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GUSTAV (1860–1911) Das Lied von der Erde (The Song of the Earth)

1. Das Trinklied vom Jammer der Erde 4. Von der Schönheit (The of the (Beauty) 7:46 Earth’s Sorrow) 9:00 5. Der Trunkene im Frühling 2. Der Einsame im Herbst (Wine in Spring) 5:06 (Autumn Loneliness) 9:47 6. Der Abschied 3. Von der Jugend (The Farewell) 30:30 (Youth) 3:40 Das Lied von der Erde

St. Luke’s Chamber Ensemble George Manahan, conductor

Jennifer Johnson Cano, mezzo-soprano Paul Groves,

SLC 3011 — & © 2012 of St. Luke’s GUSTAV MAHLER (1860–1911) The individual may deal with the inevitable concerts. A number of orchestral works were passing of all things by choosing to drink reduced to the dimensions of a large piece Das Lied von der Erde (The Song of the Earth) and forget, by swathing oneself in sadness, of for this organization. This by recalling (or envying) the joys of youth, was, of course, a cost-cutting device, but Arranged for chamber ensemble by and Rainer Riehn by concentrating on the doleful fact that it also demonstrated that modern works by even beauty passes away, by developing a such as Debussy did not require Das Lied von der Erde is Mahler’s most learned from the doctor that he, too, had a particularly acute sensitivity to natural beauty, the full orchestra to convey their essence. perfect work and one of the most poignantly heart lesion and would live under a medical or by means of a poignant and nostalgic expressive compositions in the entire sentence of early death. The next summer departure. All of these responses are to be In the case of Das Lied von der Erde, the literature of music. It is music of farewell from he began to sketch some settings from a found in the individual songs of the work, and score contains a number of thematic kernels a man who knows that he has but a short collection of 83 Chinese poems in a German sometimes in the same text. that Mahler used elsewhere for his expressive time to live. Yet there is nothing dismal or rendering by Hans Bethge. The book The purposes—the assertive fourth, rising or dreary about the work. Mahler was a man Chinese Flute, a collection of poems already As in the Ninth , which is the falling (as at the opening, challenging the who loved life, and had reveled in it actively. a thousand years old, had been a gift from companion piece of Das Lied von der Erde, singer’s mortality), the rising minor third, His leave-taking is that of one who still recalls Theobald Pollak. Mahler turned to it at a Mahler’s textures are clear and transparently and—most eloquent of all—the descending the pleasures and the beauties that he is moment when he was particularly aware of scored, but essentially polyphonic, with second, a single downward step, which soon no more to enjoy. It is among Mahler’s his own mortality, and found poems that intertwining melodic lines that carry the becomes utterly unforgettable in its yearning most beautifully crafted scores, delicate and spoke directly to his condition. He chose music forward. The sound of the original at the very end of the score. In addition, rich in color, evocative in every detail. Like all seven texts from Bethge’s collection and set score often suggests a chamber ensemble, Mahler has sprinkled his score with the most of the greatest masterworks, it seems to be them as six movements (the last movement but one of enormous size. This fact no delicate chinoiserie, pentatonic figures that inventing itself afresh at every performance, is a setting of two poems separated by a doubt encouraged the idea of making a recall the original Chinese poetry. to be unfolding for the very first time. And, lengthy interlude). chamber version of the work for the Society like most of the greatest musical settings of for Private Musical Performances, which Mahler arranges the songs so that tenor and a text, its rhythms and contours, once heard, The title “The Song of the Earth” is slightly was organized after World War I, largely mezzo-soprano alternate throughout, the never leave the memory, but return to it misleading: there is no intimation that the by Arnold Schoenberg and a circle of his former generally having the more assertive whenever the words come to mind. earth itself is here; a fuller and more students and friends to present carefully music and moods, the latter having the most accurate title might have been “The Song of prepared performances of contemporary “internalized” expression. In 1906 Mahler tragically lost a young Life on This Earth,” for the six movements music before an audience of the society’s daughter to scarlet fever, and his mother-in- deal with human beings and their actions and members and their