The Golden Age Danish Partsongs

The Golden Age of Danish Partsongs Ars Nova Copenhagen, Paul Hillier The Golden Age of Danish Partsongs Folk song (arr. Niels W. Gade, 1838) Ars Nova Copenhagen, Paul Hillier 12 Dronning Dagmars død �� 2:49 Niels W. Gade From Fünf Gesänge, op. 13 (1846) 13 No. 2, Die Wasserrose �� 3:47 Carl Nielsen (1865-1931) 14 No. 4, Im Herbst �� 2:49 1 Min Jesus, lad mit hjerte få (1914) �� 1:46 15 No. 5, Im Wald �� 2:03 2 Jeg bærer med smil min byrde (1915) �� 1:16 Thomas Laub (1852-1927) 3 Underlige aftenlufte (1915) �� 3:58 16 Stille, hjerte, sol går ned (1915) �� 2:34 Friedrich Kuhlau (1786-1832) Peter Heise (1830-1879) 4 Nu løvsalen skygger (1828) �� 0:58 17 Natten var mild og kær (c. 1866) �� 3:37 5 Majsang (“O, den skønne, skønne maj”) (1824/25) �� 2:40 Svend S. Schultz (1913-1998) C.E.F. Weyse (1774-1842) 18 Yndigt dufter Danmark (1970) �� 3:16 6 Wandrers Nachtlied: Über allen Gipfeln ist Ruh (1841) �� 1:27 7 Barcarole (“Natten er så stille”) (1840) �� 1:14 Ib Nørholm (b. 1931) 8 Lysets engel går med glans (arr. Paul Hillier) (1837) �� 3:18 Mine danske kilder, op. 128 (1994) Five songs for mixed choir J.P.E. Hartmann (1805-1900) 19 I De lette skyer �� 1:28 From Religious and Popular Poems, op. 86 (1888) 20 II Wi saais nu �� 1:31 9 I våren knoppes en lind så grøn �� 1:36 21 III Fugleflokke �� 1:08 10 Jeg ved, jeg vorder dig aldrig kær �� 2:44 22 IV Innocens den liggende �� 2:01 Niels W. Gade (1817-1890) 23 V Fadet fra Hangchou �� 2:53 11 Kong Valdemars jagt (“På Sjølunds fagre sletter”) (1838) �� 1:49 Total 52:40

Dacapo is supported by the Danish Arts Council Committee for Music The golden age of Danish Partsongs picked out most of the melodies, and his arrangements formed the ideal for how a ‘real’ folk song or ballad should sound. The songs from Elverhøj, including Nu løvsalen skygger (Now bowers offer shadow), became wildly popular and took on the status of the “basic A golden age that continues repertoire” of folk melodies. “The Danish Golden Age” is what we call the period of cultural and intellectual life in In the subsequent wave of enthusiasm about folk songs and ballads, the ballad Dron- Denmark in the first half of the nineteenth century; a period when the national identity ning Dagmar (Queen Dagmar) became one of the most popular. It has a strong melody developed into a foundation that can still be clearly felt today. It was a period with an and a moving text about the wise words of the medieval queen on her death bed. The abundance of artistic expression, and names like the poet Hans Christian Andersen, the melody had been noted down in the Dorian mode, but typically for National Romanti- philosopher Søren Kierkegaard, the painters Købke and Eckersberg, and composers like cism it was adjusted to ordinary minor, an anachronism with its own charm. Gade and Weyse, defined a whole era. The newly-discovered style spread to instrumental music. Niels W. Gade was one of The world-famous choral conductor Paul Hillier, who has been chief conductor of Ars the first composers to capture it: in his First Symphony from 1842 he used the ‘folk tune’ Nova Copenhagen for the last ten years, has performed several Golden Age works, but På Sjølunds fagre sletter (On Sjølund’s plains so pleasing), which he had composed him- believes we can still talk about a continued “Golden Age” for Danish choral music. This self a couple of years earlier. The song is about the ghost of the medieval King Valdemar, collection therefore also includes works from the subsequent generations, right up until protagonist of a favourite national-romantic story (this is the same Valdemar as we meet our own time. And there is plenty to choose from – this is only a first selection from the in Schoenberg’s giant work Gurrelieder). great riches of Danish choral music since its Golden Age began. Gade’s sparring partner and later father-in law was J.P.E. Hartmann. His a cappella music is mainly for male choir, partly because Hartmann as an academic was associated Folk music – genuine and imitated with the Copenhagen University Choir, and partly because it was not until 1851 that a A major theme in the Golden Age was the hunt for the national identity, and people dug concert choir with mixed voices, the Cecilia Society, was formed in Copenhagen. deep to find it in its purest form. In 1814 there appeared for the first time a songbook For the latter choir, in 1888, he wrote his six choral songs op. 86, entitled “Religious with old Danish songs and ballads; it set off reactions similar to those the first time a and Popular Poems”, which aspire to the folk-song universe of love and nature. I våren dinosaur skeleton was exhibited: people were fascinated by the prehistoric specimens knoppes en lind så grøn (In springtime there buds a lime so green) compares a young but were not quite sure what they were. woman with a bud opening in the spring sun. Jeg ved, jeg vorder dig aldrig kær (I know In the course of the nineteenth century scholars and musicians worked their way I’ll never be dear to you) reverses the situation: the young woman is unattainable, and towards an understanding that was to leave its mark on Danish culture well into the the poet’s soul is as dark as night. Even after half a century of fascination with the folk twentieth century. The first great manifestation came in 1828, when the musical drama songs, the now 83-year-old Hartmann could still find new, personal variations. Elverhøj (The Elf-Hill) was written for a royal betrothal feast. The theatre had specified From the next generation the song composer Peter Heise represents a more Europe- that folk-song and ballad melodies were to be used to “suggest the national and local an romanticism. Natten var mild and kær (Mild was the much-loved night) from c. 1866 is character of the play”. By roundabout paths the job ended up in the hands of the Ger a sensitive, rather erotic evocation of a mood of love in the summer night. man composer Friedrich Kuhlau, who had come to Copenhagen in 1810. He himself

