Frank Stewart Oleg Rostovtsev the BarbicanCentre principal funderof is thefounder and Corporation The Cityof London

Programme produced by HarrietSmith;printed Part of Barbican Presents 2018–19 Yefim Bronfman Magdalena Kozˇ ená Bartók Shostakovich Mussorgsky interval Vergebliches Ständchen den Weg zurück;Mädchenlied; Unbewegte laueLuft; Schmied; Ach, wende diesenBlick;Owüsstichdoch Anklänge; DasMädchen spricht;Meerfahrt; Der Bei diesindmeineGedanken; Von ewiger Liebe; Brahms Monday 20May 2019 7.30pm, Hall recital in Bronfman Ko Magdalena online. during your visit. Additional feedback canbegiven If anything limitsyour enjoyment pleaseletusknow with ahandkerchief. you feel theneedto coughorsneeze,pleasestifle it sake of other audiencemembersandtheartists,if prevent coughingduringaperformance. But,for the We appreciate thatit’snot always possible to members. can spoiltheenjoyment of your fellow audience set to Titmay causehigh-pitched feedback which entering thehall.Ifyour hearingaidisnot correctly you shouldswitch your hearingaidto Tsettingon Please remember thatto useourinductionloop a performance isstrictlyprohibited. capturing images orusingrecording devices during during theperformance. Taking photographs, Please turnoff watch alarms,phones, pagers etc Cabbell (tel 02036037930) by Trade WindsColourPrinters Ltd;advertising by z Village Scenes 20minutes MeineLiebeistgrün;Nachtigall; Verzagen; ˇ ená &Yefimená Satires, Op 109 The Nursery–Selected Songs piano mezzo-

2 The Nursery well known asthey deserve to beand Mussorgsky’s song-cycles are stillnot as desolation of ‘Verzagen’. sind meineGedanken’ to the dir ‘Bei of in moodthey range from theoptimism and Clara. Love isarecurring theme,and including Felix Schumann,sonof Robert Brahms, settingawidevariety of poets, We beginwithasequenceof Liederby song recital. the sheerrange thatcanbefound ina Their programme brilliantlydemonstrates and AmericanpianistYefim Bronfman. Czech mezzo-soprano Magdalena Kožená by two of today’s mostremarkable artists, A warm welcome to tonight’s recital given Welcome setsawonderfully observed Huw Humphreys, Head of Music,Barbican I hopeyou enjoy it. It promises to beawonderful evening; his fascination withfolk music. have anearthinessandvigourinspired by events andelevate theminsettingsthat ability to take simpletexts abouteveryday illustrate to perfection thecomposer’s We endwithBartók’s ranging from cacti to critics. continue thisvein of sarcasm, withsubjects Shostakovich’s and heryoung charge Misha. composer himself,centred around Nanny sequence of acerbic texts, written by the Satires , written inthe1960s, Village Scenes , which , which

Hugo Wolf’s Lieder, inaBrahms songthe are for solovoice and piano. Unlike in,say, one, two andfour voices, about300of which In all,Brahms publishedsome380songsfor [having] themsungto you asagroup of songs.’ thereby experiences atremendous amount How oneimmersesoneselfintheseLiederand hearing LiedersungasIhad yesterday evening. never before experienced suchpleasure from he had justheard age of just23hewrote to Clara Schumannthat Schubert, whomBrahms greatly admired. Atthe that consciouslycontinuedthetradition setby sight of thispartof hislegacy: hewrote Lieder to be,thoughnowadays we sometimeslose that the19th centuryexpected itscomposers But inonerespect Brahms was everything who expected suchlarge-scale orchestral works. citizen andfelt aneedto write for anaudience after hehad becomeanhonorary Viennese the symphonic music,thatcamelater inhiscareer discarded enoughdrafts to paperaroom! Asfor string quartet, oncetelling afriendthathehad We forget how Brahms struggledwiththe though noopera. Butthatisn’tthewholestory. and concertos, chambermusicandaRequiem, century classicalcomposer, writingsymphonies We thinkof Brahms asaparadigm of the19th- its own accord, andIcanbeginto work withit.’ long time,thenIfind thatithastaken shapeof or other. WhenIcomeback to itagain after a six monthsorso.Butitisallstillthere somewhere different, never thinkingback onitfor agood for awalk orstart doingsomethingcompletely prepared to snapmy book shutandgoout with thebeginningof asong…thenIamperfectly noticing thatitisgrowing. WhenIhave comeup germinating withinyou, withoutyour really ‘A thoughtismuchlike aseed:itkeeps on For texts, seepage8 of song art the nightingales: and beetles Critics, many of them –anodperhaps to Brahms’s then a senseinwhichit isthebasspartthatdrives voice leads rather thanthepiano andthere is

Die schöneMüllerin : ‘Ihave Reinhold Köstlin composer’s maturitywithatext by ‘Nachtigall’ (Nightingale)belongsto the that isby turnsinnocentandpassionate. it helpsthesongcharacterise ayoung love itself. Iftheright-handpartisfullof syncopations chords aslushtheperfumedlilac challenging andfeatures amelodybuilton several keys. Thebasslineisparticularly variety asthepianopartmodulates through love to alilac bush,there isdaringharmonic the poem’stwo shortverses, whichcompare make hisway asamusician.Withineach of who had both helpedtheyoung Brahms to youngest sonof Robert andClara Schumann a settingof apoemby Felix Schumann,the ‘Meine Liebeistgrün’(Mylove’s asgreen) is beautifully complete, andeven form.’ we shallalmostalways find asymmetrical, song merely from anarchitectural standpoint, Geiringer wrote: ‘Ifwe examine aBrahms more ambitious.AsBrahms’s biographer Karl whether itisasimplefolk songorsomething music. Each songismeticulouslyconstructed, unfashionable interest intheBaroque andearly of melodic closure. Pianoandvoice are pitted and thevocal linesearches for somemanner for ourcomfort asthewaters continue to swirl Searching there for rest.’ Andthere’s naught of thewaves. ‘Isitby theshore of theraging sea/ work that beginswiththerushingebbandflow in asetof five publishedin1877. Adarktroubled ‘Verzagen’ (Despondency)was thefourth song dotted rhythms, conjures the bird itself.” of longago, thepianopart, withitshopping, But ifit’saplaintive callthatevokes memories and not thebird itselfthatmoves thecomposer. bittersweet key of Fminor, itisthebird’s song texture for thesong.Injustninelines,setin death’, choosingariperthrough-composed of JohnKeats’s ‘immortal bird …not bornfor with folk songfor this, hissecondinvocation For onceBrahms abandoned hispreoccupation introduced thecomposerto herfather’s work. number of portraits of Brahms inoldage, who Maria Fellinger, aphotographer whotook a . Itwas thepoet’sdaughter Christian Christian