guests. No journalists law suffered a heart attack. At this time he perceptions in a world where all is transient. were allowed to write reviews of the 1. Das Trinklied vom Jammer der Erde and the frosts. All is world-weary, longing for entrance, just three short measures later, C in the double basses, the singer sets the (The Drinking Song of the Earth’s Sorrow) repose, though with enough energy left for lurches into B-flat. The inspired orchestration scene. The friend’s reply becomes warmer, a single outburst: “O love’s warm sunshine, is filled with special effects suggesting more sustained, more richly accompanied by A horn fanfare and an outburst of orchestral have you gone for ever, and will my burning the consequences of this overindulgence, the orchestra until it blossoms into a softly laughter set the scene in some drinking tears be never dried?” while the tenor is by turns assertive and shimmering with harps and resort, where the wine flows freely to drive off sentimental, finally declaring his full intention as the singer evokes the endless rebirth nagging thoughts of impending death. The 3. Von der Jugend (Youth) of staying drunk. of spring. Perhaps Mahler’s single most solo line, with this powerful orchestration, expressive stroke in the whole work is the requires a Heldentenor of Wagnerian The poem depicts a scene of young people final page for the mezzo-soprano, who four stamina. The singer furiously defies his grief thoughtlessly enjoying their youth in a 6. Der Abschied (The Farewell) times repeats “Ewig....ewig...” (“Ever...ever....”) and mortality with more wine, and still more porcelain pavilion in the middle of a carp The sixth and most profound of the songs with a two-note melodic figure that moves wine. Only when the text turns briefly to the pond, a scene familiar from much Chinese in Das Lied von der Erde lasts nearly a from E to D but never completes the final blue firmament and spring’s eternal renewal art (and imitations thereof). It is a simple half hour, as much as the previous five put step to the closing C; only the instruments does Mahler allow him a moment of peace— miniature, with the music of the opening together. Here, with the most delicate and of the orchestra, representing the endless but to no avail: “But thou, O man, how long stanza returning for the close. restrained of orchestral treatments, Mahler blossoming of nature, are able to bring that livest thou?“ Each stage of the opening intertwines thematic ideas that have been final repose. song ends with the refrain “Dunkel ist das 4. Von der Schönheit (Beauty) heard throughout the work. The text is filled Leben, ist der Tod” (“Life is only twilight, so with images of departure—the setting sun, This, too, is a delicate translation into music of For many years listeners and scholars is death”), each time appearing a semitone the moon’s light, the sound of the brook at a scene familiar from Chinese painting: young accepted at face value the depiction of higher (G minor, A-flat minor, ) until night, birds huddling for sleep, and the poet/ women pick flowers on the riverbank, and a Mahler in Alma’s memoirs as a man who was achieving the home key. singer longing to take a last farewell. All of group of horsemen gallops past, inspiring a obsessed with death, an emotional cripple. this Mahler treats with the most exquisite loving glance from one of the maidens. Yet any open-minded and open-hearted 2. Der Einsame im Herbst delicacy—totally without sentimentality or listening to Das Lied von der Erde forces us (Autumn Loneliness) dramatic posturing. An extended orchestral to challenge this view. The music is, without 5. Der Trunkene im Frühling interlude functions as a quiet funeral march. Autumn, of course, has always suggested question, valedictory. But it is, in John (Wine in Spring) As this builds to its climax and suddenly not only the closing of the year but also Donne’s phrase, a “valediction forbidding dies away, the final poem begins: a friend is the autumn of life. Over a gentle muted The poem praises drinking for its own sake, mourning,” a farewell from one who loved life saying farewell forever. It is not clear where scale figure in the violins, the sings its to excess, and Mahler’s music suggests that and celebrated it in music that reminds us all he is going or why he has to go, but he must. yearning melody, and the mezzo-soprano, the tenor has been taking his own advice: it how very precious it is. begins in the home key of A, but the tenor’s In a hushed recitative over a sustained low in weary sustained lines, sings of the mists Steven Ledbetter © 2008 Das Trinklied vom Jammer der Erde (The Drinking Song of the Earth’s Sorrow) Poem by