4 5 Neighbour to germany of the supernatural. Im Wald (In forest glade) combines the favourite time signature of Until the middle of the nineteenth century Copenhagen had no music academy, no the Danish Golden Age composer, 6/8, with hunting and forest symbolism from German philharmonic centre and no publicly organized concert scene. Scandinavians had to go Romanticism. to Germany to look for musical education, and for the same reasons German musicians were welcome guests in Denmark. The northern German Friedrich Kuhlau worked not Reforms and traditions only with folk songs but also with the first Danish songs for male choir. His Majsang The Romantic style in Danish vocal music faded at the beginning of the twentieth (May song) from 1824/25 was given texts in German, Danish and Swedish. In Sweden it century, and Carl Nielsen and the composer of sacred music Thomas Laub led the way is now the official harbinger of spring (O hur härligt Majsol ler – Oh, the lovely month of in the change in taste. Laub’s hymns and songs, when they are best, are strong and unos- May) and since 1831 it has been sung on Walpurgis Night (May Eve). Not many Swedes tentatious – for example Stille, hjerte, sol går ned (Still, my heart, now sets the sun) from associate the song with anything Danish – or German. 1915 to a poem by the Danish rural poet Jeppe Aakjær. An image of the quiet moment From Germany too came C.E.F. Weyse, a versatile and virtuosic major figure in when nature retires for the night. Despite Laub’s simplified expression the emotions are Danish cultural life at the time, whose fame today is based on his very smallest compo still the same as in Weyse’s romantic jewel Natten er så stille from 1840. sitions: hymns and songs for children. The evening song Natten er så stille (Calm Another example of a ‘Romantic anti-Romantic’ is Yndigt dufter Danmark (Sweet is the night, unstirring) from 1840 combines a minimal format with cosmic ideas. The Denmark’s fragrance), a modern classic from 1970 by Svend S. Schultz. As a choral com- children’s hymn Lysets engel går with glans (Gleaming bright, light’s angel see) comes poser and choir director he was responsible for the modern Nordic vocal style – “bright, from Weyse’s Morning Songs from 1837, but here Paul Hillier has set it in an expanded thin and dry”, as he put it. The succinct nature lyricism in Yndigt dufter Danmark touches four-part arrangement. on all the emotions evoked by the fragile Danish midsummer, in which love is almost Weyse had come from Altona to Copenhagen as a teenager and learned to work with conjured out of the blue. the Danish language with great creativity and subtlety. It is touching that shortly before Ib Nørholm (b. 1931), who has been one of Denmark’s most versatile and pro his death in 1842 he returned to his native German and put music to Goethe’s famous ductive modernists since the 1950s, also likes to acknowledge the tradition, and poem Wandrers Nachtlied (Wayfarer’s night song). side by side with complex orchestral works he has written simple strophic songs. In Germany the endeavours of the Danish composers were considered interesting He is also one of the few modern composers who has in recent years used the adjec- and different. In 1843 Niels W. Gade was given such an enthusiastic reception in Leipzig tive ‘Danish’ in his work titles. “I have always liked to defy the general opinion!”, by Mendelssohn that he became his assistant – among other things he conducted the Nørholm himself says. first performance of Mendelssohn’s Violin Concerto – and on Mendelssohn’s death in The cycle Mine danske kilder (My Danish Wells ) from 1994 is about the sources of 1847 he was his natural successor. Gade was in his own words “the darling of all Leip- inspiration that Nørholm finds in the Danish landscape (he spends as much time as zig”, and of course that had to be enjoyed. From 1846 come the five songs op. 13, which possible on the beautiful island of Samsø in the middle of the Kattegat), but the title also have an elegance that must have satisfied the perfectionist Mendelssohn. Im Herbst (In points to Danish poetry as a source. The songs have texts by four favourite poets from his autumn) thrives on its elegant shift between major and minor, while Die Wasserrose (The own generation and a verse by Christine Brahe from the Renaissance, which Nørholm water-lily) is a sophisticated, weightless setting about the water-lily, a romantic symbol came upon by chance. 6 7 Together they form a bouquet of observations about the world in which mankind has Dansk Kormusiks guldalder been placed. The difference between sky and earth is reflected in De lette skyer (The light clouds), which creates a contrast between the drifting clouds and the roots the man “who stands on earth”. The order is reversed in Wi saais nu (In God’s rich soil), which begins En guldalder, der fortsætter as a robust chorale, while mankind lies like winter seed in the frozen soil, and grows in “Den danske guldalder” kalder man kultur- og åndslivet i Danmark i første halvdel af budding polyphony when the spring light appears. Nature as inspiration is acclaimed in 1800-tallet. En periode, hvor den nationale identitet udviklede sig til et fundament, der Fugleflokke (Flocks of birds), where the migratory birds make wedge-like and heart-like stadig mærkes tydeligt i dag. Det var en periode med en overflod af kunstneriske udfol- patterns against the sky, while the poet sarcastically asks “Is it wrong to vegetate?” in the delser, og navne som digteren H.C. Andersen, filosoffen Søren Kierkegaard, malerne naivist song Innocens den liggende (Innocent the supine). As a thoughtful conclusion we Købke og Eckersberg og komponister som Gade og Weyse definerer en hel æra. have Fadet fra Hangchou (The dish from Hangchow) in the middle of a Danish garden Den verdensberømte engelske kordirigent Paul Hillier, der de sidste ti år har været where the sky is reflected in the glaze of the thousand-year-old pottery. chefdirigent for Ars Nova Copenhagen, har opført adskillige guldalderværker, men synes Many Danish verses and songs from the last 200 years are typified by an “east, west, godt, man kan tale om en fortsat “guldalder” for dansk kormusik. Derfor rummer denne home is best” attitude, Carl Nielsen’s song Jeg bærer med smil min byrde (I bear with a samling også værker fra de efterfølgende generationer og helt op til vor tid. Og der er smile my burden) from 1915 is an arch-Protestant hymn about the joy of hard work, meget at tage af – samlingen er kun et første udvalg af de mange rigdomme fra dansk where it takes very little to arouse a feeling of luxury (“My heart with joy can’t stop leap- kormusik, siden dens guldalder begyndte. ing at grassblades sprinkled with dew”), while the national poet of Romanticism Adam Oehlenschlæger, in Underlige aftenlufte (Air of evening, strange thoughts forming) from Folketone – ægte og efterlignet 1915 is not tempted by exotic flowers and high mountains – on the contrary they make Et hovedemne i guldalderen var jagten på den nationale identitet, og man gravede efter him feel homesick for his flat, cold native land. de dybe rødder for at finde den i reneste form. I 1814 udkom for første gang en sangbog Min Jesus, lad mit hjerte få (Oh Jesu mine, may my heart learn) from 1914 is a chorale med gamle danske folkesange, og den satte reaktioner i gang, der svarede til første gang, melody that Carl Nielsen himself loved so much that he used it in his outstanding Wind man udstillede et dinosaurusskelet: Man var fascineret af de forhistoriske sager, men Quintet from 1922. Oddly enough he had problems harmonizing his own melody and vidste ikke helt, hvad det var. had to seek help from a younger colleague, the organist Paul Hellmuth. Only the melody I løbet af 1800-tallet arbejdede man sig frem til en forståelse, der kom til at præge dansk is by Nielsen, the rest is by Hellmuth, and they were both satisfied with the partnership. kultur langt op i det 20. århundrede. Første store manifestation kom i 1828, da musikfore- Hellmuth’s comment on the result expresses yet another Danish tradition: “I have set it stillingen Elverhøj blev skrevet til en kongelig forlovelsesfest. Teatret havde bedt om, at der as simply as possible”. skulle anvendes folkevisemelodier for at “antyde Stykkets nationale og locale Characteer”. Opgaven endte ad omveje hos den tyske komponist Friedrich Kuhlau, der var kommet Jens Cornelius, 2013 til København i 1810. Han udvalgte selv de fleste af melodierne, og hans arrangementer skabte idealet for, hvordan en rigtig folkevise nu skulle lyde. Sangene fra Elverhøj, bl.a. Nu løvsalen skygger, blev vildt populære og fik status af folkemelodiernes “grundrepertoire”.