3 Programme note 4 Heinrich Heineand hasallthemystery we find ‘Meerfahrt’ (Seavoyage) setsapoemby hint of sadness initsrepeated downward phrase. wing carryingthesingeraloft, there is perhaps a songs, Op 107. Butifthepianopartseemsto take song from the composer’smaturity–from hisfive are you /Butrecently betrothed?’ Thisisanother year’s mate /You’ve builtyour nestwith,/Or (The maidenspeaks): ‘Tell me,swallow, / Isitlast – theswallow –flies into ‘DasMädchen spricht’ One of themostfeatured birds inRomantic culture beloved huntinghornsinthepianopart. and there’s perhapsadistant hintof Brahms’s and loneliness.In‘Anklänge’it’ssolitudeinnature of Brahms’s own music –oneof unfulfilled love that runsdeepandishalf-concealedinsomuch this genre. Butitalsohasthatperennial theme folk song–areminder of Brahms’s passionfor ‘high above thesilentheights’hasfeel of a spinning silkfor herwedding dress inahouse story injusttwo stanzas of ayoung woman a text by Josephvon Eichendorff,andthesimple ‘Anklänge’ isanearlysong,written in1853, with this was always Brahms’s first creative principle. the personal–indeed,you mightargue that an essentialpartof thatpurposeisto transcend creating onewhichserves areal purpose’.And told him:‘onemustcomposemany aLiedbefore later years, reported thatthecomposeronce Gustav Jenner, whostudiedwithBrahms inhis exactly whatisrequired of thegreatest Lieder. The composercreates aminiature drama – part of thesonggiven itsown musicalcharacter. finally hisgirlfriend’sreassurance, witheach described, thenwe have theboy’s anguishand so often inBrahms’s Lieder. First thesceneis with themelodybuiltoutof broken chords, as steel. Thesongbeginswithashortpianoprelude says theyoung woman, thislove istougher than Their love hasbrought shameuponthem.No, in 1864. Aboy iswalking hisgirlfriendhome. popular songs,‘Von ewiger Liebe’(Eternal love), Brahms composedwhatisnow oneof hismost in both thevocal lineandthepianopart. love here withanalmostbreathless liveliness seven songs.There’s alltheeagerness of career, written in1883 aspartof asetof are withyou) isfrom later inthecomposer’s ‘Bei dirsindmeineGedanken’ (Mythoughts with anunsettlingfinal chord onthepiano. against each other andthesongendsbleakly the onlyrelease from theitch of desire? Asthe implied deathatthestart of thesecondstanza that we are playing withfire here. Andisthat part, butalways downwards –asifto warn rises, there are flowing arpeggiosinthepiano into thesongand,asemotional temperature any preamble voice andpianolaunchstraight of apoemby Georg FriedrichDaumer. Without gaze) dates from theearly1870s andisasetting ‘Ach, wende diesenBlick’(Ah,turnaway that when Agathe Sieboldfirst sangthissong. would, of course,have beenBrahms himself skills andthosedisplayed by thepianist,who at hisanvil, there isaneatparallel between his arpeggios inthepianopartmimickingsmith work intheforge. Andaswe hearthe ringing blacksmith loved by a girlwatching himat folk-song melodyfor asongabouthandsome personal happiness!Here Brahms invents a his musicwas more important thanhisorher if thecomposerhadn’t priggishlytold herthat amateur singerwhomighthave marriedBrahms certainly written for Agathe Siebold,afine ‘Der Schmied’(Theblacksmith) was almost that thelovers skirtround ontheirvoyage? version of the timethatArnoldBöcklinpainted hisearliest musical journey. Thesongwas written atabout somehow strugglingto find purchase onthis beginning andendof thesongwithvoice though alluringisland.Thepianobroods atthe lovers outontheocean,sailingpastamysterious in aCasparDavid Friedrichpainting,withtwo in 1884. Brahms takes justtwo of four verses by penultimate inasetof seven late songspublished ‘Mädchenlied’ (Ayoung girl’s song)isthe close relationship Brahms had withhismother. inescapable inthissonggiven theextraordinarily And letgomy mother’s hand?’ Autobiography is childhood’s land!/Ah!why didIseekmy fortune / but knew theway back, /Thesweet way back to and place thatwere somehow better. ‘Ah!ifI Romanticism, ayearning to goback to atime vein of nostalgia thatrunsdeepwithinEuropean songs from Op 63,each of whichtaps into that in 1856. Itisthebestknown of three Groth whobecameafriendof thecomposer’s the early1870s, isasettingof apoemby Klaus ‘O wüsstichdochdenWeg zurück’,written in at thestart of thesong.Butwhocanturnaway? awaken thedead! Thenmusicallywe are back final verse explains oneof ‘thoseglances’could The Isleof theDead in1880. Isitdeath Heimweh

which seven are performed tonight) to texts written Mussorgsky’s It ispossiblythelanguage barrierthathaskept Modest Mussorgsky violence, becometrue,accurate music.’ and feeling must,withoutexaggeration or the external manifestations of thought That is,thesoundsof humanspeech,as of humanspeechinallitsfinest shades. ‘My musicmustbeanartisticreproduction her ground, biddinghimafirm goodnight. for herwillbefrozen outof him.But sheholds threatens her, saying it’ssocoldthathislove We’re back to themajorkey whentheboy minor modeastheboy grows more desperate. She’s having noneof itandthesongslipsinto let himinto herhouseasheserenades her. trying hisluckwithgirlfriend,hopingshe’ll written inthelate 1870s, hasayoung man ‘Vergebliches Ständchen’ (Futile serenade), of thesong. interlude bridgingtheinnerandouter worlds matches thesoloist’soutburstswithavital part beginsby surveying thegarden itsoon overwhelming feelings; andwhilethepiano within himself.Hebegshislover to share these passionate feelings thatthepoetexperiences summer garden atnightiscompared withthe (Motionless mildair)thepeaceful quietof a instrumental music.In‘Unbewegte laueLuft’ they nodinthedirection of thecomposer’s an exception. Written andpublishedin1871, eight poemsby Georg FriedrichDaumerare any Brahms song.However, hissettingsof resonances of folk songsare never far from a composershouldstrive to attain, andthe Schumann thatfolk songwas themodelwhich Brahms oncetold hisfriendandmentor Clara darker, whilethefinal chord isoddlyunsettling. piano andvoice soongives way to something Paradise.’ An almostplayful interchange between sweetest doesn’tarrive, /Idonot wishto bein Day andlookingfor herbeloved. ‘Andifmy a young woman imagines waking onJudgement that Brahms composedwiththesametitle. Here intensifies thedarkmoodof thisLied,oneof three in 1910 compared himto Goethe,whichonly the poetPaul Heyse, whoseNobelPrizecitation deserves intherepertoire. After allthewordless by thecomposer, from taking theplace that it The Nursery, acycle of ninesongs(of

the big black beetle (‘The beetle’) that he has the bigblack beetle(‘Thebeetle’)thathehas The moodchangeswhenMishaisbeguiledby and bad …Mishawon’t love hisNanny any more.’ up. ‘Mishahasbeenagoodboy …Nanny isold fault of thecatthatNanny’s knittinggot jumbled Misha mustbepunished,butwhy? Itwas allthe corner’ Nanny getsinto areal bate. Naughty that are anessentialpartof speech.With‘Inthe the abruptchangesandemotional slippages for thecomposer, asMussorgsky strives to match about itsbest-loved stories posesareal challenge speech. Andthechildblabberingonto Nanny vocal lineaspiringto theconditionof human the boldestof theninewithboth pianopartand ‘With Nanny’, thefirst songinthecycle, isperhaps from thesecondserieshave survived. called there to betwo cycles, withthesecondto be and 1872 andMussorgsky originallyintended The Nursery is to settheordinary everyday to music. Mélisande he cameto composehisonlyopera ambition thatgreatly influenced Debussy when naturalistic speechpatterns inthevocal line,an way withsettingtexts thatstrives to reproduce the adults, namelythecomposer’sdistinctive The Nursery However, perhapsthere isanother reason why in theconcerthallandrecital room. and pianoversions isaconstant companion Pictures atanExhibition a suitable musicaldisaster whenMisha comesa lovely bouncy rhythm for ‘Hobby-horse rider’and writing butinthepiano parttoo. Sothere’s a a chanceto show ushismettle,not just inthevocal The lasttwo songsinthecycle give thecomposer have Itold you: Olord, forgive me my sins.’ Look atyou, whatalittlerascal! How many times on thestraight andnarrow. ‘Whatelse,Nanny? out andavoid bed?Nanny isthere to keep him list getslongerandlonger. Ishetryingto spinit to sleepnow, butfirst hemustsay hisprayers. The completely scatterbrained. Time for Mishato go flower andripen’.Achild’sidea of escapebut reaps orsows’ and‘where thejuiciest pears will dream of ‘awonderful islandwhere no-one gently rocking lullaby for afavourite friend.Dolly out here andinthenext song,‘Withthedoll’,a insight into theimagination of thechildthatstands setting hasaquirkycharm,it’sMussorgsky’s found behindthesummer-house. Ifthemusical At theDacha . Inaway Mussorgsky’s ambition israrely allowed downstairs to join was composedbetween 1868 . However, onlytwo songs in both itsorchestral Pélleas et Pélleas et

