GEORG SCHUMANN LIEDER Mark Ford Mary Nelson GEORG SCHUMANN LIEDER Mary Nelson Mark Ford GEORG SCHUMANN LIEDER Mary Nelson Mark Ford GEORG SCHUMANN LIEDER Georg Schumann (1866-1952)

Vier Lieder, Op.10 1 i Ich habe nur einen Gedanken (Gustav Kastropp) 3’07 2 ii Schlehenblüth’ und wilde Rose (Julius Rodenberg) 1’42 3 iii Es duftet lind die Frühlingsnacht (Gustav Kastropp) 2’47 4 iv Ein grauses Dunkel herrscht in meiner Seele (Anonymous after George Gordon Lord Byron) 2’43

Fünf Lieder, Op.11 5 i Die Welt, sie ist mir viel zu weit (Peter Rosegger) 3’20 6 ii Es schaut ein alter Fliederbaum (Gustav Kastropp) 2’16 7 iii Im zitternden Mondlicht (Gustav Kastropp) 1’49 8 iv Die Bitte (Carmen Sylva) 1’41 9 v Ich bin ein grosser Herre! (Peter Rosegger) 1’50

Drei Lieder von Johanna Ambrosius, Op.13 (Johanna Voigt) 10 i Sommernacht 2’25 11 ii Für dich 2’48 12 iii Dereinst 2’30

Lieder, Op.16 13 i O könnt’ nur einmal mein müdes Haupt (Gustav Kastropp) 1’44 14 ii Lüstern flüstern die Zweige (Karl Friedrich Henckell) 2’08 15 iii Wiegenlied (Anonymous) 2’42 Mädchenlieder, Op.35 (Paul Heyse) 16 i Auf die Nacht in den Spinnstuben 3’04 17 ii Der Tag wird kühl 3’36 18 iii Mir träumte von einem Myrtenbaum 2’14 19 iv Trutzliedchen 2’11 20 v Soll ich ihn lieben 1’29 21 vi Drunten auf der Gassen 2’18 22 vii Ach, wie so gerne bleib’ ich euch ferne 2’46

Zwei Gesänge, Op.46 (Wilhelm Holzamer) 23 i Das Grab 3’08 24 ii Deine Hände 3’31

Vier Lieder, Op.48 25 i „Ich gehe hin“ (Otto Erich Hartleben) 2’32 26 ii Vergissmeinnicht (August Heinrich Hoffmann von Fallersleben) 2’21 27 iii Bitt’res Scheiden (Anonymous) 1’46 28 iv Lass nur einmal mein dich nennen (Anonymous) 2’06

68’33

MARY NELSON soprano MARK FORD piano Georg Schumann Lieder Georg Schumann was born in Königstein in 1866 and studied in Dresden before attending the Leipzig Conservatory from 1882-88. His first works, two small sets of piano pieces, were published whilst he was still a student (1886) and his first major work followed soon afterwards, when Breitkopf & Härtel published his oratorio “Amor und Psyche” for soloists, choir and orchestra as opus 3. His most significant early success, however, came from his Symphony in B minor, which he entered into a competition put on by the Berlin Konzerthaus. Out of the 57 entries, Schumann’s won the first prize. This made him an overnight success and he was invited to perform the symphony all over Germany.

The success of the B minor symphony led to his appointment in 1890 as Director of the Konzertverein in Danzig – a post which he held until 1896. He took on this role with enthusiasm, revitalising the organisation and putting on a large number of well-received concerts.

The majority of Schumann’s song output stems from two short periods in his life. The first of these is from 1895-6, towards the end of his time in Danzig, when he composed no fewer than seven sets containing 24 songs in total. In fact, these songs formed his sole published compositional output during that two-year period and they include opus 10, 11, 13 and 16, which are recorded here.

In 1896, he accepted the post of Conductor of the Philharmonic Choir and Orchestra in Bremen, where he remained until 1900, when he took up the post of Director of the Sing-Akademie in Berlin. The Sing-Akademie was one of the leading musical German institutions of the time – it was with that group that the 20-year-old Felix Mendelssohn famously revived Bach’s St Matthew Passion in 1829 – and Schumann again threw himself into his new role, taking the institution to new heights. It was under his directorship that the group began to perform more contemporary works and to undertake tours both within Germany and internationally. He remained there until his death in 1952.

Schumann’s second period of song composition covers the years from 1904-6, in the early years of his time in Berlin. This saw the publication of his two most substantial song cycles, including Mädchenlieder, opus 35, which is significant in that it forms a coherent collection of songs for the first time, and three smaller sets, including opus 46 and 48. After the publication of his opus 48 set, Schumann moved away from songs and only three of the remainder of his 80 published works are in that genre.