8 9 I den efterfølgende begejstringsbølge for folkeviser blev Dronning Dagmar en af de svensk. I Sverige er den officiel forårsbebuder (“O hur härligt majsol ler”) og har siden mest populære. Den har en stærk melodi og en gribende tekst om middelalderdronnin- 1831 været sunget Valborgsaften. Næppe mange svenskere forbinder sangen med noget gens kloge ord på sit dødsleje. Melodien er optegnet i dorisk kirketoneart, men typisk som helst dansk – eller tysk. for nationalromantikken blev den rettet ind til almindelig mol, en anakronisme med Fra Tyskland kom også C.E.F. Weyse, en alsidig og virtuos hovedfigur i dansk kulturliv egen charme. dengang, hvis berømmelse i dag bygger på hans allermindste kompositioner: Salmer Den nyfundne stil bredte sig til instrumentalmusikken. Niels W. Gade var en af de og sange for børn. Aftensangen Natten er så stille fra 1840 forener et minimalt format første til at fange den. I sin 1. Symfoni fra 1842 bruger han sin selvkomponerede “folke- med kosmiske forestillinger. Børnesalmen Lysets engel går med glans stammer fra melodi” På Sjølunds fagre sletter, skrevet et par år tidligere. Den handler om genfærdet Weyses Morgensange fra 1837, men Paul Hillier udsætter den her i et udvidet fire af middelalderkongen Valdemar, en nationalromantisk yndlingshistorie (det er den stemmigt arrangement. samme Valdemar, man møder i Schönbergs kæmpeværk Gurrelieder). Weyse var kommet fra Altona til København som teenager og lærte sig at beherske det Gades sparringspartner og senere svigerfar var J.P.E. Hartmann. Hans a cappella danske sprog med stor kreativitet og fyndighed. Rørende er det, at han kort før sin død i musik er overvejende for mandskor, dels fordi Hartmann som akademiker var tilknyttet 1842 vender tilbage til sit modersmål og sætter musik til Goethes berømte digt Wandrers Studenter-Sangforeningen, og dels fordi man først i 1851 fik et koncertkor af blandede Nachtlied. stemmer i København, Cæciliaforeningen. I Tyskland fandt man de danske komponisters bestræbelser interessante og ander- Til sidstnævnte kor skrev han i 1888 sine seks korsange op. 86, Religiøse og folkelige ledes. Niels W. Gade blev i 1843 så overstrømmende modtaget i Leipzig hos Mendels- Digte, der efterstræber folkevisernes univers af kærlighed og natur. I våren knoppes en sohn, at han blev hans assistent – bl.a. dirigerede han uropførelsen af Mendelssohns lind så grøn sammenligner en ung kvinde med en spirende knop i forårssolen. Jeg ved, jeg Violinkoncert – og ved Mendelssohns død i 1847 var han den naturlige efterfølger. Gade vorder dig aldrig kær vender situationen om: Den unge kvinde er uopnåelig, og digterens var med sine egne ord “hele Leipzigs kæledægge”, og det skulle selvfølgelig nydes. Fra sjæl mørk som natten. Selv efter et halvt århundredes fascination af folkeviserne kunne 1846 stammer Fünf Gesänge op. 13, der har en elegance, som må have tilfredsstillet den nu 83-årige Hartmann stadig finde nye, personlige variationer. perfektionisten Mendelssohn. Im Herbst lever af sit elegante skift mellem dur og mol, Fra den efterfølgende generation repræsenterer sangkomponisten Peter Heise en mens Die Wasserrose er en raffineret, vægtløs sats om åkanden, et romantisk symbol på mere europæisk romantisme. Natten var mild og kær fra ca. 1866 er et følsomt og ganske det overjordiske. Im Wald forener de danske guldalderkomponisters yndlingstaktart 6/8 erotisk stemningsbillede af kærlighed i sommernatten. med jagt- og skovsymbolikken fra tysk romantik.

Nabo til tyskland Reformer og traditioner Indtil midten af 1800-tallet havde København intet konservatorium, ingen filharmoni Den romantiske stil i dansk vokalmusik blegnede i begyndelsen af 1900-tallet, og Carl og intet offentligt organiseret koncertliv. Skandinaver måtte til Tyskland for at opsøge Nielsen og kirkekomponisten Thomas Laub førte an i smagsskiftet. Laubs salmer og musikalsk dannelse, og tyskere var af samme grund velkomne gæster i Danmark. sange er, når de er bedst, stærke og prunkløse, som f.eks. Stille, hjerte, sol går ned fra Nordtyskeren Friedrich Kuhlau tog sig ikke alene af folkeviserne, men også af de første 1915 til et digt af den danske landbodigter Jeppe Aakjær. Et billede af det tyste øjeblik, danske sange for mandskor. Hans Majsang fra 1824/25 fik tekst på både tysk, dansk og hvor naturen pakker sammen for natten. På trods af Laubs forenklede udtryksmidler 10 11 er følelserne dog stadig de samme som i Weyses romantiske perle Natten er så stille til for at give en fornemmelse af luksus (“Mit hjerte skælver af glæde, blot duggen dynker fra 1840. et strå”), mens romantikkens nationalskjald Adam Oehlenschlæger i Underlige aftenlufte Et andet eksempel på “romantisk” anti-romantik er Yndigt dufter Danmark, en mo- fra 1915 overhovedet ikke kan besnæres af eksotiske blomster og høje bjerge – de giver derne klassiker fra 1970 af Svend S. Schultz. Som korkomponist og kordirigent stod han ham tværtimod hjemve efter det flade, kolde fædreland. for den moderne nordiske vokalstil – “lyst, tyndt og tørt”, som han formulerede det. Den Min Jesus, lad mit hjerte få fra 1914 er en koralmelodi, som Carl Nielsen selv holdt så præcise naturlyrik i Yndigt dufter Danmark pirker til alle følelserne for den skrøbelige meget af, at han brugte den i sin fremragende Blæserkvintet fra 1922. Pudsigt nok havde danske skærsommer, hvor forelskelser nærmest trylles ud af det blå. han problemer med at lave harmoniseringen af sin egen melodi og måtte søge hjælp Også Ib Nørholm (f. 1931), der siden 1950’erne har været en af Danmarks mest hos en yngre kollega, organisten Paul Helmuth. Kun melodien er af Nielsen, resten er alsidige og produktive modernister, vedkender sig gerne traditionerne og har side om Hellmuth, og det partnerskab var de begge tilfredse med. Hellmuths kommentar til side med komplekse orkesterværker skrevet enkle strofiske sange. Han er desuden en resultatet udtrykker endnu en dansk tradition: “Jeg har gjort den så enkelt som muligt”. af de få moderne komponister, der de senere år har brugt tillægsordet “dansk” i sine Jens Cornelius, 2013 værktitler. “Jeg har altid godt kunnet lide at gå på tværs af den almindelige mening!”, siger Nørholm selv. I cyklusen Mine danske kilder fra 1994 gælder det de inspirationskilder, Nørholm finder i den danske natur (han tilbringer så meget tid som muligt på smukke Samsø midt i Kattegat), men titlen peger også på den danske poesi som kilde. Sangene har tekster af fire yndlingsdigtere fra hans egen generation samt et vers af Christine Brahe fra renæs- sancen, som Nørholm faldt over ved et tilfælde. Tilsammen danner de en buket betragtninger om den verden, mennesket er sat i. Forskellen på himmel og jord afspejles i Jeg ser de lette skyer, der skaber en kontrast mellem de drivende skyer og rodfæstningen hos “mig der står på jorden”. Rækkefølgen er omvendt i Wi saais nu, der begynder som solid koral, mens mennesket hviler som vintersæd i den frosne jord, og vokser i spirende flerstemmighed, når forårslyset kommer. Naturen som inspiration hyldes i Fugleflokke, hvor trækfuglene tegner kileskrift og hjerteformer på himlen, mens der sarkastisk spørges “Er det galt at vegetere?” i den nai- vistiske vise Innocens den liggende. Som eftertænksom afslutning står Fadet fra Hangchou midt i en dansk have, hvor himlen er tegnet i glasuren på den tusindårgamle keramik. Mange danske vers og sange fra de sidste 200 år er præget af en “ude godt, men hjemme bedst”-holdning. Carl Nielsens sang Jeg bærer med smil min byrde fra 1915 er en ærkeprotestantisk hymne om glæden ved det hårde arbejde, hvor der ikke skal ret meget 12 13 Carl Nielsen Carl Nielsen mens solen stiger af jorden the sun from the earth is lifting Min Jesus, lad mit hjerte få Oh Jesu mine, may my heart learn imellem oksernes horn! its disc ’mongst the oxens’ curved horns! (N.F.S. Grundtvig) (N.F.S. Grundtvig) 1 Min Jesus, lad mit hjerte få Oh Jesu mine, may my heart learn Jeg ser over tindrende marker Past bright-sparkling meadows I’m gazing en sådan smag på dig, for you to hunger so og langt mod den blånende fjord, way out to the far bluish fjord, at nat og dag du være må that night and day my soul will yearn jeg stirrer på sejlende arker, I’m staring at arks that are sailing, min sjæl umistelig! you never to forgo! men finder ej tolkende ord. but no words I find that accord.