5 Programme note 6 critics were lessthan enthusiasticaboutthefirst 1960 for Galina Vishnevskaya; andwhilethe These five of SashaChyorny –SashatheBlack. the deliberately provocative pseudonym artistic pretension andwhowrote under satirical invective whodelighted inpuncturing Glukberg, anearly20th-centurymaster of Shostakovich chosepoemsby Aleksander and other Russianwriters, includingPushkin. to aliterary tradition thatgoesback to Gogol of thelastcentury. They alsoseemto belong with arguably thegreatest Russiancomposer born from thatironic sensibilitythatwe associate as trifles, butthey pack areal punchandare At onelevel Shostakovich’s Dmitry Shostakovich If you can’twrite atall,orchestrate something.’ you can’twrite amajorwork, write minortrifles. opinion onthis:you had to write constantly. If agreed onvery few things,butthey were of one and Rimsky-Korsakov didn’tlike each other and waiting for inspiration to strike you. Tchaikovsky at theskywhenyou’re experiencing ablock, but I’mtotally against walking around looking ‘I’ll admit thatwritingdoesn’talways come, the mindof achilddoing ordinary things. the drama andperhapsoffering insightinto words thatlead, withthepianopartunderscoring pet. Here, asthroughout thisshortcycle, it’sthe up armsonbehalfof abird cornered by hisfeline cropper. Thenin‘Matros thecat’ourhero takes ‘The poetisaman,andeven hasabeard.’ postlude after thelastlaughof thepoem: and thepianopartpositively dancesinashort speech to musicbutthenmelodycreeps in from Mussorgsky‘s ambitionto setordinary start of thesong would seemto take itscue poem. Thealmostconversational tone of the a critic’,whichwarns against ‘over-reading’ a Maybe thecriticstook against thefirst song,‘To demanded anencore of allfive songs. audience was apparently delighted and accompanied hiswife Vishnevskaya, the performance inwhichMstislav Rostropovich Satires are late works composedin Satires can be counted canbecounted social class while living in the classless Soviet social classwhilelivingintheclasslessSoviet lodger, Shostakovich clearlyrelishes ajoke about name. Asaplumplaundress makes outwitha song onlyhintsatTolstoy’s novella of thesame musical joke isonBeethoven even thoughthe In thepianopartof ‘Kreutzer Sonata’, the the crestfallen lover off withaflea inhisear. – by thepianowhich,like thepoetess, sends each character carefully delineated –andteased poetess’s verses asainvitation for afling, with of desire asawould-be dandymisreads a say aboutartisticpretensions andthedangers ‘Misunderstanding’ hasequallydarkthingsto to thethird, andthemoodseemsto change.But In thefinal two songsthefirst persongives way a cynicalchronicle of thevanity of humanwishes. reading the‘I’of thispoemandhearthesongas better future’. Perhaps we shouldbe wary of over- and expresses disillusionmentwiththeideaof a which blatantly denouncesthecurrent regime piano forces thelistener to focus onthe text, commentator suggests‘thisrepetitiveness inthe accompaniment for ‘Descendants’.Andone Shostakovich writes aninsistent waltz-like thaw that followed thedeathof Stalin? perhaps aveiled reference to thepolitical the singer’sshoutsof joy aboutanother ‘thaw’ But are thepiano’sleapingarpeggiosand celebrated ‘SpringWaters’ into amusicaljoke. the Russianspring,turningRachmaninov’s who are sentimental aboutthecomingof ‘The awakening of spring’mocks those and thePianoSonata of three years later, it composed between the while ithasbeencalledan‘occasional’ work Béla Bartókfinished Béla Bartók of brevity of form andsimplicityof means.’ be expressed with utmostperfection interms models of theway inwhichamusicalideacan perfection of thehighestorder; infact they are ‘Folk melodiesare theembodimentof anartistic other perfectly well, whichiswhy we’re here.’ In other words, he’ssaying: we understand each an intellectual,” hesays to her, between kisses.’ Union. ‘“You are of thepeople,whereas Iam Village Scenes Dance Suite in 1924; and of 1923 Programme note ©Christopher Cook Bartók’s “nightmusic”typeof slow movement.’ is oneof themostbeautifulrepresentatives of threshold of sleep,thisarresting partof thescore triplets. Capturingthemagical momentatthe embedded inagentlyhummingbackground of writes in second melodyin‘Lullaby’. AsVera Lampert musical momentcomesinhistreatment of the livelier, indeedcheerful.Butthemoststriking and processional andtheother agreat deal combines two very different melodies,onesolemn the third movement of companion onthesemusicaljourneys. Soin original melodyisastarting pointnot aconstant which isbuiltround itisof real importance.’ The 1931, ‘Themelody serves asa“motto” whilethat traditional music. Ashenoted inalecture in his earlierthoughtsonhow to recompose musician ontheother handwas keen to rethink interval of theaugmented fourth. Theworking music and,to betechnical, how they featured the use of theMixolydian andLydianmodesinthis particularly attracted to thealmostexclusive 1916 and themusicalethnographer inhimwas in theZólyom region of Hungaryin1915 and Bartók had gathered theseSlovak melodies the secondadancefor thevillage lads. community withthefirst abouthaymaking and outdoors andinto thewiderlife of therural The two framing songsof thefive take us 1924. Andthiswork isdedicated to Pásztory. Pásztory, whobore himasoncalledPeter in his first wife andmarriedthepianistDitta work on for achild.Theyear before Bartók began young bride,herwedding andthenalullaby lives inatraditional rural community, witha of choice of subjectsinthethree middlesongs There’s clearlyautobiography atwork inthe enthusiasm for thismusicwithawideraudience? be surprisedthenthathewanted to share his – altogether some2,500 melodies. Shouldwe collection of Slovak folk melodiesfor publication written when Bartók was engaged in preparing his his own music.Indeed,this shortsong-cycle was traditional songsandhow hecouldusethemin reveals muchaboutBartók’spreoccupation with Village Scenes The BartókCompanion Village Scenes , whichare aboutwomen’s Village Scenes hehad divorced , this melody ‘is , thismelody‘is Bartók Bartók

7 Programme note 8 Der allerschönste Ort. Der allerschönste Erden auf wär’ das sagen, Sie fort; nicht dir von wollen Und Gedanken meine sind dir Bei mehr. nicht sie es litt’ Hier Heimweh, hätten sie sagen, Sie her; dich um flattern Und Gedanken meine sind dir Bei 2 No 95 Op Gedanken, meine sind dir Bei (1831–1913) Lemcke Karl du? weinest –was trösten, Dich Wogen und Winden mit sollst Du Ruh’; zur doch dich gib Und still sei Herz, ungestümes Du verweh’n. und kommen Die darüber, Winde Wolken, die Die vergeh’n, und schäumen Sie hin, Strande zum rauschen Wogen Die zu. dumpfer Ergebung Mit Wogen Treiben der dem schaue Ich Ruh’, nach dort suche Und See rauschenden der Strande am sitz’ Ich 72 4 Op No Verzagen, Christian Reinhold Köstlin (1813–56) In deinem Lied ein leiser Widerhall. Tönen, verklungenen mich für längst Nun himmelschönen, andern, von ist Das – dein, nicht ist Das Pein, süsse so schafft Was mir in Vogel, nein! trauter Nein, Bein. und Mark durch mir dringet Er Schall, süsser Dein O Nachtigall, 1 No 97 Op Nachtigall, Felix Schumann (1854–79) Viel liebestrunkene Lieder. berauscht Duft vom singet und jauchzet Und Flieder, blühendem in sich wiegt Und Nachtigall der Schwingen hat Seele Meine Wonne. mit und Duft mit ihn füllt Und Fliederbusch den auf herab wohl glänzt Die Und mein Lieb schön ist wie die Sonne; Fliederbusch der wie grün ist Liebe Meine Meine Liebeistgrün,Op 63No5 Johannes Brahms (1833–97) The waves crash ontheshore, in numbresignation. I gazeatthewaves’ motion searching there for rest, I sitby theshore of theraging sea Despondency a gentleechoinyour song. long sincevanished for me, but others, of heavenly beauty, is not your notes, What causesmesuchsweet pain No, dearbird, no! pierces meto themarrow. your sweet voice O nightingale, Nightingale many alove-drunk song. and, drunkwithfragrance, exults andsings and sways intheblossominglilac, My soulhasanightingale’swings fills itwithdelightandfragrance. the sunshinesdown onthelilac bush, and my sweetheart’s asfair asthesun; My love’s asgreen asthelilac bush, My love’s asgreen place onearth. they say thatthisistheloveliest and donot wishto leave you; My thoughtsare withyou they are nolongerwanted here. they say they are homesick, and flutter around you; My thoughtsare withyou My thoughtsare withyou in windsandwaves –why are you weeping? you shouldfind comfort and surrender yourself to rest; You, unrulyheart,besilent they comeandgo. the clouds,windsabove, they foam andvanish, Bei stillerBei Abendzeit, Ein Mädchensass darinnen Wald hinaus. übern Dort war’s sehen, zu einsam So Haus; Wald ein dem in Stand Höhen stillen über Hoch 3 7 No Op Anklänge, (1798–1874) vonAugust Heinrich Fallersleben Hoffmann bestehn!’ ewig muss Liebe Unsere zergehn, können sie Stahl, und Eisen um? sie wandelt wer Liebe, Unsere um, sie schmiedet man Stahl, und Eisen mehr. noch fester ist Liebe Unsere sehr, gar Eisen das und Stahl der ist Fest nicht! sich trennet sie Liebe ‘Unsere Spricht das Mägdelein, Mägdelein spricht: sind.’ vereiniget früher wir wie Schnell Scheide mit Regen und scheide mit Wind, sind. vereiniget früher wir wie Schnell geschwind, so getrennt Liebe Werde die mich, um andern von Schmach du Leidest ‘Leidest du Schmach und betrübest du dich, mancherlei: so und viel so Redet sieFührt am Weidengebüsche vorbei, Haus, nach Geliebten der Geleit das Gibt heraus, Bursche der Dorfe dem aus Kommt auch. nun schweiget sie Lerche die und Ja, Rauch, noch nirgend und Licht noch Nirgend Welt. die schweiget nun es, ist schon Abend Feld! in Wald in und dunkel wie Dunkel, 1 No 43 Op Liebe, Von ewiger Friedrich Halm (1806–71) verbrannt. sich Flügel Die Blicken deinen an hätten Sie sie festgebannt; Zauber Dein Sie sagen, unlösbar hielte Joseph (1788–1857) von Eichendorff Hochzeitskleid. Zu ihrem Tät seidne Fäden spinnen our love iseven stronger still: Steel isstrong, andsoisiron, ‘Our love cannot besevered! The girlspeaks, thegirlsays: as swiftly asoncewe two were plighted.’ Let usdepartinrain anddepartinwind, as swiftly asoncewe two were plighted. Then letourlove besevered asswiftly, shame for whatothers thinkof me, ‘If you suffer sorrow andsuffer shame, talking somuchandof somany things: He leads herpastthewillow-copse, escorting hissweetheart home, Out of thevillage there comesalad, and even thelarkissilentnow too. Nowhere alightandnowhere smoke, Evening already, andtheworld issilent. Dark, how darkinforest andfield! Eternal love on your glances. that they have scorched theirwings holds theminescapablyinthrall; They say thatyour magic for herwedding dress. spinning silken threads at silenteventide, A girlsatinside gazing outover the forest. it looked solonelythere, a housestood intheforest; High over silentheights Echoes our love mustendure for ever!’ Iron andsteel canbemelted down, but ourlove, whoshallchangeit? Iron andsteel canboth bereforged,