German English Schon winkt der Wein im goldnen Pokale, Das Firmament blaut ewig, und die Erde See how it gleams, with golden enticement, The blue of heaven is unchanging, Doch trinkt noch nicht, erst sing ich euch ein Lied! Wird lange fest steh’n But drink not yet, I’ll sing you my song! And unchanging the earth rolls onward Das Lied vom Kummer Und aufblüh’n im Lenz. I sing of sorrow, but laughter And blossoms in spring. Soll auflachend in die Seele euch klingen. Du aber, Mensch, wie lang lebst denn du? Within your heart must give answer. But thou, O man, how long livest thou? Wenn der Kummer naht, Nicht hundert Jahre darfst du dich ergötzen When such sorrow comes, Why not one hundred years canst thou take pleasure Liegen wüst die Gärten der Seele, An all dem morschen Tande dieser Erde! Dry is the soul, its gardens are withered, In all the rotten fruit of life’s long vanity! Welkt hin und stirbt die Freude, der Gesang. Fading and dead the pleasure of our song. Dunkel ist das Leben, ist der Tod. Seht dort hinab! Life is only twilight, so is death. See there! Over there! Im Mondschein auf den Gräbern In the moonlight, in the churchyard, Herr dieses Hauses! Hockt eine wild-gespenstische Gestalt. Host, I salute you! Gibbers a ghost with evil in its shape. Dein Keller birgt die Fülle des goldenen Weins! Ein Aff ist’s! Your cellar hides a treasure of gold in its veins! It is a monkey! Hier diese Laute nenn’ ich mein! Hört ihr, wie sein Heulen But I have a treasure of my own! Hear him, how his howling sounds strident Die Laute schlagen und die Gläser leeren, Hinausgellt in den süßen Duft des Leben. To strike the lute and to drink the wine-cup, In our life’s sweet scented morning. Das sind die Dinge, die zusammenpassen. These are the things that best consort together. Ein voller Becher Weins zur rechten Zeit Jetzt nehmt den Wein! A brimming cup of wine when hearts beat faint So raise your cups! Ist mehr wert als alle Reiche dieser Erde! Jetzt ist es Zeit, Genossen! Is better than all the kingdoms of the earth! The time has come, companions! Dunkel ist das Leben, ist der Tod! Leert eure gold’nen Becher zu Grund! Life is only twilight, so is death. Empty your golden cups to the heel! Dunkel ist das Leben, ist der Tod! Life is only twilight, so is death! Der Einsame im Herbst (Autumn Loneliness) Von der Jugend (Youth) Poem by Poem by Li Bai

German English German English Herbstnebel wallen bläulich überm See Grey autumn mists are drifting off the sea Mitten in dem kleinen Teiche In the water, on a little island Vom Reif bezogen stehen alle Gräser; And, touched with frost, the grass stands Steht ein Pavillon aus grünem All of green and egg-shell china Man meint, ein Künstler habe Staub von Jade stiff and brittle; Und aus weißem Porzellan. Stands a dainty summer-house. Über die feinen Blüten ausgestreut. As if some artist hand had scattered powder Dusting on every leaf the finest jade. Wie der Rücken eines Tigers Like the tiger’s back a-curving Der süße Duft der Blumen ist verflogen; Wölbt die Brücke sich aus Jade Springs the arch of jade to cross it Ein kalter Wind beugt ihre Stengel nieder. The scent of summer flowers is forgotten; Zu dem Pavillon hinüber. To this summer-house of dreamland. Bald werden die verwelkten, gold’nen Blätter A chilly wind blows crackling stalks together. Der Lotosblüten auf dem Wasser zieh’n. Soon will the leaves of fading lotus-blossoms In dem Häuschen sitzen Freunde, In the parlour friends are sitting, Display upon the pond their golden span. Schön gekleidet, trinken, plaudern, Clad in silk, and drinking, chatting Mein Herz ist müde. Meine kleine Lampe Manche schreiben Verse nieder. Writing endless little verses. Erlosch mit Knistern, es gemahnt mich I, too, feel weary. See my flick’ring light an den Schlaf. Burns low and lower, it is time to go to sleep. Ihre seidnen Ärmel gleiten How their silken sleeves are slipping, Ich komm’ zu dir, traute Ruhestätte! I come to you, truest house of quiet! Rückwärts, ihre seidnen Mützen How their silken caps sit perching Ja, gib mir Ruh, ich hab’ Erquickung not! O give me sleep, for I have need of rest! Hocken lustig tief im Nacken. On those jolly heads a-wagging.