Da bliver nådens tid og stund Then mercy’s time and hour shall be Jeg slænger skalmejen for munden, My lips to my shawn I now pucker mig sød og lystelig, most sweet and joyous too, jeg trækker så lang dens lyd, and let its sound bleat o’er the lea, til du mig kysser med din mund until one day your kiss takes me at kilderne klukker i lunden, till springs in the grove start to chuckle, og tager hjem til dig. from this life home to you. og bukkene bræger af fryd! and goats begin braying with glee!

Mit hjerte i den grav, du lå In that same grave where you did bide Hvor kan I dog gruble og græde, How can you keep brooding and weeping til påskemorgen rød, till Easter morn’s first breath, så længe Guds himmel er blå! while all of God’s heaven is blue! lad, når det aftner, hvile få may my heart rest at eventide Mit hjerte skælver af glæde, My heart with joy can’t stop leaping og smile ad sin død! and smile at its own death! blot duggen dynker et strå. at grassblades sprinkled with dew.

Før så mig arme synder hjem Then take me home, poor sinner I, Underlige aftenlufte Airs of evening, strange thoughts forming med din retfærdighed in righteousness and love (Adam Oehlenschläger) (Adam Oehlenschläger) til dit det ny Jerusalem, to your Jerusalem on high, 3 Underlige aftenlufte! Airs of evening, strange thoughts forming! til al din herlighed! to glory up above! hvorhen vinker I min hu? where then would you lead my mind? Milde, lune blomsterdufte! Scents of flowers, mild and warming! Jeg bærer med smil min byrde I bear with a smile my burden sig, hvor hen I bølger nu. tell me where you are inclined. (Jeppe Aakjær) (Jeppe Aakjær) Går I over hviden strand Will you waft o’er sands so clear 2 Jeg bærer med smil min byrde, I bear with a smile my burden, til mit elskte fødeland? to my native land so dear? jeg drager med sang mit læs, I haul with a song my load, Vil I der med eders bølger Will your waves there be revealing jeg er som den vilde hyrde, I’m just like the untamed herdsman tolke, hvad mit hjerte dølger? what my heart has been concealing? der genner sit kvæg på græs. who cattle to grass would goad. Matte sol! bag bjergets stene Dimming sun! soon mountain stone will Se, duggen driver fra norden Look, dew from the north is drifting luerød du daler ned, hide your flame-red disc from sight, hen over det bøjede korn, out over the bowed golden corn, og nu sidder jeg alene soon I’ll sit here all alone, will

14 15 i min dunkle ensomhed. taste the solitude of night. Kun kærlighedsguden, Love’s god’s on the wing, though Hjemme var der intet fjeld, No such peaks there were back home, den stakkel, er blind; he’s blind as can be; ak! så er jeg ude vel, ah! it is abroad I roam, han flagrer mod ruden, flits there at the window, skal i nat ej barnligt blunde will not childlike slumber sweetly man lukker ham ind. is let in for free. i min Herthas grønne lunde. where my Hertha’s green groves greet me. Majsang May song Stille! stille! hisset gynger Hush now! Yonder boat’s aquiver, (J.H. Voss) (J.H. Voss) båden mellem siv og krat, rocking midst the reeds and brush, 5 O, den skønne, skønne maj! Oh, the lovely month of May! sødt en mø ved cithren synger there a maid sings to a zither Rundt på mark og høje Field and hill with showers i den tavse, lune nat. in the night so still and lush. står med åbent øje of small, open flowers Hvilke toner! milde lyst! Hear those notes! Oh, sweet desire blomster små på hver en vej. greet us all along our way. hvor du strømmer i mit bryst! how my breast you now inspire! O, den skønne, skønne maj! Oh, the lovely month of May! Men hvad savner jeg, og græder, What’s still lacking, why my weeping, mens hun dog så venligt kvæder? at her song that’s so in keeping? O, natur, hvor skøn er du! Oh, how lovely nature is! Træets knopper svulmer. Buds on trees are swelling. Tager ej min sang for andet Take my song for nothing more than Livet stille ulmer In each seed there’s dwelling end et ufrivilligt suk! just a sigh that me beguiled! i hvert lille frøkorn nu. life awaiting spring’s first kiss. Længselsfuldt heniler vandet, Longingly the waters course and O, natur, hvor skøn er du! Oh, how lovely nature is! aftnen er så blid og smuk. this fine evening is so mild. Mangen sådan aftenstund Many such an evening hour O, hvor jubler glædens klang! Oh, rejoicings all day long! sad jeg i min kære lund, would I sit in my dear bower, Lammet går hos kvien, Lamb with calf is springing, mindet vender nu tilbage, memories are unrelenting, nattergal og bien nightingales are singing, det var årsag i min klage. which is why I’m now lamenting. fløjte, summe vårens sang. bees are humming May’s glad song. O, hvor jubler glædens klang! Oh, rejoicings all day long! Fr. Kuhlau Fr. Kuhlau Nu løvsalen skygger Now bowers offer shadow C.F.E. Weyse C.E.F. Weyse (Johan Ludvig Heiberg) (Johan Ludvig Heiberg) Wandrers Nachtlied Wayfarer’s night song 4 Nu løvsalen skygger Now bowers offer shadow (J.W. von Goethe) (J.W. von Goethe) og dagen er lang; and days need less rest, 6 Über allen Gipfeln Over all the hill-tops hver småfugl nu bygger in spring’s flowering meadow Ist Ruh, Is rest. i blomstrende vang. each bird builds its nest. In allen Wipfeln In all the tree-tops Spürest du Ever less