9 Texts 10 Johann LudwigUhland(1787–1862) Und lodernumihn. Die Flammenaufbrausen Die Bälgedannsausen, Doch, gehichvorüber, Da sitzetmeinLieber, Am schwarzen Kamin, Durch GassenundPlatz. Wie Glockengeläute, Das dringtindieWeite Das rauschet, dasklinget, Den Hammererschwinget, Ich hörmeinenSchatz, Der Schmied, Op 19No4 Heinrich Heine(1797–1856) Trostlos aufweitem Meer. Wir aberschwammen vorüber Und wogt eshinundher; Dort klangesliebundlieber Und wogte derNebeltanz. Dort klangenliebeTöne Lag dämmrigimMondenglanz; Die Geisterinsel, dieschöne, Auf weiter Wasserbahn. Die Nacht war stillundwirschwammen Traulich imleichten Kahn. Mein Liebchen,wirsassenbeisammen Op 96No4 Meerfahrt, Otto Friedrich Gruppe(1804–76) Nicht langeBraut? Gelt, dubistwohl auchnoch Des Morgens sovertraut? Sag, was flüstert ihr Sag, was zwitschertihr, Dich ihmvertraut? Oder hastdujüngsterst Mit demdu’sNestgebaut, Ist’s deinalter Mann, Schwalbe, sag miran, 3 No 107 Op spricht, Mädchen Das desolate onthewidesea. we, however, drifted past, the mistsswirled thisway andthat; The soundsgrew sweeter andsweeter, and dancingmistswere swirling. sweet musicwas soundingthere, lay dimlyinthemoon’slight; The beautifulhaunted island along awidewaterway. The nightwas still,andwe drifted lovingly inourlightboat. My sweetest, we sattogether, Sea voyage been marriedeither? Am Iright,you haven’t long so intimately inthemorning? say, whatare you whispering Say, whatare you twittering, but recently betrothed? or are you you’ve builtyour nestwith, is itlastyear’s mate Tell me,swallow, The maidenspeaks and blazeallaround him. the flames flare up the bellows start blowing, but ifIgopast, my love issitting, At theblack forge through alleys andsquare. like ringingbells it pealsoutafar it sounds,resounds, swinging hishammer, I hearmy sweetheart, The blacksmith Paul Heyse (1830–1914) Mag nicht imParadiese sein! Und kommt meinLiebster nichthinein, Selbander nuristSeligkeit! O Herzeleid,duEwigkeit! Leg’ wiedermichzumSchlafen dann. Und wenn ichihnnichtfinden kann, Und gleichnach meinemLiebsten seh’, Am jüngsten Tag ichaufersteh’ Mädchenlied, Op 95No6 (1819–99) Ringsum istöderStrand! Vergebens suchichnach demGlück, Den liebenWeg zumKinderland! O zeigtmirdochdenWeg zurück, Zum zweiten MaleinKind! Der Zeiten Wandel nichtzusehn, Und nurzuträumen leichtundlind; Und nichtszuforschen, nichtszuspähn, Von Liebesanftbedeckt! Die müdenAugen zuzutun, Von keinem Streben aufgeweckt, O wiemichsehnetauszuruhn, Und liessderMutter Hand? O warum suchtichnach demGlück Den liebenWeg zumKinderland! O wüsstichdochdenWeg zurück, O wüsstich doch den Weg zurück, Op 63No8 Georg Friedrich Daumer(1800–75) Das schlangengleichmichindasHerzesticht. Er wecket aufdesWeh’s gesammte Wut, Ein Strahl, einflüchtiger, von deinemLicht, In meinenAdern rollt dasheisseBlut– Und mitsofieberischer Wildenicht Wenn einmaldiegequälte Seeleruht, Mit ewig-neuem Harmerfüllenicht! Das Inn’re mirmitewig-neuer Glut, Ach, wende diesenBlick,diesAngesicht! Ach, wende diesenBlick, Op 57No4 I seekhappinessinvain, the sweet way back to childhood’sland! Ah! show methatway back, to beachildsecondtime! not to seethetimeschange, dream onlylightandgentledreams, And search for nothing, watch for nothing, gently shrouded by love! long to closemy weary eyes, not to beroused by any striving, Ah! how Ilongfor utter rest, and letgomy mother’s hand? Ah! why didIseekmy fortune the sweet way back to childhood’sland! Ah! ifIbutknew theway back, Ah! ifIbutknew theway back, that stingsmy heartlike aserpent. would reawaken theentire rage of pain A singlefleeting ray of your light through my veins sowildly, sofeverishly – and my hot bloodnolongercourses When oncemy tormented soulfinds rest, with ever-new grief! Do not fill my inmostbeingwithever-new fire, Ah, turnaway thatgaze,face! Ah, turnaway thatgaze I donot wishto be inParadise! And ifmy sweetest doesn’tarrive, To bewithanother istheonlybliss! O heartache! Eternal heartache! I’ll liedown andgoto sleepagain. and ifIcannot find him, and lookatoncefor my sweetest love, On JudgementDay I’llriseup A young girl’ssong ringed round by barren shores.

