with Mon cœur à ta rose est pareil. my heart resembles your rose. Morgen entschwinde mit schimmerndem shimmering

Flügel wings, as it did yesterday and today, Sous le mol abri de la feuille ombreuse Under the shady, sheltering leaves Wieder wie gestern und heute die Zeit, until, on higher, more radiant wings, Monte un soupir de volupté: there rises a sigh of delight. Bis ich auf höherem strahlendem Flügel I myself vanish from the flux of time. Plus d’un ramier chante au bois écarté. In the grove there are doves cooing, Selber entschwinde der wechselnden Zeit. Ach! was seit jener Stund’ ich sang, Ah! all that I’ve sung since that hour Nacht und Träume Night and dreams War nur sein Widerhall. Was merely its echo. Heil’ge Nacht, du sinkest nieder; Holy night, you sink down;

Nieder wallen auch die Träume, dreams, too, float down, À Chloris To Chloris Wie dein Mondlicht durch die Räume, like your moonlight through space, Durch der Menschen stille Brust. through the silent hearts of men. S’il est vrai, Chloris, que tu m’aimes, If it be true, Chloris, that you love me, Die belauschen sie mit Lust; They listen with delight, Mais j’entends, que tu m’aimes bien, And I’m told you love me dearly, Rufen, wenn der Tag erwacht: crying out when day awakes: Je ne crois point que les rois mêmes I do not believe that even kings Kehre wieder, heil’ge Nacht! come back, holy night! Aient un bonheur pareil au mien. Can match the happiness I know. Holde Träume, kehret wieder! Fair dreams, return! Que la mort serait importune Even death would be powerless

De venir changer ma fortune To alter my fortune A la félicité des cieux! With the promise of heavenly bliss! Rastlose Liebe Restless love Tout ce qu’on dit de l’ambroisie All that they say of ambrosia Dem Schnee, dem Regen, Into the snow, the rain, Ne touche point ma fantaisie Does not stir my imagination Dem Wind entgegen, and the wind, Au prix des grâces de tes yeux. Like the favour of your eyes! Im Dampf der Klüfte, through steamy ravines,

Durch Nebeldüfte, through mists, Quant je fus prins ou pavillon When I was held in the pavilion Immer zu! Immer zu! onwards, ever onwards! Ohne Rast und Ruh! Without respite!

Quant je fus prins ou pavillon When I was held in the pavilion Lieber durch Leiden I would sooner fight my way De ma dame tresgente et belle, Of my very noble and beautiful lady, Wollt’ ich mich schlagen, through suffering Je me brulay à la chandelle, I felt myself burnt in the candle’s flame, Als so viel Freuden than endure so much Ainsi que fait le papillon: As the butterfly does: Des Lebens ertragen. of life’s joy.

Alle das Neigen This affection Je rougiz comme vermeillon, I blushed like vermillion, Von Herzen zu Herzen, of one heart for another, Aussi flambant qu’une estincelle, In the brightness of a spark, Ach, wie so eigen ah, how strangely Quant je fus prins ou pavillon, When I was held in the pavilion Schaffet es Schmerzen! it creates pain! De ma Dame tresgente et belle. Of my very noble and beautiful lady.

Wie soll ich flieh’n? How shall I flee? Si j’eusse esté esmerillon If I had been merlin Wälderwärts zieh’n? Into the forest? Ou que j’eusse eu aussi bonne aile, Or had I strong enough wings, Alles vergebens! It is all in vain! Je me feusse gardé de celle I would have guarded myself from she Krone des Lebens, Crown of life, Qui me bailla de l’aiguillon Who struck me with the sting Glück ohne Ruh, happiness without peace Quant je fus prins ou pavillon. When I was held in the pavilion. Liebe, bist du! this, O love, is you!

Ich stand in dunkeln Träumen I stood darkly dreaming Und auf den Lüften schwanken Many thousand loving thoughts Ich stand in dunklen Träumen I stood darkly dreaming Aus manchem treuen Sinn From many faithful minds Und starrte ihr Bildnis an, And stared at her picture, Viel tausend Liebesgedanken Sway on the breezes Und das geliebte Antlitz And that beloved face Über die Schläfer hin. Over those who slumber. Heimlich zu leben begann. Sprang mysteriously to life. Und drunten im Tale, da funkeln And down in the valley Um ihre Lippen zog sich About her lips Die Fenster von Liebchens Haus; The windows sparkle of my beloved’s house; Ein Lächeln wunderbar, A wondrous smile played, Ich aber blicke im Dunklen But I in the darkness gaze Und wie von Wehmutstränen And as with sad tears, Still in die Welt hinaus. Silently out into the world. Erglänzte ihr Augenpaar. Her eyes gleamed. Liebeszauber Love’s magic Auch meine Tränen flossen And my tears flowed Mir von den Wangen herab – Down my cheeks, Die Liebe saß als Nachtigall Love, as a nightingale, Und ach, ich kann’s nicht glauben, And ah, I cannot believe Im Rosenbusch und sang; Perched on a rosebush and sang; Dass ich dich verloren hab! That I have lost you! Es flog der wundersüße Schall The wondrous sound floated Den grünen Wald entlang. Along the green forest.

Sie liebten sich beide They loved one another Und wie er klang, - da stieg im Kreis And as it sounded, there arose a scent Sie liebten sich beide, doch keiner They loved one another, but neither Aus tausend Kelchen Duft, From a thousand calyxes, Wollt’ es dem andern gestehn; Wished to tell the other; Und alle Wipfel rauschten leis’, And all the treetops rustled softly, Sie sahen sich an so feindlich, They gave each other such hostile looks, Und leiser ging die Luft; And the breeze moved softer still; Und wollten vor Liebe vergehn. Yet nearly died of love. Die Bäche schwiegen, die noch kaum The brooks fell silent, barely Sie trennten sich endlich und sah’n sich In the end they parted and saw Geplätschert von den Höh’n, Having babbled from the heights, Nur noch zuweilen im Traum; Each other but rarely in dreams. Die Rehlein standen wie im Traum The fawns stood as if in a dream Sie waren längst gestorben They died so long ago Und lauschten dem Getön. And listened to the sound. Und wussten es selber kaum. And hardly knew it themselves. Und hell und immer heller floß Brighter, and ever brighter Der Sonne Glanz herein, The sun shone on the scene, Der Mond kommt still gegangen The moon rises silently Um Blumen, Wald und Schlucht ergoß And poured its red glow Sich goldig roter Schein. Over flowers, forest and glen. Der Mond kommt still gegangen The moon rises silently

Mit seinem gold’nen Schein. With its golden glow. Ich aber zog den Wald entlang But I made my way along the path Da schläft in holdem Prangen The weary earth then falls asleep Und hörte auch den Schall. And also heard the sound. Die müde Erde ein. In beauty and splendour.