16 17 Kaum einen Hauch; Breeze leaves a sign. i sin kåbes stråleflor in his cloak of gauze-like threads Die Vögelein schweigen in Walde. The wood’s birds no longer are calling. favner han alverdens glade vrimmel. he enfolds the world so gaily teeming. Warte nur, balde Quiet now, – dusk’s falling, Ruh’st du auch. Rest will be thine. Sol ser ind i slot og vrå, Rich man, poor man, great and small, ser på drot og tigger, on them both sun’s peeping, Barcarole Barcarole ser til store, ser til små, from above he sees them all, (J.E. Heiberg) (J.E. Heiberg) kysser barnet, som i vuggen ligger. kisses infants in their cradles sleeping. 7 Natten er så stille, Calm the night, unstirring, luften er så klar, And the air so clear. Os han også favne vil, Us the angel from on high duggens perler trille, Pearls of dew uncurling, englen i det høje; too would be embracing; månens stråler spille Moonlight rays unfurling os han også smiler til, us he smiles at from the sky, hen ad søens glar. ’Cross the glassy mere. englen med Guds himmelglans i øje. as God’s heav’nly gleam he’s tracing.

Bølgens melodier Dulcet waves appeasing Os har og vor Herre kær: Us too does our Lord hold dear: vugge hjertet ind, Heart that yearns for rest, ingen sjæl han glemmer; on each soul he gazes; suk og klage tier, Sighs and sorrows ceasing, i hvert solglimt Gud er nær in each sunbeam God is near vindens pust befrier Breath of wind releasing og vor glade morgensang fornemmer. and he hears our joyous morning praises. det betyngte sind. Mind so long oppressed. J.P.E. Hartmann J.P.E. Hartmann Lysets engel går med glans Gleaming bright, light’s angel see Folkevise (af op. 86) Folk song (from op. 86) (B.S. Ingemann) (B.S. Ingemann) 9 I våren knoppes en lind så grøn In springtime there buds a lime so green 8 Lysets engel går med glans Gleaming bright, light’s angel see med liljer og martsviol; with lilies and violets too; gennem himmelporte. pass through heaven’s portal. derunder sidder en jomfru skøn where sits a maiden fair as a queen For Guds engels strålekrans All of night’s black shadows flee og syr mod den klare sol. who sews with the sun in view. flygte alle nattens skygger sorte. at God’s angel’s radiance immortal. Selv er hun ligest en sol i vår With spring sun one could her best compare Sol går over verden ud God’s light in his eye, the sun som æblet er hendes kind; like apples her cheeks are round; med Guds lys i øje: o’er the world is gliding: når hun for spejlet slår ud sit hår, when at the mirror she shakes her hair se! Vorherres sendebud see! God’s envoy has begun, det falder som blomster fra lind. like lime-blossom does it float down. går på gyldne skyer i det høje. high above on golden clouds he’s riding. Selv er hun et spejl udaf renest glar, She is a mirror of purest glass, Englen spreder over jord O’er the earth the angel spreads der kender ej plet og brist; no flaw or stain dulls its shine; glansen fra Guds himmel, God’s skies in their gleaming, 18 19 hun leger på streng med en hånd så snar she plays on the strings with a hand as fast thi du og jeg er som dagens skær for you and I are like day’s bright hue som solen på lindens kvist. as sunlight on branch of lime. og som nattens mørkhed at ligne. and like night’s great darkness entire.

Som solen fanges af lindens blad, As sunlight’s caught in the lime-leaves’ dance, NIELS W. GADE NIELS W. GADE så fængsler hun sans og sind, she captures both sense and mind, Kong Valdemars jagt King Valdemar’s hunt så har hun mig bundet med tryllekvad her magic spell has me quite entranced, (B.S. Ingemann) (B.S. Ingemann) og fanget mit hjerte ind. my heart is to her consigned. 11 På Sjølunds fagre sletter On Sjølund’s plains so pleasing Hun har fanget mit hjerte ind. And my heart is to her consigned. ved Østersøens bred, down by the Baltic shore, hvor skoven kranse fletter where woods with wreaths are friezing Jeg ved, jeg vorder I know I’ll never be dear to you om engens blomsterbed, the flower-strewn meadow-floor, 10 Jeg ved, jeg vorder dig aldrig kær I know I’ll never be dear to you hvor sølverkilden glider where silver streams now softly og kan dig ret aldrig hue; to please you I can’t aspire, nu ved ruinens fod, glide past the ruin’s foot, thi du og jeg er som dagens skær for you and I are like day’s bright hue dér stolt i gamle tider in ancient times a lofty og som nattens mørkhed at skue. and like night’s great darkness entire. en kongebolig stod. royal castle there once stood.

Som natten haver så stor attrå As night’s sole yearning is from afar I borgens gyldne sale In golden halls so stately mod dagen stadig at vanke, in search of daytime to wander, sig rørte muntert liv, a merry life was led, så følger dig hvor du end må gå my thoughts and longings, where’er you are, der hørtes skæmtsom tale where all did pleasure greatly min længsel og al min tanke. will follow you and grow stronger. og lystigt tidsfordriv: and jesting words were said: kong Valdemar dér bygged King Valdemar had built there Og kunne jeg sanke fra havsens bund And could I but gather from deep sea bed så fast sit kongehus, his stronghold to defend de tusind koraller røde, pink coral sprays in profusion, som det hans liv betrygged, his life against all ill there jeg gav dem bort for din fagre mund I’d trade them all for your lips so red til verden sank i grus. until the world should end. som voldte mig sorg og møde. that caused me such grief and confusion. Med lystig jægerskare With hunters he went riding, Og plukked jeg og hver blomst på jord, And though I picked flowers of every size, på hviden ganger fløj upon his milk-white steed, de vare fuld favr en skare, a myriad flowers most sightly, den konge tit med fare o’er hill and dale, fast striding jeg fandt dog ingen fra syd til nord from north to south I would find no eyes hen over stub og høj; no danger did he heed; som havde øjne så klare. whose clearness stood out so brightly. men i den raske glæde, but at the hounds’ loud baying, ved jægerhornets klang the horn’s shrill calls far-flung, Dig vogte de hellige engles hær May guardian angels watch over you, de glemte tit at bede they all forgot their praying og himlen din skønhed signe; and heav’n to bless you conspire, og høre messesang. no holy mass heard sung.