11 Texts 12 interval Anonymous Gute Nacht, meinKnab! Geh heimzuBett,zurRuh, Löschet sieimmerzu, Lass sielöschennur! Löschet deinLieb, She Öffne mir, meinKind! Mein Lieberlöschenwird; Dass mirdasHerzerfriert, So eisigderWind, So kalt istdieNacht, He Wärs mitmirvorbei! Wärst duherein mitFug, Mutter, dierät mir klug, Ich lassdichnichtein; Mein Türistverschlossen, She Mach miraufdieTür! Ach, mach miraufdieTür, Ich komm ausLiebzudir, Guten Abend,meinKind! Guten Abend,meinSchatz, He Vergebliches Ständchen, Op 84No4 Georg Friedrich Daumer Himmlische Genügegeben! Komm, okomm, damitwiruns Säume nichtdaherzuschweben! Leise mitdemÄtherfuss Nicht diedeinetiefdurchbeben? Sollte meinerSeeleRuf Sehnlichere Wünscheheben? Sollten nichtauchdeineBrust Leben undverlangt nach Leben. Aber inderAder quillt Heissere Begierde mir, Aber imGemüte schwillt Plätschert dieFontäne nur, Durch diestilleGartennacht Tiefe RuhederNatur, Unbewegte laueLuft, Unbewegte laueLuft,Op 57No8 20minutes all would beover withme! if you were allowed in, mother gave megoodadvice, I won’t letyou in; My door’slocked, open upyour door! ah! openupyour doorto me, I comebecauselove you, good evening, my child! Good evening, my sweetheart, Futile serenade give each other heavenly satisfaction! Come, ah!come,thatwe might glide to me,donot delay! Softly onethereal feet quiver deeplythrough your own? Should not thecryof my soul heave withmore passionate longing? Should not your breast too and yearns for life. life surges inmy veins with amore ardent desire, but my soulswells only thefountain plashes, through thestillgarden night nature deepatrest, Motionless mildair, Motionless mildair Translations ©Richard Stokes good night,my lad! then gohometo bedandgoto sleep, if itkeeps goingout, then letitgoout! If your love goesout, open up,my child! my love willgoout; my heartisfreezing, the wind’ssoicy, The night’ssocold, A u Nyani chepchik, na boku. boku. na chepchik, A uNyani chistenkiy, prichosanniy, Misha zapachkanniy; nosik-to U Nyani staraya, zlaya, A Nyanya Mishenka bil umnista. painka, bil A Mishenka kotyonochek. razbrosal I prutochki kotyonochek, razmotal Klubochek Nyanyushka! trogal, ne Ya chulochek Nyanyushka, sdela, Ya ne nichevo Poshol v ugol! Prokaznik! V ugol! V ugol! chernilami! brizgal zu ves Chulok spustil! Vse petli Akh-ti! rasteryal! Pruki razmotal, Klubok prokaznik! ti, Akh V uglu Tu smeshnuyu-to! Nyanya, mne, Rasskazhi sbukoy! snim, Bog rasskazivay. ne uzh buku-to pro Ti Nyanyushka, Znayesh, vdrebezgi! styokla Kak chikhnyot bil, nasmork vsyo U tsaritsi-to virastet. grib tak Kak spotknetsya khromal; nogu na vsyo Yeshchyo tsar bogatom. vteremu zhili morem za Chto stsaritsey, tsarya pro luchshe mne Rasskazhi chto; vot Ili Nyanyushka? ikh Ved syel on to za neposlushali; smamoy Papu staruyu, nyanyu obideli Chto syel, buka Detey-to, Ved ikh, to za Nyanyushka! plakali. krichali, te I kak deti kostochki, beliye ikh on I kak griz nosil, detey vles buka Kak tot brodil, lesam po buka Kak tot strashnovo; Pro tovo, buku pro milaya, mne, Rasskazhi Rasskazhi mne, Nyanyushka, S Nyaney The Nursery Modest Mussorgsky (1839–81) Nyanya Mishenku obidela, obidela, Mishenku Nyanya In the corner laugh! me make will that Nanny,Tell astory, me him! about all forget Let’s bogey-man. the about anything me tell don’t You know, dear, Nanny bits! to smashed were glasses the sneezed she when and head, the in acold had always Queen the And up. grew mushrooms stumbled he wherever and lame, very was Yet King the castle? asplendid in sea the beside lived who Queen, and King the about me tell could you instead, perhaps, Or Nanny dear? them, ate he why that wasn’t mummy; and daddy their to listen didn’t they nanny, old their to bad were they because is children the ate bogey-man the reason the Surely dear! Nanny aloud! screamed and cried children the how and bones, white little their at gnawed he how and forest, the into off children carried he how woods, the about roamed bogey-man the how bogey-man: dreadful the about all Nanny, me, tell Tell please, me With Nanny Nanny has been bad to little Misha, little to bad been has Nanny crooked. all is Nanny’s cap but combed, neatly is boy, hair his and little aclean is Misha nose. adirty has Nanny and bad, and old is Nanny And boy. aclever been has Misha little boy, agood been has Misha little But out. needles little your pulled who kitten the and wool, of ball little your unwound who kitten the was It dear. Nanny stocking, little the touch I didn’t dear. Nanny anything, do I didn’t You rascal! corner! the in stand Go Into the corner! Into the corner! ink! with splattered all stocking’s the And You’ve stitches! the all dear! Oh dropped you’ve my needles! and You’ve wool, of my ball unwound rascal! little you Oh,

13 Texts 14 Tyapa, buka syest, Tyapa, syest, buka Tyapa, usni! nado spi, Tyapa, spat’ vozmi! tebya ugomon usni, Spi, Tyapa, bay, bay, Tyapa, kukloy S szhukom-to? stalos, snim eto zh Chto svalilsay! A sam udaril, Menya stalos? S zhukom-to Nyanya, mne, skazhi Chto-zhe, eto, zh Chto pritvorilsya? Il umer? on, zh Chto Tolko drozhat! krilshki uzh, gudit I ne shevelit, ne I usami zlitsya, ne I uzh Kverkhu nosikom, na spinke, Zhut lezhit, slozhivshi lapki, Poslushay, Nyanyushka. zhe? I chto otkril! chut-chut odin Tolko glazok poshevelnutsya! boyus Prisel, Nyanyushka, Ya pritailsya, udaril! menya vvisochek I natelel, khochet. menya skhvatit’ rastopiril Krilya A zhuk gudit, zlitsya, ya! Ispugalsya smotrit! vsyo menya na I pryamo tak Strashno shevelit Usami takoy. tolstiy Chorniy, ogromniy,Sidit zhuk, krishke samoy Na Vdrug! domik. Nastoyashchiy krishkoy, so Domik postroil vsem so uzh Domik nashchipala. Mama sama Mama, mne Chto Stroil domik iz luchinockek klenovikh, tekh, beryozki, Gde besedkoy, za Ya pesochke na tam igral dushenka! Nyanya, sluchilos, Chto nyanyushka! Nyanya, Zhuk chto! Vot Nyanyushku svoyu lyubit’ budet ne bolshe Misha postavila; vugol Napresno Listen, Nanny dear! Nanny Listen, think? you do what and little, avery Iopened eye one Only inch! an move to afraid there, I cowered dear, Nanny still, very I kept me! for straight made and wings, his spread he temper; his lost and buzzed, beetle the Then terrified! I was me! at straight glared he and – awful was it – moustaches his bristled He fat. very and black, and huge, abeetle, sat my house of roof the on Right –then! But house. little a real – well as aroof with house a little finished, just was house little The me. for out picked herself Mama that bits the – maple of strips little of out house alittle building Iwas and trees, birch the near summer-house, the behind sand the in there out playing I was darling! Nanny Here’s happened, what Nanny, Nanny dear! The beetle there! so more, any Nanny his love won’t Misha And nothing. for corner the in stand him make to The bogey-man will eat Dolly, eat will bogey-man The sleep! to go Dolly sleep, to have Dolly, you quietly! down settle sleep, to go Dolly, Dolly, bye-bye, With the doll beetle? that to him, to happened has What but he knocked himself out! me, hit and came He beetle? the to happened has what tell me please, Nanny, think, you do What alittle? stunned just Or dead? was he think you Do quivering. were wings little his only buzzing, even wasn’t he and and he wasn’t bristling his moustaches, more, any angry wasn’t he and air, the back, in his on feet his with folded, legs his with lying was beetle The

Vasya, aVasya! Tpru! Stoi! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Hey, Hey! hop! Hop, Hey, hey! hey! Hop, hop, hop! Hop, hop! Hop, hop, hop! Hey,Hey, Hey! Hey! prodi! prodi! oe! Hop, hop! hop, Hop, Hey! Poyekhal na palochke Tak? Nyanyushka? greshnuyu! imenya pomiluy Gospodi, greshnuyu! imenya pomiluy Gospodi, uchila: raz skolko Uzh kakaya! prokaznitsa ti, Vish Nyanya? Kak dalshe, aNyanya! Nyanya, … Dunyushku Pashu, Sonyu, I Dashu, iPetku, iVanku,I Filku, iMitku, Spasi, i pomiluy. Gospodi, ikh, I vsekh iSashu, iGrishu, Volodyu, Dyadey i Kolyu, Petyu Dyadey iTanyu,I Olyu, iNadyu; Tyotey iSashu, Lyubu, Varyu Parashu, tyotyu Mashu, tyotyu Natashu, Tyotyu Katyu, tyotyu nash: bozhe I spasi, Babushke starenkoy; Gospodi! dobrenkoy, Babushke – zdorovitse dobroye yey ti Poshli Gospodi, pomiluy Babushku starenkuyu, Mishenku. I brattsa Gospodi, Vasenku pomiluy brattsa Gospodi! ikh I spasi iMamu Papu pomiluy Gospodi, Na son gryadushchiy Bay, bay, bay, bay, bayu, bay, Tyapa! zolotiye! ptichki poyut inoch Den nalivniye, grushi izreyut tsvetut Gde seyut, ni zhnut, ni Gde chudniy, ostrov Pro rasskazhesh; to pro Mne uvidish, vosne Chto Tyapa, usni, spi, snesyot! les V yomniy vozmyot, volk Seriy Tolko ne pozdno! Tolko pozdno! ne sevodnya; igrat’ prikhodi Slushay Nanny, oh Nanny! … Dunyushka Sonya, Pasha, Dasha, and Petka and Vanka Mitka and and Filka And bless. and safe keep OLord, them, of all and Sasha; and Grisha –Voldya and my uncles all and Kolya uncle and Petya uncle Tanya and Nadya; and Olya and Sasha, and Varya and –Lyuba my aunties and all auntie auntie Natasha, auntie Masha, Parasha, Katya, auntie OLord, safe, keep And OLord. Grandma, my old Grandma, myto dearest health good give Grandma, old my dear bless God Mishenka. and brother God bless brother Vasenka OLord. safe, them keep and Mummy, and Daddy bless God bedtime at Prayer bye, bye, bye, Dolly! Bye, bye, ba-yoo, night. and day all sing birds golden where and ripen, and flower pears juiciest the where and sows, or reaps no-one where about the magic island, it: about all me tell can you dreams, your in see you what And sleep! to Dolly, go forest! dark the into off her carry and her seize will wolf grey the and Only don’t be late! be don’t Only today? me with play and come you Will Vasya, Vasya! hey Woa! Stop! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Clop, clop, Hey! clop! Clip-clop! Hey! Clop, clop, clop! Clip-clop! Hey, Hey! Hey! giddy-up! Hey, giddy-up! Hey! Clop, clop, clop! Clip-clop! Hobby-horse rider dear? Nanny that? Like my sins! me forgive O Lord, my sins! me forgive O Lord, you: Itold have times many How rascal! alittle you, what at Look Nanny? else, What