Ich weine viel in meinem Einsamkeiten. My tears flow on in lonely desolation. Auf des kleinen Teiches stiller In the tiny, tiny patterns Der Herbst in meinen Herzen währt zu lange. The autumn seems in my heart to be eternal. Wasserfläche zeigt sich alles Quiet, quiet pool of water Sonne der Liebe, willst du nie mehr scheinen, O love’s warm sunshine, have you gone for ever. Wunderlich im Spiegelbilde: See the world reflected Um meine bittern Tränen mild aufzutrocknen? And will my burning tears be never dried? marvellously in mirror image: Alles auf dem Kopfe stehend In dem Pavillon aus grünem All those friends are topsy-turvy Und aus weißem Porzellan. In that world of egg-shell china, In that dainty summer-house. Wie ein Halbmond steht die Brücke, Umgekehrt der Bogen. Freunde, Like a sickle moon the bridge is, Schön gekleidet, trinken, plaudern. Upside down its arches; while the friends In silk and satin drink and chatter. Von der Schönheit (Beauty) Poem by Li Bai

German English Junge Mädchen pflücken Blumen, Das Roß des einen wiehert fröhlich auf, See the maidens picking flowers, The horse of one of them delighted Pflücken Lotosblumen an dem Uferrande. Und scheut, und saust dahin, Picking lotus flowers by the grassy river banks. Wheels and neighs, curvetting round; Zwischen Büschen und Blättern sitzen sie, Über Blumen, Gräser, wanken hin die Hufe, In the bushes and leaves they hide themselves, Over all the flowers trample heavy hoof-beats, Sammeln Blüten in den Schoß und rufen Sie zerstampfen jäh im Sturm die Gathering flowers, gathering flowers in their laps As they bruise in sudden storm Sich einander Neckereien zu. hingesunk’nen Blüten, And calling one to the other in teasing fun. The tender hidden blossoms. Hei! Wie flattern im Taumel seine Mähnen, How their manes toss in tangled riot, Gold’ne Sonne webt um die Gestalten, Dampfen heiß die Nüstern! Golden sunshine weaves a web around them, Breathing fire from steaming nostrils. Spiegelt sie im blanken Wasser wider. Mirrors all their laughing grace in water. Sonne spiegelt ihre schlanken Glieder, Gold’ne Sonne webt um die Gestalten, Sunshine mirrors all their slender beauty, Golden sunshine weaves a web around them, Ihre süßen Augen wider, Spiegelt sie im blanken Wasser wider. Mirrors their sweet eyes in water, Mirrors all their laughing grace in water. Und der Zephir hebt mit Schmeichelkosen Und die schönste von den Jungfrau’n sendet And the winds of spring with soft caresses And the fairest of those lovely maidens Das Gewebe ihrer Ärmel auf, Lange Blicke ihm der nach. Waft on high their flowing silken sleeves, Sends a parting glance of longing love. Führt den Zauber Ihre stolze Haltung ist nur Verstellung: Bear the magic of their pleasing odour For her proud demeanour is all pretending: Ihrer Wohlgerüche durch die Luft. In dem Funkeln ihrer großen Augen, Through the air. In the sparkle of her lustrous glances, In dem Dunkel ihres heißen Blicks In the darkness of her flushing cheeks, O sieh, was tummeln sich für schöne Knaben Schwingt klagend noch die Erregung ihres O, see, a company of lovely lads That stabbing pain of love’s awakening vibrates still. Dort an dem Uferrand auf mut’gen Rossen, Herzens nach. Comes riding along the bank on prancing horses, Weithin glänzend wie die Sonnenstrahlen; Shining far off like the sun at noonday; Schon zwischen dem Geäst der grünen Weiden See, through the leafy lanes of silvery willows Trabt das jungfrische Volk einher! Trots that gallant young company! Der Trunkene im Frühling (Wine in Spring) Poem by Li Bai

German English Wenn nur ein Traum das Leben ist, Since life is nothing but a dream Warum denn Müh, und Plag’? Why toil and sweat away? Ich trinke, bis ich nicht mehr kann, I drink until my belly’s full Den ganzen, lieben Tag! And laugh the livelong day!