Vier Lieder (Four Songs) opus 10 is Schumann’s first set of songs and was published in 1895, when he was working as director of the Konzertverein (music society) in Danzig. Here he sets the words of three different poets, but the theme of love unites them all. The love, though expressed in different ways, is passionately felt in all four songs, but also – and this is a common theme with the love poems chosen by Schumann for his songs – tinged with sadness.

The first song, Ich habe nur einen Gedanken (I have only one thought), a setting of words by Gustav Kastropp, begins as a sort of serenade: “this thought is you” (dieser Gedanke bist du). A restless middle section follows, in which the singer and piano share the same melody but with all except the strong beats slightly disjointed. This resolves to a dreamlike restatement of the opening melody and the piano is left to bring the song to a wistful conclusion.

Schlehenblüth’ und wilde Rose (Blackthorn bloom and wild rose) is an altogether more boisterous affair by the poet Julius Rodenberg, in which the soprano sings lustily of the flowers she has gathered with which to adorn her love’s image. The song has a more contemplative middle section but remains energetic throughout. Schumann returns to the poetry of Kastropp for the third song in the series, Es duftet lind die Frühlingsnacht (The spring night smells so sweet). Similar in style to its partner, the composer even chooses to set it in the same key: A-flat major. The piano maintains an unceasing spring night ‘rustling’ throughout with gentle arpeggios in one hand or the other, whilst the singer provides a floating melody, telling us dreamily of her dearest wish.

Schumann likes to end his song sets with a bang, and nowhere is this more true than in opus 10, which he closes with the tempestuous Ein grauses Dunkel herrscht in meiner Seele (A terrible darkness rules in my soul), a translation of Lord Byron’s “My Soul is Dark”. It tells of the “terrible yearning of my heart” (meines Herzens wilden Drang), which can only be soothed by music: the “nightingale”. The piano sets the tone of the piece with a fiery introduction, and the mood of “terrible darkness” (grauses Dunkel) continues until lifted, briefly, as the singer tells of the healing power of music. The second verse, though, is more stormy and relentless than ever, and Schumann concludes the song with some of his most dramatic writing and a final flourish from the piano.

The Fünf Lieder (Five Songs) of opus 11, written in the same year as their predecessors, are more of a mixed bag. The set starts and finishes with two contrasting poems by Peter Rosegger, opening as opus 10 ended in C-sharp minor. The singer is in a glum mood from the outset, as even the title of the first song tells us: Die Welt, sie ist mir viel zu weit (The world is much too far for me). She is “mortally sad” (sterbenstraurig) and although a moment of light creeps in briefly as she sings of “peace in my heart” (Frieden in mein Herz) in the brighter, more optimistic key of D major, the work ends firmly in the unhappy C-sharp minor of the opening, as though the singer does not believe she ever really will find the peace she craves.

Two Kastropp poems provide the words for the next two songs: Es schaut ein alter Fliederbaum (An old lilac tree looks) and Im zitternden Mondlicht (In the trembling moonlight). The first starts with a warm reminiscence of time spent by an old lilac tree sitting hand in hand, but turns bittersweet as the singer soars up to an A-flat and poignantly declares: “I kiss your sweet mouth for the very last time” (ich küsse deinen süssen Mund zum allerletztenmal). Im zitternden Mondlicht is a delicate work, in which the voice sings dreamily of her lover as her thoughts fly to him through the night. It is followed by Die Bitte (The plea), a simple but charming song by a child to her mother at bedtime.

For the final work in the set, Schumann returns to Rosegger for a rumbustious setting of Ich bin ein grosser Herre! (I am a mighty lord!). The song, which introduces us to a garrulous lord with delusions of grandeur, is unique among Schumann’s early output and feels a little incongruous at the end of opus 11. But it also shows the composer’s sense of humour, which permeates the piece. The music is as ebullient, energetic and carefree as the text throughout until the cheeky piano play-out, which suggests the mighty lord is skipping merrily off into the distance.

The following year saw the publication of Schumann’s third set of songs, the Drei Lieder (Three Songs) of opus 13, and the first to use words by a single poet: Johanna Voigt (née Ambrosius), a contemporary German poet whose poems were published in the USA and the UK as well as in Germany.