15 Texts 16 Ti lakom! lakom! Ti Oho, ptichek do brat E, vzyalo! menya Zlo Zabilsya v ugol, pishchit. drozhit,Snegir skrebet! kletku, na Zabravshis Kot nash Matros, okne-to, na Vdrug vizhu, … pozabila tam Zontik Podbezhala, mozhet bit’, no! koknu Ya vtoropyakh kak narochno! Net, iskala, ivstole bkomode Sharila zharko, ved Ochen Mama, zontikom, yaza Pobezhala Ay, ay, ay, Mama! ay, milaya Mama, Matros Kot Toropitsya nado … …Hop! budut Gosti Hop, hop! … nado …toropitsya Teper …domoy Ya Mama; vYukki syezdil, Proshlo! Proshlo? chto? Nu Vidish? perishki! za Chto divnaya! ptichka za chto Akh, na-levo? Vkustakh Vidish! prelest! kakaya Posmotri, Vot ditya! tak, pryamo, nozhki na Bstan postoyka, drug moy Proydyot, plaket’; polno Hu gore! za chto moy, malchik, moy Miliy … Oy,Oy, nogu! bolno! Oy,Oy, nogu! bolno! Oy! Hey, Razdavlyu! hey! Hey, Hey! Hey,Prodi! prodi! hey, prodi! Hey! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Prikhodi zh smotri! … lozhimsya Spat’ rano ochen rano, ved Mi Nepremenno budu … … Tolko kvecheru Ya … vYukki poyekhal Vasya! Proshchay, hop! Hop, hop! ti Nu My friends will be there …clip-clop! there be will friends My Clip-clop! … hurry to …Ihave …home now Yuky, to I’ve been Mama; Better! Better? You How’s foot? see? your Such little feathers! bird! abeautiful what Oh, left? the on there bushes, the On see? you Do pretty! how Look, one! it, little that’s – feet your on straight up stand horseman; my little better, be soon it’ll more; any cry don’t But boy, terrible! how my little one, darling My my foot! Oh, sore! it’s Oh, my foot! Oh, sore! it’s Oh, Oh! down! all them knock Hey, I’ll hey! Giddy-up! Hey, Hey! giddy-up! Giddy-up! Hey! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! Ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta! see! you’ll and come … bed to us put they when early, early, very it’s since … back be certainly I shall … evening towards but Yuky to … I’m off Vasya! Goodbye, Clip-clop! Now, giddy-up! will be a dainty dish! adainty be will bird little the brother, think you angry! very me made It cheeping. and acorner in cowering trembling, was bullfinch The snarling! birdcage, the upon perched Matros, cat our window, Isaw, by the over suddenly Then … parasol the Ileft there was it –perhaps window the to over I hurried abusiness! what – table the on looked and drawers, of chest the in around I rummaged sun’s the hot; since so Mama, parasol, your find to I ran Mama! dearest Mama, oh, oh, oh, Oh, Matros the cat … hurry to I have Uže ko mne zabrel segodnya ‘knyaz’, segodnya zabrel ko mne Uže likhiye, dvorniki Rugayas’, skalïvayut gryaz’, smyorzšuyusya spaneley Uže on!’ navodit dum mnogo ‘Kak …Ya šum poražon: Zelyonïy e. pušcˇ vsyo zemli iz pret dnyom I skaždïm ivoskres da Lazar’,Kak novïy vzyal ey, gušcˇ ikofeynoy aem cˇ Zalitïy – udes! cˇ iz udo –o, moy cˇ I kaktus erdak!’ cˇ na koški, Spešite, brak! Graždanskiy brak! ‘Vesenniy ivakkhanahl’no: teplo I zavopil kak vstar’, lestnicu, na podral Potom momental’no. podnyal truboyu I khvost kalendar’ na kot vzglyanul moy era Vcˇ 2 Probuždeniye vesnï sborodoyu. idaže ina t–mužcˇ Poe˙ otkroyu: po-družeski tebe Ya istinu C – no, pryamo ‘Ya’Zdes; konecˇ ponimay, ne – korset’, vpilsya Vboka ulice. po ’Ya šla nyot: nacˇ damu, t, opisïvaya poe˙ Kogda 1 Kritiku Satires, Op 109 Dmitry Shostakovich (1906–75) composer the by Texts …a? Kakov Mama kot-to, Net! … tak Vot noyet noyet, tak tut, Vot konchikakh, v samikh tak bolno, Mama, Mama! paltsam Kletka tverdaya, Kakaya Mama! khlop! A yayeve … snegirya skhvatit’ Tolko dumal chto zanosit; vkletku lapu uzh A sam smotrit, mne vglaza Kot spokoyno chto-to! Stranno mechayu, pod odnim Tolko glazom vstoronku, ya, smotryu Stoyu bivalo, ne vchom Kak ni kot! ti Vish Postoy,Net! popalsya, Vzyal tyoplïy šarf i lïži begovïye … begovïye ilïži šarf tyoplïy Vzyal ˇ o o,pddmy kïaesape t. poe˙ skrïvayetsya damoyu pod to, mol, The awakening of spring of awakening The abeard. has even and aman, is poet the asecret: into you let I’ll poet. the fact in is question in lady the that not it’s – literally taken be course, of not, should ‘I’ the case this in my side,’ pinching was corset My street. the down walking was ‘I alady, begins: describing apoet, When To acritic …eh? Mama cat, that of think you do What No! … so hurts it hurts, it there, just tips, the at right There, Mama. badly, Mama, so my fingers hurt it is, that birdcage ahard what Mama, asmack! him I gave bullfinch the seize would he thought he when just and birdcage; the into paw his pushed still but calmly, quite me at looked cat The thing! a funny was It him. on eye one kept still but away, I turned wrong, was nothing if as I acted see! you’ll you, cat, get I’ll wait! Just No! and took off his warm scarf and skis … skis and scarf warm his off took and in, a‘prince’ dropped today already and cursing, caretakers, by the pavements, the from chipped being is mud frozen the Already provokes!’ it thoughts many ‘How out: Iblurted …And sensation A green earth. the from swollen more and more up reared it day each with and resurrected, suddenly was Lazarus, anew like grounds, coffee and tea in Swimming wonders! of owonder my cactus, And my to attic!’ hurry my pretties, Hurry, marriage! Acivil marriage?! aspring ‘Who’s for exultation: Bacchic in out cried and old, of as staircase, the up off made he Then atrumpet. like tail his up lifted instantly and calendar the at looked my cat Yesterday

17 Texts 18 Dlya sebya, poka ya živ; poka sebya, Dlya sveta unemnožko Ya khocˇ ivragov. brat’ev mne Net V nerodivšikhsya potomkakh bogov. Perelomannïkh Ya, oblomkakh na kak filin, yaMafusail? Razve C dvesti! rez cˇ Let … mil osan, pricˇ umït, Mir duli, Razukrašennïye i, kak idiot. I mïcˇ ali vpecˇ leži A poka –pyat’sot, kto dvesti, –let Kto predskazali: sroki Daže suždeno. Yesli ne nam vMekke, budut deti Naši odno: Utešeniye kak voveki, že, etak Nincˇ Vstretyat solnce posle nas.’ deti ‘Naši I vzdïkhali: as cˇ vgroznïy vkleti Lezli ti Ie˙ vïrosli. Deti nas.’ vol’gotney žit’ Budut deti …Vidno, ‘Tugo, bratcï raz: ne tam I šeptalis’ vkleti lezli predki Naši Potomki 3 voz’mi? ort cˇ bvlyubit’sya, V kogo dver’mi za … veter Vesenniy istolicï! dnya, kholerï zlobï Ot tišinu vlesnuyu sbežat’ …day No vozvratitsya, Ya ne ona dumal, vesnu! za Spasibo moy! Sozdatel’ vsegda. em cˇ I p’yanïkh bol’še, voda, …Gniyot ždut Derev’ya … lopat’ kak izimoyu, ego, necˇ mnogim No nikogo, iplet nšcˇ uže Moroz ikopot’, dïm spugnula lazur’ Vesennyaya ego! nicˇ Ey-bogu, solnïško. Siyayet vlombard.’ khlam zimniy Nesite – kak bard, poyu, vesna! ‘Vesna, ˇ orta vstule! orta even if we are not destined to be. to destined not are we if even Mecca in be will children our that consolation: one but is there then, as Now, just gone.’ are we when sun the greet will children ‘Our sighed: and times terrible in shelters their into crawled too they And up. grew children Their do.’ we than lives free-and-easy more live will children our …Surely brothers us, for hard ‘It’s once: than more there whispered and shelters their into crawled ancestors Our Descendants it? damn with, love in fall to there is Who … door the at breeze There’s aspring the city! and day, cholera the of from evil the from away woods, the of silence the to away run me let … yet return, never would it I thought spring! for you Thank Creator! My ever. than drunkards more are there and putrid, is water …the waiting are trees The … eat to many, nothing winter,but in as have anyone, pinch longer no may frost the smoke and soot, the away scared have may spring azure The nothing! it’s Lord, Ah, shining. is sun The pawnshop.’ the to off winter of rubbish the ‘take abard, like Ising spring!’; ‘Spring, for myself, while I am yet alive; yet Iam while myself, for light alittle I want enemies. nor brothers neither I have Among unborn descendants of broken gods. debris the on owl, eagle an like I am Methusalah? Ireally Am devil! the What time! years’ hundred two in … nice and combed, washed, all is world the away, blown have ones decorated The idiot. an like mumble and grief in up curl just not why now for so – hundred five some years, hundred two have some – foretold is earth on time our Even