Und wenn ich nicht mehr trinken kann, And when there’s no more room inside, Weil Kehl’ und Seele voll, I’ve drunk so hard and deep, So tauml’ ich bis zu meiner Tür I roll along to home and bed Und schlafe wundervoll! And sleep a lovely sleep!

Was hör’ ich beim Erwachen? Horch! What’s that I hear that wakes me? Hark! Ein Vogel singt im Baum. A bird sings in the tree. Ich frag’ ihn, ob schon Frühling sei, I’ll ask him if the spring has come. Mir ist als wie im Traum. My dream, has it come true?

Der Vogel zwitschert: Ja! The twitters answer “Yes, it’s here!” Der Lenz ist da, sei kommen über Nacht! The spring is here as fresh as anything! Auf tiefstem Schauen lauscht’ ich auf, I look and look and listen hard, Der Vogel singt und lacht! The birds all laugh and sing!

Ich fülle mir den Becher neu I fill myself another glass Und leer’ ihn bis zum Grund And drink with deep content, Und singe, bis der Mond erglänzt And sing until the moon lights up Am schwarzen Firmament! The darkling firmament!

Und wenn ich nicht mehr singen kann, When I’m too tired to sing my songs, So schlaf’ ich wieder ein. I’ll sleep, forgetting pain, Was geht mich denn der Frühling an? For what’s the silly spring to me? Laßt mich betrunken sein! Let me get drunk again! Der Abschied (The Farewell) Poem by Meng Hao-Ran &

German English Die Sonne scheidet hinter dem Gebirge. Wo bleibst du? Du läßt mich lang allein! The sun is setting out beyond the mountains. To share the heavenly beauty of this evening. In alle Täler steigt der Abend nieder Ich wandle auf und nieder mit meiner Laute And evening peace comes down in every valley Where art thou? I have been long alone! Mit seinen Schatten, die voll Kühlung sind. Auf Wegen, die von weichem Grase schwellen. And shadows lengthen, bringing cool relief. I wander up and down and make my music O sieh! Wie eine Silberbarke schwebt O Schönheit! O ewigen Liebens, O see! Like some tall ship of silver sails, O’er pathways that are paved with tender grasses. Der Mond am blauen Himmelssee herauf. Lebens trunk’ne Welt! the moon upon her course, O Beauty! O life of endless loving. Ich spüre eines feinen Windes Weh’n through heaven’s blue sea. Wild delirious world. Hinter den dunklen Fichten! Er stieg vom Pferd und reichte ihm den Trunk I feel the stirring of some soft south-wind Des Abschieds dar. Behind the darkling pine-wood! He lighted down and proffered him the cup, Der Bach singt voller Wohllaut durch das Dunkel. Er fragte ihn, wohin er führe The parting cup. Die Blumen blaßen im Dämmerschein. Und auch warum es müßte sein. The stream sings as it wanders through the twilight. He asked him wither he was faring Die Erde atmet voll von Ruh’ und Schlaf. Er sprach, seine Stimme war umflort: As evening waxes the flowers grow pale. And questioned why, why it must needs be so. Alle Sehnsucht will nun träumen, Du, mein Freund, The earth breathes gently, full of peace and sleep, He spoke, and his voice was veiled: Die müden Menschen geh’n heimwärts, Mir war auf dieser Welt das Glück nicht hold! All our longings sleep at last. O my friend, Um im Schlaf vergess’nes Glück Wohin ich geh’? Ich geh’, ich wand’re in die Berge. Mankind, grown weary, turns homeward, While I was in the world my lot was hard! Und Jugend neu zu lernen! Ich suche Ruhe für mein einsam Herz! That in sleep, forgotten joy and youth Where do I go? I go, I wander in the mountains. Die Vögel hocken still in ihren Zweigen. Ich wandle nach der Heimat, meiner Stätte. It may recapture. I seek but rest, rest for my lonely heart! Die Welt schläft ein! Ich werde niemals in die Ferne schweifen. The birds with open eye roost in the branches. I journey to my homeland, to my haven. Still ist mein Herz und harret seiner Stunde! The world now sleeps! I shall no longer seek the far horizon. Es wehet kühl im Schatten meiner Fichten. Die liebe Erde allüberall My heart is still and waits for its deliverance! Ich stehe hier und harre meines Freundes. Blüht auf im Lenz und grünt aufs neu! The air is cool within the pine-wood’s shadow. The lovely earth, all, everywhere Ich harre sein zum letzten Lebewohl. Allüberall und ewig blauen licht die Fernen, Here will I stand and tarry for my friend. Revives in spring and blooms anew! Ich sehne mich, O Freund, an deiner Seite Ewig... ewig...! I wait for him to bid the last farewell. All, everywhere and ever, ever, Die Schönheit dieses Abends zu genießen. O how I long, my friend, once more to see thee, Shines the blue horizon, Ever... ever...!