20 21 I muld for længe siden Long since deep in the earth has jeg må ikke længer bide.” for I may stay no longer.’ kong Valdemar er lagt, King Valdemar been laid, Udi Ringsted hviles Dronning Dagmar. And in Ringsted now rests young Queen Dagmar. men sælsomt gennem tiden in legends strange and terse has går sagnet om hans Jagt. his Hunt though been portrayed. Niels W. Gade (1822-1890) Niels W. Gade Tit korser arme bonde The farmer, poor man, crosses Fra Fünf Gesänge, op. 13 from Fünf Gesänge, op. 13 sig end på natlig sti, himself aghast from fright 2. Die Wasserrose 2. The water-lily hvor jægere og hunde when hounds and hunters’ horses (Emanuel Geibel) (Emanuel Geibel) ham suse vildt forbi. tear past him late at night. 13 Die stille Wasserrose The quiet water-lily Steigt aus dem blauen See, Mounts from the blue lake’s glow, Dronning Dagmars død Young Queen Dagmar’s death Die Blätter flimmern und blitzen, Her leaves are glitter and sparkle, 12 Dronning Dagmar ligger i Ribe syg, Young Queen Dagmar ailing in Ribe lies, Der Kelch ist weiß wie Schnee. Her calyx white as snow. til Ringsted lader hun sig vente: in Ringsted she was expected. og alle de fruer, i Danmark er, and all of the ladies ’neath Denmark’s skies , Da gießt der Mond vom Himmel The moon then from the night sky dem lader hun til sig hente. to her must now be collected. All’ seinen gold’nen Schein, Pours all its golden light, Udi Ringsted hviles Dronning Dagmar. And in Ringsted now rests young Queen Dagmar. Gießt alle seine Strahlen Pours all its rays of moonshine In ihren Schoß hinein. Into her lap so bright. Liden Kirsten ind ad døren tren Little Kirsten in through the door then came med tugt og favren sinde; with mind most pure did she face her, Im Wasser um die Blume Around the flower there circles Dronning Dagmar står hende op igen, Young Queen Dagmar bid her rise up again, Kreiset ein weißer Schwan, A swan at this late hour så vel hun favnede hende. most warmly did she embrace her. Er singt so süß, so leise, It sings so sweetly, softly, Udi Ringsted hviles Dronning Dagmar. And in Ringsted now rests young Queen Dagmar. Und schaut die Blume an. And looks straight at the flower.

“Vil Gud det have, det må så ske, ‘If God so will it, then so shall it end, Er singt so süß, so leise, It sings so sweetly, softly, og døden stander mig fore. my death draws nigh ever faster. Und will im Singen vergehn. In singing seeks to die. I sende straks bud til Skanderborg, To Skanderborg town a messenger send, O Blume, weiße Blume, Oh flower, fine white flower, I finder min herre dere.” for there you will find my master.’ Kannst du das Lied verstehn? You know my song’s great sigh? Udi Ringsted hviles Dronning Dagmar. And in Ringsted now rests young Queen Dagmar. 4. Im Herbst 4. In autumn Og dronningen sig over øjen strøg, The queen her eyes stroked one last time, (Ludwig Tieck) (Ludwig Tieck) hendes kinder gjordes så hvide. her pallor it grew stronger. 14 Feldeinwärts flog ein Vögelein Into the fields a small bird flew “Nu ganger himmerigs klokker for mig, ‘Now heaven’s bells all start to chime Und sang im muntern Sonnenschein And in glad sunshine it anew Mit süßem, wunderbarem Ton: Did sing with sweet and wondrous tone:

22 23 Ade, ich fliege nun davon. Farewell, for I will soon be gone: Und fall’n am rechten Orte ein Just where they should do lend a hand Weit, weit Away Mit Rauschen. And rustle. Reis ich noch heut. I’m bound today. Und weiter wandelt Schall und Hall And on and on the echoes sail Doch als ich Blätter fallen sah, Yet when I saw the leaves all fall, In Wipfeln, Fels und Büschen, In tree-tops, crags and bushes, Da sagt ich: Ach, der Herbst ist da, I said: Ah, autumn’s cruel call, Hell schmettert auch Frau Nachtigall With cries that Mrs Nightingale Der Sommergast, die Schwalbe, zieht, The swallow, summer’s guest, departs, Dazwischen. Outgushes. Vielleicht so Lieb’ und Sehnsucht flieht As love perhaps and longing hearts Weit, weit So fast, Da fühlt die Brust am eignen Klang, And then my breast feels before long Rasch mit der Zeit. Their time won’t last. Sie darf sich was erkühnen. Much bolder, fine of stature. O frische Lust: Gesang, Gesang Oh sweet fresh air: Oh Song, oh song Doch rückwärts kam der Sonnenschein, The sunshine though returned again Im Grünen! In nature! Dicht zu mir drauf das Vögelein, And right up close the small bird came, Es sah mein tränend Angesicht It saw my face so full of tears Thomas Laub Thomas Laub Und sang: Die Liebe wintert nicht. And sang: Love does not winter here. Stille, hjerte, sol går ned Still, my heart, now sets the sun Nein, nein! Oh no! (Jeppe Aakjær) (Jeppe Aakjær) Ist und bleibt Frühlingsschein. It’s always springtime’s glow. 16 Stille, hjerte, sol går ned, Still, my heart, now sets the sun, sol går ned på heden, While the moor is resting, 5. Im Wald 5. In forest glade dyr går hjem fra dagens béd, Herds now homeward are begun, (Emanuel Geibel) (Emanuel Geibel) storken står i reden. And the stork is nesting. 15 Im Wald, im hellen Sonnenschein, In forest glade, in sun’s bright ray, Stille, stille, hjerte, sol går ned. Still, my heart, now sets the sun. Wenn alle Knospen springen, When bud to leaf is springing Da mag ich gerne mittendrein I happily on one such day Tavshed over hedesti O’er the moor-path silence falls Eins singen. Start singing. og langs veje krumme. As on roads so winding. En forsinket humlebi A late bumblebee is all Wie mir zumut in Leid und Lust, Just how I feel in joy and pain ene høres brumme. Keenest ears are finding. Im Wachen und im Träumen, In waking and in dreaming, Stille, stille, hjerte, sol går ned. Still, my heart, now sets the sun. Das stimm’ ich an aus voller Brust To trees my song with might and main Den Bäumen. I’m beaming. Viben slår et enligt slag Briefly now the lapwing flies over mosedammen, O’er the bog-pond’s blushes, Und sie verstehen mich gar fein, And me they always understand, før den under frytlens tag Ere it folds its wings and lies Die Blätter alle lauschen, The leaves all cease their hustle, folder vingen sammen. ’Neath a roof of rushes. Stille, stille, hjerte, sol går ned. Still, my heart, now sets the sun. 24 25 Fjerne ruder østerpå Eastern window-panes afar et vore tanker; both of our minds were; blusser op i gløden, Flare up in the gloaming, et var vor himmel, vor tro og vort håb, one was our heaven, our hope and our faith, hededamme bittesmå Moorland ponds like tiny stars et, som vor kærligheds dåb. one, in love’s baptism safe. spejler aftenrøden. Catch the sunset’s homing. Stille, stille, hjerte, sol går ned! Still, my heart, now sets the sun! Drømmende vugged vi Dreaming we rocked as in som over havet, seas that us carried, Peter Heise Peter Heise vækkende sukket, i waking the sigh that in Natten var mild og kær Mild was the much-loved night længsel begravet; longing lay buried; (Christian Winther) (Christian Winther) hilste vor stjerne, greeted our star that 17 Natten var mild og kær, Mild was the much-loved night, som fra den fjerne far beyond far had stille og dunkel, silent and sombre, evighed havde formælet vort navn, – once and for evermore wedded our name, – skjult var bag skyen hver clouds hid away from sight salige, favn udi favn! blesséd pair, one and the same! stjernes karfunkel. each star’s bright amber. Vi var så ene! We were as one now! Svend S. Schultz Svend S. Schultz Lindenes grene Watched as the lime bough Yndigt dufter Danmark Sweet is Denmark’s fragrance sagteligt svæved vort vindve forbi, floated so gently past our window-pane, (Ulf Hoffmann) (Ulf Hoffmann) alt var en sød melodi. all was a lovely refrain. 18 Yndigt dufter Danmark i skærsommerluften, Sweet is Denmark’s fragrance at mærk, hvor lyset, duften næsten hvisker: Tøv. midsummer’s coming Vi var så ene med Our hearts were one with Hør, hvor drosler, stære nærmer sig det nære, feel the light, scents, humming almost os og vort hjerte; no thought of tomorrow; lykken ved at være, whisper: Stay! urørt forbi os gled untouched straight past us slid skønt skærsommers løv Starlings, thrushes, hear them, joy will soon mindet om smerte, memories of sorrow, snart, for snart er støv. draw near them, mindet om storme; storms now departed; Støv og støv og støv. new life come to cheer them, nagende orme hurts that once smarted though the leaves soon must, glemsel indhylled’ i dvale jo lå – shrouded in torpor oblivion lay – all too soon, be dust. der var kun et, som vi så. we saw but one thing that day. Dust and dust and dust.