On dolgo iskal svoyu trost’. svoyu iskal dolgo On vzglyadom rasteryannïm V peredney gost’, ispugannïy Ukhodit Izadom Mavra. innaya Vot cˇ lezt’?’ sobyat’yami Kak dvornik, dame, noy kporyadocˇ smeli ‘Vï imest’. kholod yeyo vglazakh No …’ sami ‘Vï on. il …’ vskocˇ ‘Prostite! potok. iy kipucˇ Okhladilo ‘Mavra!’ vul’garnoye: vizglivo No privlyok, povesa tessu Poe˙ Kentavra siloy S nesderžannoy adela. nužnï, tut slova Ne iministra, recˇ dumskiye ne Zdes’ bïla! –ne bïla I podumal: bïstro opravilysa no Pokrasnel, C takoye, bïlo Prodolženiye …’ tel! istomnosti že O, spletyom … Ya levkoya kak dïkhan’e sveža, pripast.’ ustami boysya ne Tï podvyazkoy aloy za beder K pene strast’. sonnuyu moyu Vskolïkhnut’ laskoy ey ‘O, ognedïšašcˇ sumey stikhi: gnusila tessa Poe˙ messe, kak vtoržestvennoy sofe, Na dukhi, dïšali V polumrake tesse; kpoe˙ prišol Povesa bryunet. ipïlkiy avïy Kurcˇ povesa, prosto bïl A on let. bal’zakovskikh tessa Poe˙ tessa, poe˙ bïla Ona 4 Nedorazumeniye golovoy! vstenku Lupyat potyomki, svoi I klyanya svoy žrebiy Ispolnyaya potomki, …Pust’ A potomki … prizïv moy Vsem ponyaten – ta poe˙ do portnogo Ot ˇ to kurcˇ avïy bryunet pokrasnel. bryunet avïy kurcˇ to we don’t need any ministerial parliamentary parliamentary ministerial any need don’t we not, or was she whether thought: and recovered quickly but blushed, He blushed. man curly, dark-haired the that was result The bodies! our of weariness the mingle then O, us let … carnations of scent the like fresh, I am lips. your press to afraid be not do suspender scarlet the beyond my thighs of To flesh the passion. my sleepy up stir caress afire-breathing ‘O, with you may verses: these intoned poetess the Mass, afeast-day in as sofa, the on and air, the breathed they half-dark the in poetess; the see to round rake went This man. curly, dark-haired a passionate, arake, just was he And Balzac. of age the from a poetess apoetess, was She Misunderstanding wall! the on heads their bang darkness, their cursing and destiny their fulfilling And my descendants … my May descendants, … my call understand can all poet the to tailor the from he long sought his walking-stick. look, abewildered lobby, with the In left. guest startled the backwards walking And Mavra. adecorous What embraces?’ your with doorkeeper, some like lady, arespectable assail to ‘You dared honour: and coldness only now was there eyes her in But …’ up.’You yourself …’ me leaped he ‘Forgive ardour. her cooled ‘Mavra!’ of cry vulgar shrill, his but him, to poetess the rake drew the acentaur of force irresistible the With actions. but words, not speeches here, …’

19 Texts 20 Sasha Chyorny (Alexander 1880–1932) Glikberg, Ya –poymyom!’ menya atï tebya, vdvoyom, as seycˇ zdes’ Nakonec-to, – lobzaniy. sredi yey on Govorit – aya…intelligent, –narod, ‘Ti moment! O, kakoy toržestvennïy divane. na iFyokla Kvartirant …Ukh! gub vesennikh ognyom I ožgi ub voz’miPodoydi, cˇ za yego iyarkoy: rešitel’noy tï khot’ Bud’ iš’? molcˇ tï že to cˇ Fyokla, Fyokla, itiš’. toska opyat’ vïmïtï, Styokla emodane. cˇ na sidit Kvartirant … kvartirant Kvartirant, udes. icˇ tïsyacˇ ayut Obešcˇ nebes golubïkh I zaplatï styokla, namïlennïye at Verešcˇ Kak nestroynïy, šalovlivïy khor, vodvor. stan sil’nïy Peregnulsya Fyoklï. ki pracˇ polnoy ikrï ut Blešcˇ …Ukh! svet novïy kakoy-to vsyom na No – obed, na ‘bigus’ že I takoy divane, na obivka že I takaya ikrovat’,Te istol, styl’ya, že pol: rassmatrivayet ivo I zadumcˇ emodane cˇ na sidit Kvartirant 5 Kreycerova sonata let. bal’zakovskikh tessï Poe˙ zii poe˙ novoy on ponyal Ne bryunet. pïlkiy slestnicï Šol magnesii belee, S licom Ugh! and sethimalightwiththefire of your vernal lips … go upto him,take himby theforelock Just bedecisive andclear: Fyokla, Fyokla, why are you silent? allismelancholyandquiet. The glassware hasbeenwashed up,onceagain The lodgerissittingonhissuitcase. , thelodger… promise thousandsof miracles. and patches of blueskies glassware squealsasitiswashed, like amistuned,naughtychoir, The powerful figure hasleantover into theyard, shining. The calves of Fyokla, theplumplaundress, are Ugh! but everything somehow hasanew colour… and thesameragout to eat, and thesameupholstery onthecouch, it’s thesamechairs,bedandtable, and pensively examining thefloor: issittingonhissuitcase lodger The Sonata Kreutzer Balzac. of age the of poetess the of poetry new the understand not did He stairs. the down went man dark-haired passionate the With a face bluer than magnesium Translation by David Fanning ©DG I you andyou me–letustake oneanother!’ ‘Finally, we are here now thetwo of us, he says to her, between kisses. intellectual,’ ‘You are of thepeople,whereas Iaman O, whatafestive moment! The lodgerandFyokla are onthecouch.

A ty tu ostaneš. tu A ty My pôjdeme domov Teraz oklameš: sa Teraz ty, sa An Spad muža, mat’ Ked’budem muža, nemám Pokým ruža, ja, som Ruža ruža. vpoli Ako Nebude prekvitat’, muža, bude Ale frajera, nemá Ked’ frajera, nemá Už dev švarnô A to zpápera, Perina Kas rodinu. Novotnú Ideme opá dedinu Na druhú dediny A ztejto t’a vyplatili. Už periny: kasni Na kas vovoze Už An A ty 3 Svatba bude. nˇ líhat’ Na om ko lícˇ Janikovo bude, treba Ved’ti Sbieraj siho, sbieraj, ej, peria. svojho Mesto sbiera ho asi Devcˇ tratia, peria Drobnô letia, pávy, Letia neveste 2 Pri dolámala. Hrable spania vel’kého !Od Ej C hrabala, !Hrabala, Ej Nemám nakoseno. hrabala, by ho !Ja – Ej To zelenô seno! hrabaj želen, !Hrabaj – Ej 1 Pri hrabaní Village Scenes (1881–1945) Béla Bartók Ohey heya, hoya ho, Heya hoya ho; ˇ erta nahrabala; erta nˇ a je zjavora, a je nˇ e so mna ruža. mna e so cˇ a krásna, cˇ it’ cˇ nˇ cˇ a, a, a get to know hispeople. there we’ll drive, seehisplace, fast aswe are able, To thebridegroom’s village, all for whenyou’re married.Aiya! there’s fine clothes andbedding, on thewagon carried, Annie, inyour boxes Wedding will your lover’s head rest, ai,justwait. for uponthesepillows ai! You’ll soonneedthesefeathers, Take them,maiden,take them, fills thecleanwhite pillows. a pretty maidentakes them, ai! Shimm’ringfall theirfeathers, Proud thepeacocks flutter, At thebride’s you went andbroke your rake. all becausefrom sleepiness, you have not doneyour work; Don’t you stop raking now, if you had mown somemore. Ai! I’dgladly rake itnow, rake upthenew mown hay! Rake itnow, rake itnow, Haymaking ohey heya, hoya ho, Heya hoya ho; you mustnot gowiththem. they go,fullof joy, say farewell andleave them: Say farewell, dearAnnie, petals drop andshrivel. When Ihave ahusband, but onlywhenI’msingle. I’m arose, arose, fade away andwither. she shallnot, like arose, though she’slostalover, Now shehasahusband; now you have nolover. Annie, pretty maiden, pillow stuffed withfeathers, Finest maplecasket,