Gustav Mahler/Hans Bethge “Das Lied von der Erde” © Copyright 1989 by A.G., Wien Text von Hans Bethge aus der “Chinesischen Flöte” © mit freundlicher Genehmigung des Yin Yang Media Verlages English translation by Wilson Steuart Orchestra of St. Luke’s George Manahan, conductor Jennifer Johnson Cano, mezzo-soprano

Katy Clark, Heras-Casado. OSL collaborates regularly with Currently Music Director of the American A 2011 Sara Tucker Study Grant Recipient, President & Executive Director the world’s great artists, such as Renée Fleming, Composers Orchestra, George Manahan’s mezzo-soprano Jennifer Johnson Cano joined Yo-Yo Ma, , Anna Netrebko, esteemed career embraces everything from The Lindemann Young Artist Development Elizabeth Ostrow, Anne-Sophie Mutter, Mark Morris Dance Group, opera to concert repertoire, the traditional to the Program at The Metropolitan Opera in 2008 Vice President, Artistic Planning Peter Gabriel, Sting, Elton John, and many more. contemporary. He served as Music Director of and made her Met debut in 2009-2010. As Zev Greenfield, In March 2011, OSL opened The DiMenna Center the New York City Opera for 14 seasons, where First Prize winner of the 2009 Young Concert for —its first permanent home, he evoked ”from his players the kind of heartfelt Artist International Auditions, she was awarded Vice President, Finance & Administration and New York City’s first rehearsal and recording involvement unthinkable in the City Opera the Mecklenburg-Vorpommern Festival and facility dedicated to classical music. The Center orchestra pit 20 years ago…” (The New York Princeton University Prizes and has given St. Luke’s Chamber Ensemble consists of has already hosted thousands of musicians from Times). At the Manhattan School of Music, stunning recital debuts at Carnegie Hall, Merkin 22 virtuoso artists dedicated to the mastery a wide range of ensembles and serves as the Mr. Manahan is Director of Orchestral Studies. Hall and the Kennedy Center, and in Boston, of a diverse repertoire spanning Baroque to venue for OSL’s free concert series OSL@DMC, Philadelphia, Houston, and Chicago. contemporary. The Ensemble forms the artistic which connects the public to the artistic process Manahan’s symphonic guest appearances core of the Orchestra of St. Luke’s (OSL), one of of composers and musicians. include Atlanta, San Francisco, the Hollywood In addition to her continued relationship with America’s foremost ensembles. OSL was formed Bowl, New Jersey, the Curtis Institute of Music, The Metropolitan Opera, Ms. Cano has appeared at Caramoor International Music Festival in the Committed to community-building, OSL and abroad with the Jerusalem Symphony with such esteemed as the New summer of 1979, after evolving from St. Luke’s produces free concerts in each of the five Orchestra, and the Filharmonico di Verona in York and Los Angeles Philharmonics and the Chamber Ensemble, which was established boroughs as part of its Subway Series, and Italy. He directed the opera companies of Seattle, Cleveland Orchestra. She toured with Musicians at The Church of St. Luke in the Fields in New has engaged more than one million children Chicago, Santa Fe, Portland, Opera Theatre of from Marlboro singing Respighi’s Il Tramonto and York’s Greenwich Village in 1974. in its Arts Education programs. OSL has St. Louis, Opera National de Paris, Teatro de Cuckson’s Der gayst funem shture, recorded live commissioned more than 50 new works and Communale de Bologna, and Minnesota Opera and released by the Marlboro Recording Society. Dedicated to engaging audiences throughout performed more than 150 world, U.S., and (Principal Conductor). Ms. Cano has been part of the Ravinia Festival’s New York City and beyond, OSL performs New York City premieres. OSL’s stellar 70+ Steans Institute and received a 2009 Sullivan approximately 70 concerts each year—including discography includes four releases on its own Foundation Award. an annual Chamber Music Series at The Morgan label, St. Luke’s Collection, and four Grammy Library & Museum and Brooklyn Museum, an Award-winning recordings. Ms. Cano is a native of St. Louis, Missouri. She Orchestra Series at Carnegie Hall, and a summer earned her bachelor’s degree in Music from residency at Caramoor International Music More information at OSLmusic.org. Webster University and her master’s degree from Festival. OSL’s Principal Conductor is Pablo Rice University. Paul Groves, tenor Performers Also Available from St. Luke’s Collection