Smeltet til et var jo Melted to one were our Yndigt dufter Danmark Sweet is Denmark’s fragrance livsfyldens kerter, candles bright-burning, i skærsommernatten, in midsummer’s night now, et vare begge to hearts that at every hour drøm at du er atten dream that you’re eighteen, how bævende hjerter; quivered with yearning; og har dugget hår. your hair’s moist with dew. fletted’ som ranker like twining vines there Hyld langs alle veje Elders lining pathways

26 27 og en kåd skalmeje: and a shawm’s glad forays: Wi saais nu In God’s rich soil ønsker du at eje would you own them always 20 (Christine Brahe, 1602) (Christine Brahe, 1602) alt, før alt forgår ere all disappears Wi saais nu i Guds urtebed, In God’s rich soil our bed is made, i hvor mange år? for how many years? I Guds kiere børns gaarde, In God’s dear children’s garden, År og år og år. Years and years and years. I Guds ager leggis wi hans Sæd. In God’s field we his seed are laid Huile om vintreren hin haarde: To rest when frosts all harden: Yndigt dufter Danmark Sweet is Denmark’s fragrance Naar vaaren kommer oc solen skin, When spring comes and the sun does shine. i skærsommerregnen, in midsummer’s showers, Opuoxe wi met herlighed fin, We’ll grow magnificent and fine find ved daggry egnen find at daybreak bowers De deilige fruct, The wondrous fruit, i en em af vin. in a haze of wine. Til deilige fruct oc grøde. To wondrous fruit and harvest. Skjulte nattergale, Nightingales still hidden, vakt af himmelsk dvale, from sweet slumber risen, Fugleflokke Flocks of birds får dig tyst i tale: hear you ask unbidden: (Poul Borum) (Poul Borum) Vil du være min? Will you be my own? 21 De tegner et sprog, They describe a language, Jeg er altid din. I am yours alone. ingen tvivl om dét! no doubt about that! Din og din og din. Yours and yours alone. De fugle kiler sig fra vest mod øst. The birds skein from west to east. De er uden på himlen, They’re on the outside of the sky, Ib Nørholm Ib Nørholm og i formationer. and in formations. Mine danske kilder My Danish Wells Bevægelige hjerter, Hearts in motion, De lette skyer The light clouds ingen tvivl om dét. no doubt about that. (Inger Christensen) (Inger Christensen) De søskend’ trygger sig They kinlike nestle 19 Jeg ser de lette skyer I see the light clouds og næbbes i flugten. bill and coo while flying. Jeg ser den lette sol I see the light sun Næsten for flygtige Almost too fleeting Jeg ser hvor let de tegner I see how lightly they describe til at kaste skygger. to cast shadows. et endeløst forløb an endless course Bevægelsesmønsters forvisning. The pattern of movement’s banishment. Som om de føler tillid As if they have trust Ingen tvivl om dét. No doubt about that. Til mig der står på jorden In me, standing on the earth Som om de ved at jeg As if they know that I Innocens den liggende Innocence the supine Er deres ord Am their words (Asger Pedersen) (Asger Pedersen) 22 Græs i næse, dyr i øre, Grass in nose, creatures in ear, sol på lukket øjelåg … sun on closed eyelid ... jeg mener juni, juni, juni. I mean June, June, June.