21 Texts 22 Anonymous bál. vlka sa som Ale zahnal, bol by ích A ja zaženie? kozy mi Kto zeme! od hojže, Hojže, poto sa som Ale vysko bol ysom Jab vysko Kto cap, kozy, piaty Štyri mlady! za Tancuj šuhaj bú Poza sem! pod’že bratu, Pod’že bú Poza 5 Tanec mládencov tej do Ej, Len mi neuletej, Moj andelik biely, beli mi, že Beli hájom. Pod zeleným hodbábom ju Šila Mariška, ju Šila Košelô V košielki bielenej. zelenej, hori Na zelenej, hori Na belej sa, že Belej Menej sa nabúvaš. C neunúvaj! ma Len búvaj, mi, že – Búvaj oddelím. vás potom Ej, ožením, sa Aked’ neožením; Kým sa – Budem, manko, budem, dni? starie moje na Ej, C Moj syn premilený! beli žemi, Beli 4 Ukoliebavka Heya ho! Heya hoya heya ho,heya ˇ ˇ o ma viac unúvaš, viac o ma ima budeš chovat’, cˇ ka biela, cˇ cˇ cˇ ky aklady, ky pe ky, poza cˇ iernej zemi! í, bude chlap! cˇ il. cˇ nˇ il, , darling, never fly away! don’t you ever leave me, baby, wee white angel, Darling, slumber, slumber, Mmm, sheembroidered itwithsilk. for you inthegreen fields. our oldMarysewed it Mmm, your white shirtthattwinkles, mmm, through thedarkgreen branches. let your littlewhite shirttwinkle, wear your white shirt, Mmm, gointo thegreen wood, mmm, darling,keep quiet,bestill. soon you’ll quietlyslumber, don’t give memore trouble, Mmm, slumber, slumber, darling, soon I’llgooff andleave you. but whenIammarried, while I’msingle; I willtake care of you, Mother, will you thentake care of her? When your mother grows old, darling littlebaby! Darling, slumber, slumber, Lullaby heya ho! heya hoya heya ho,heya old wolf hadn’t scared me stiff. Yes, I’dgladly drive them if get thegoatsanddrive themhome! Now my lad, thetimehascome, tripped andtumbled,’twas nogood. I triedprancing ere Icould, if you can,stand upandprance! Hey, oldgoat,Billy, dance, dance, whilelife isfree andnew! Little oaktree breaks intwo, dance, young fellow, dancealong! Little oaktree grow upstrong, Lads’ dance Mathias Bothor/DG Daniel Barenboim, Yefim Bronfman, Malcolm distinguished recital partnersincludes thepianists Mackerras andSirRoger Norrington. Herlistof Harnoncourt, MarissJansons,Charles Eliot Gardiner, Bernard Haitink,Nikolaus Pierre Boulez,Gustavo Dudamel,SirJohn leading conductors, includingClaudio Abbado, She hasworked withmany of theworld’s Sospiri and herfirst albumwiththelabel, began along-term relationship withPentatone, Prize, Tokyo, and including anECHOAward, Record Academy and haswon numerous other accolades since, named Artistof theYear by Gramophone on DG’syellow labelin2001 andwon her by Dvorˇ ák,Janá Her debutrecital recording, analbumof songs her first albumof Bach ariasonitsArchiv label. She was signedby DGin1999 andreleased Salzburg in1995. the SixthInternational MozartCompetitionin Republic andinternationally, culminatingin awarded several majorprizesboth intheCzech Academy of Performing Arts.Shehasbeen and later withEva Blahová atBratislava’s studied voice andpianoatthecity’sconservatory Magdalena Kožená was borninBrnoand Magdalena Kožená About the performers Uchida, withwhom shehasperformed atsuch Martineau, SirAndrás SchiffandDameMitsuko Magdalena Kožená , was released lastweek. ’s SoloVocal Award. Shewas cˇ ek andMartinu Diapason d’Or mezzo-soprano Gramophone ° , appeared . In2017 she Il Giardino dei

in 2004 in2004 Concert d’Astrée lastyear, andaflamenco and baroques More recent highlightsincludea been aregular guestthere. ( the Metropolitan , New York, asCherubino and inBerlinLucerne.Shemade herdebutat she hasalsosungfor theGlyndebourneFestival returned in2013 asIdamante ( at theSalzburg Festival in2002,to whichshe Her operatic roles includeZerlina( orchestras. Philadelphia andRoyal Concertgebouw Philharmonic orchestras andtheCleveland, as soloistwiththeBerlin,CzechandVienna and LeConcertd’Astrée. Sheisalsoindemand Age of Enlightenment, Venice Baroque Orchestra Cetra Barockorchester Basel,Orchestra of the Giardino Armonico,LesMusiciensduLouvre, La Soloists, theGabrieliConsortandPlayers, Il ensembles, includingtheEnglishBaroque regularly withleading period-instrument andSalzburg festivals. Sheworks Concertgebouw, aswell asattheAldeburgh, Hall, AliceTully HallandtheAmsterdam prestigious venues asCarnegieHall,Wigmore in 2003for herservices to French music. Arts etdesLettres by theFrench government She was appointed aChevalier del’Ordre des Enlightenment. Philharmonic andtheOrchestra of theAge of and Bach’s der Erde a recital tour withMitsuko Uchida, Symphonie-Orchester BerlinandRobin Ticciati, this seasoninclude baton of SirSimonRattle. Otherengagements et Aricie her role debutasPhèdre (Rameau’s of theCzechRepublic. InDecembershemade the Baroque ensembleCollegium1704 on atour Magdalena Kožená beganthisseasonby joining flamenco company. Private Musicke andAntonio ElPipawith his Spanish Baroque tour of Europe in2017 with The Marriage of Figaro ) attheDeutscheStaatsoper underthe with Rattle andtheCzechPhilharmonic, tour withEmmanuelleHaïmand St JohnPassion Messiah ) in 2003 and has since ) in2003andhassince with both the withboth theBerlin with the Deutsches withtheDeutsches Idomeneo Héroïnes Das Liedvon Don Giovanni Hippolyte ), arole ) 23 About the performers 24 Dario Acosta Philharmonic. Philharmonic. Berlin Philharmonic,andatour withtheVienna dell’Accademia NazionalediSanta Cecilia, Symphony Orchestra Cologne,Orchestra France, LondonPhilharmonicOrchestra, WDR in Europe withtheOrchestre Nationalde Concertgebouw. Healsogives concerts by aScandinavian tour withtheRoyal Yuri Temirkanov. Thiswas followed in celebration of the80thbirthday of tour withtheSt Petersburg Philharmonic His current seasonbeganwithaEuropean acknowledged by thepress andaudiencesalike. and exceptional lyricalgiftsare consistently recital series.Hiscommandingtechnique, power sought by festivals, orchestras, conductors and stands amongahandfulof artistsregularly as oneof today’s mostacclaimed pianists,He Yefim Bronfman isinternationally recognised Yefim Bronfman Yefim Bronfman piano University. IntheUnited States, hestudiedat head of theRubinAcademy of MusicatTel Aviv 1973, where hestudiedwithpianistArieVardi, Bronfman emigrated to Israel withhisfamily in Born inTashkent intheSoviet Union,Yefim University. in pianoperformance from Northwestern as therecipient of theJeanGimbelLaneprize Avery FisherPrize.In2010 hewas honoured That sameyear hewas awarded theprestigious since hisemigration to Israel attheage of 15. Bronfman’s first publicperformances there with Isaac Stern inRussia,markingYefim 1993. In1991 hegave aseriesof jointrecitals Carnegie Hallin1989 andAvery FisherHallin the Far East,includingacclaimed debutsat leading hallsof NorthAmerica,Europe and He hasgiven numerous solorecitals inthe Magdalena Kožená. Rome, aswell asthecurrent tour withmezzo- Cologne, Leipzig,Munich,Berlin,Naplesand Berkeley, Stanford, Aspen,Madrid, Geneva, recital canbeheard atCarnegieHallandin Cincinnati, SanFrancisco andDallas,in New York, LosAngeles,Houston, St Louis, In theUSA hereturns to orchestras inCleveland, He becameanAmericancitizeninJuly1989. the Manhattan Schoolof Music. 2015 hereceived anhonorary doctorate from Firkušny, LeonFleisher, andRudolfSerkin.In and theCurtisInstitute of Music,underRudolf the Juilliard School,Marlboro Schoolof Music,