Paul Groves began the 2010–2011 season with George Manahan, conductor BACH VIVALDI his debut at the Gran Teatre de in the Jennifer Johnson Cano, mezzo-soprano The Complete Brandenburg The 4 Seasons (DVD) role of Alwa in Berg’s Lulu. Other highlights of Concertos (2-CD set) Orchestra of St. Luke’s Paul Groves, tenor the current season include the role of Pylade St. Luke’s Chamber Ensemble in Gluck’s Iphigénie en Tauride at the Teatro Elizabeth Mann, flute Real Madrid and The Metropolitan Opera, as Stephen Taylor, oboe well as his debut as Gualtiero in the premiere Jon Manasse, of Vivaldi’s Griselda at Santa Fe Opera. Mr. Marc Goldberg, Groves’ concert performances this season William Purvis, horn MOZART HANDEL include a tour of Switzerland with Stravinsky’s 39 & 41 “Jupiter” With Valour Abounding Oedipus rex, Elgar’s Dream of Gerontius Barry Centanni, percussion (Hybrid SACD) St. Luke’s Chamber Ensemble at Salisbury Cathedral with the London Maya Gunji, percussion Orchestra of St. Luke’s John Elwes, tenor Philharmonic Orchestra, Britten’s War Margaret Kampmeier, Donald Runnicles, conductor at the Accademia Nazionale di Santa Cecilia in Robert Wolinsky, harmonium/celeste Rome and the Teatro del Maggio Musicale in Florence, a return to the Edinburgh Festival with Krista Bennion Feeney, Schumann’s Das Paradies und die Peri, and Naoko Tanaka, violin HAYDN BACH Mahler’s Das Lied von der Erde in Boston. Maureen Gallagher, Morning, Noon & Evening Wedding Gifts Myron Lutzke, St. Luke’s Chamber Ensemble St. Luke’s Chamber Ensemble A winner of the Metropolitan Opera National John Feeney, Heidi Grant Murphy, soprano Council Auditions in 1991 and a graduate of the company’s Young Artist Development Program, Mr. Groves made his Metropolitan Opera debut in 1992. His recent recordings include Roger Recorded at Jerome Robbins Theater, Baryshnikov Arts Center Waters’ opera Ça Ira for Sony Classics, Ravel’s (New York City) on September 8-9, 2011 cantatas with Michel Plasson for EMI Classics, Produced, Engineered, Edited and Mastered by Adam Abeshouse and songs by Duparc for the Naxos label. He Assistant Engineer, Andy Ryder has also recorded for the Telarc, Teldec, Philips, CD production: Digital Force, NYC Deutsche Grammophon, and Decca labels. Made possible in part with funding from The Andrew W. Mellon Foundation, and The Enoch Foundation, with special thanks to Robert Ferguson and Marianne Lockwood. Order online at OSLmusic.org or call (212) 594-6100