28 29 Kan fra mine vipper springe Can leap down from my eyelashes Ars Nova Copenhagen is widely recognized as one of the finest vocal ensembles in ubesværet ned på knæet. effortlessly onto my knee. Europe. Founded in 1979, the ensemble is today busier than ever. In addition to its Kan fra mine vipper springe … Can leap down from my eyelashes annual season of concerts in Copenhagen and throughout Denmark, the ensemble jeg mener græshoppen, græshoppen. I mean the grasshopper, the grasshopper. regularly appears across Europe, and in North and South America. At the heart of Ars Jetmaskinens hvide stribe The white streak of the jet plane Nova Copenhagen’s work is its equal dedication to early music and new music. Since the ligner næsten skrift på væggen … almost looks like writing on the wall ... beginning, Ars Nova has worked closely with some of the most important Danish and jeg mener tekel. I mean tekel. Scandinavian composers, and the group is also building collaborations with creative art- Er det galt at vegetere? Is it wrong to vegetate? ists in different fields such as drama, film and dance, as well as cultivating new modes of Bør man også mene noget? Should one have an opinion too? Jeg mener, nej! I mean, no! concert performance and innovative repertoire. Ars Nova records a number of CDs each year – both on its own record label, Ars Nova Records, and for labels such as Dacapo and Fadet fra Hangchou The dish from Hangchou Harmonia Mundi. Ars Nova Copenhagen is sponsored by The Danish Cultural Minis- (Jørgen Gustava Brandt) (Jørgen Gustava Brandt) try and a number of private Danish foundations. 23 Uventet står på bordet i min have On the table in my garden stands unexpected det grå, årtusindgamle fad. the grey dish, thousands of years old. Paul Hillier has been Artistic Director and Chief Conductor of Ars Nova Copenhagen En gave. I vægtigt gods: A gift. In weighty goods: since 2003. Founding director of the Hilliard Ensemble, and subsequently of Theatre Et rum af lette skyer, A space of light clouds, of Voices, his career has embraced singing, conducting, and writing about music. His en krakeleret himmel før det gryer. a crackled sky before daybreak. books about Arvo Pärt and Steve Reich, and numerous anthologies of choral music, Jeg sænker blik og mund mod havets bund I lower my gaze and mouth towards the sea-bed are published by Oxford University Press. He has taught at the University of California og drikker svimmelhed til sjælens grund. and drink in dizziness to the ground of my soul. at Santa Cruz and Davis, and from 1996-2003 was Director of the Early Music Institute Og træ og land, erindring, tyngde, And tree and land, memory, gravity, at Indiana University. In 2006 he was awarded an OBE for services to choral music. In svinder i himmelgrønt og glat. dwindle into sky-green and smooth. 2007 he received the Order of the White Star of Estonia, and was awarded a GRAMMY Og intet binder. And nothing binds. Det er, som om jeg letter, svæver, It’s as if I rise up, hover, for Best Choral Recording (with the Estonian Philharmonic Chamber Choir). In 2008 he stiger, som en beruset, sløret junimåne soar, like a drunken, veiled June moon was appointed Artistic Director and Chief Conductor of the National Chamber Choir of i intethedens evigt tyste riger. into the eternally silent realms of nothingness. Ireland, and in 2009 was invited to form the new Coro Casa da Musica in Porto, Portugal. Min fred er den, der vides ydmygt gemt My peace is that which expands meekly hidden He won a second GRAMMY in 2010 (with Theatre of Voices and Ars Nova Copenhagen). bag vind og orgels sprøde, mindste tone. behind the wind and the most frail faint note Og over al forstand. Hvor alt er glemt. of the organ. And beyond all comprehension. Where everything’s forgotten.

30 31 Ars Nova Copenhagen blev dannet i 1979 og regnes i dag blandt Europas førende vokalensembler. Ved siden af sin årlige koncertsæson i København og rundt i landet turnerer ensemblet regelmæssigt i Europa og Nord- og Sydamerika. Arbejdet med den ældre og den nye musik udgør kernen i Ars Nova Copenhagens kunstneriske virksom- hed. Ars Nova har siden begyndelsen arbejdet tæt sammen med førende danske og skandinaviske komponister og indgår i samarbejder med kunstnere inden for andre kunstretninger som drama, film og dans. Ensemblet er i det hele taget konstant op- mærksomt på nye koncertformer og innovativt repertoire. Ars Nova indspiller flere cd’er om året, både på sit eget plademærke, Ars Nova Records, og for selskaber som Dacapo og Harmonia Mundi. Ars Nova Copenhagen modtager støtte fra Kunstrådet og fra en række private danske sponsorer.

Paul Hillier har været kunstnerisk leder og chefdirigent for Ars Nova Copenhagen siden 2003. Han var stifter og medlem af Hilliard Ensemblet og leder i dag Theatre of Voices. Paul Hillier har i løbet af sin karriere virket som sanger, dirigent og forfatter til litteratur om musik. Hans bøger om Arvo Pärt og Steve Reich samt adskillige antologier om kormusik er udgivet på Oxford University Press. Han har undervist på University of California i Santa Cruz og Davis, og han var leder af instituttet for tidlig musik ved In- diana University fra 1996-2003. I 2006 modtog Paul Hillier en O.B.E. (Order of the British Empire) for sin indsats for kormusikken. I 2007 fik han Den Hvide Stjernes Orden af 4. grad for sin indsats i estisk musikliv og vandt en GRAMMY for Best Choral Recor- ding med det Estiske Filharmoniske Kammerkor. I 2008 blev Paul Hillier udnævnt til kunstnerisk leder og chefdirigent for Irlands Nationale Kammerkor, og i 2009 blev han inviteret til at stifte og lede Coro Casa da Musica i Porto, Portugal. Han vandt sin anden GRAMMY i 2010 med Theatre of Voices og Ars Nova Copenhagen. ARS NOVA COPENHAGEN

32 33 ARS NOVA COPENHAGEN d Recorded at Garnisons Kirke on May 19 and 20, 2011 (Nielsen, Weyse and Nørholm) Soprano and May 28, 30 and 31, 2012 (Kuhlau, Hartmann, Gade, Laub, Heise and Schultz) Else Torp Recorded by TimbreMusic, www.timbremusic.dk Ann-Christin Wesser Ingels Recording producer: Preben Iwan Signe Asmussen * Sound engineer: Preben Iwan Hanna Kappelin ** Recorded in the DXD audio format (Digital eXtreme Definition), 352.8 kHz / 32bit. Louise Skovbæch Korsholm ** Main array: 3x DPA 4006TL & 2 x 4011TL microphones for surround channels. DAD AX24 converters/preamps, Pyramix DAW system with Tango Controller. Alto Monitored on B&W 802 Diamond speakers. Ellen Marie Christensen and © 2014 Dacapo Records, Copenhagen Kristin Mulders Liner notes: Jens Cornelius Linnea Lomholt * English translation: James Manley (liner notes); John Irons (song texts) Kirsten Grove ** Proofreader: Svend Ravnkilde Rikke Lender ** Photo p. 32: © Ditte Capion Artwork: Denise Burt, www.elevator-design.dk Tenor Tomas Medici * Publishers: Edition Wilhelm Hansen, www.ewh.dk (Nielsen, Kuhlau 4 , Weyse 7 , Hartmann, Gade 12 , Laub, Heise, Schultz), Carus Verlag, www.carus-verlag.com (Gade 13 - 15 ), Jakob Skjoldborg Edition Kontrapunkt, www.steeplechase.dk (Nørholm) Adam Riis Paul Bentley ** Dacapo Records acknowledge, with gratitude, the financial support of Magister Jürgen Balzers Fond, Etats raad Georg Bestle og Hustrus Mindelegat, Weyse Fonden and Carl Nielsens og Anne Marie Carl-Nielsens Legat Luís Toscano ** 6.220568 Bass Asger Lynge Petersen Jakob Soelberg Thomas Kiørbye Jakob Bloch Jespersen **

* Recording session 2011 1 - 3 6 - 8 19 - 23 Dacapo Records, Denmark’s national record label, was founded in 1986 with the purpose of ** Recording session 2012 4 - 5 9 - 18 releasing the best of Danish music past and present. The majority of our recordings are world premieres, and we are dedicated to producing music of the highest international standards.

34 35