The first work in the set, Sommernacht (Summer’s Night), is a gentle, lilting song in 6/8 time that rejoices in the approach of night-time’s soft, soothing embrace. The short middle section becomes unsettled, with a more angular melody accompanied by a dotted rhythm on the piano that moves constantly between registers, as though unable to forget the woes of the day. Then we return to the calm of the opening as the singer, soaring up to a top A, expresses a fervent desire for her soul to fly “into the evening gold” (in’s Abendgold). Für dich (For you) is perhaps the most passionately romantic song in Schumann’s output. The singer expresses her “endless” (unendlich) love most fervently but tells us, almost in the opening breath, that the object of her love must never know it. Schumann produces some highly chromatic writing and some unexpected key changes as the soloist sings of her torment, but all is resolved into the most glorious build-up to her climactic, triumphant declaration of “unutterable” (unsagbar) love.

The singer of Dereinst (Some day) is still burning with “fiery embers” (Feuergluten) but is in a much darker place. She sings restlessly of agony in the night and of the dark earth, before a middle section that tells of painful hands and feet, accompanied by uncomfortable, arrhythmic octaves and chords in the left hand of the piano, that suggest a failing heartbeat. The final verse is more optimistic and Schumann produces a soaring melody as we hear of the singer’s “heart with its fiery embers” (Herz mit seinen Feuergluten) and brings us to a warm, peaceful close as the singer anticipates the time when she will look down on her love from amongst the stars.

1896 also saw the publication of four other sets of songs (opus 14-17), each of which contains three pieces. Each opus was published as a separate volume, but they share the same front cover and were presumably published at the same time, or in very quick succession. Despite this, the works feel more like a collection of individual songs than a coherent grouping of works into any specific order.

One common theme is the poet Gustav Kastropp, who provided the text for at least one piece from each set, including O könnt’ nur einmal mein müdes Haupt (If only I could [rest] my weary head just once), the first song of opus 16. It is a languid setting of a wistful text about the singer’s longing to rest her head on her love’s breast. The second part of the song seems to strike a more optimistic note as it moves from the minor into a major key and the mood brightens. Yet Kastropp gives us only “a sweet word of eternal farewell” (ein süsses Wort zum ewigen Abschied) and a tearful parting.

The second in the group is Lüstern flüstern die Zweige (Lasciviously whisper the boughs), which Schumann again sets in a lilting 6/8 time. The words and music combine very effectively to evoke images of the singer wandering amongst the trees in springtime “in a holy ardour” (in heiligen Gluthen). Despite an indecisive three bars in the final phrase, when Schumann toys with the minor key and with modulations that shift rapidly between D minor, D-flat minor and then, surprisingly, to D major, he brings the piece to a peaceful resolution in the tonic key of D-flat major.

No poet is credited with the words for the Wiegenlied (Lullaby) which brings the set to a close. It is a simple song that gently rocks the child to sleep, the melody line interrupted only briefly by a dreamy, three-bar piano interlude. It is perhaps Schumann’s most beautiful song.

An eight-year period went past before Schumann published any further songs, by which time he was a few years into his role as Director of the Sing-Akademie in Berlin. 1904 saw the publication of Mädchenlieder (Songs of a Maiden), opus 35 and arguably the high-point of his song output. For the texts, Schumann turned to seven poems by Paul Heyse, a prolific and extremely well-known German writer, who was awarded the Nobel Prize for Literature in 1910. Although Heyse published a set of poems called “Mädchenlieder,” this contained ten poems, only four of which were set by Schumann. He selected them, along with three other Heyse poems, and presented them in a specific order. Schumann’s Mädchenlieder cycle, then, tells of the ups and downs of the maiden (or perhaps of seven different maidens) as she struggles with her feelings of love over the decisions she faces. It is dedicated to Schumann’s wife, Olga. The work begins with Auf die Nacht in den Spinnstuben (At night in the spinning-parlours). We find a dejected maiden feeling desperate and isolated because her friends are all getting married but she cannot find love. She sings mournfully to the sound of the spinning-wheel represented by ceaseless semi-quavers in the piano. The sense of hopelessness begins to lift in Der Tag wird kühl (The day grows cool) as the singers tells us that “love wafts over the rosebed of my heart” (die Liebe weht ob meines Herzens Rosenbeet). Schumann maintains tension and uncertainty using suspensions that resolve ambiguously and employs some uncharacteristically chromatic writing to leave us with a lingering doubt as to whether all will end well. But he finishes on a positive note as the piano resolves onto an optimistic chord of B major.

The third song in the set, Mir träumte von einem Myrtenbaum (I dreamed of a myrtle tree), is a much more wistful affair, as our maiden sings lyrically about her sweetheart, wondering how much longer she must wait for his proposal. The subject of her dream is no coincidence: the myrtle tree is a symbol of love and the Hebrew symbol for marriage.

Schumann conjures up a shrewish tone for the angular Trutzliedchen (Defiant song), in which our maiden rejects her suitor in no uncertain terms: he is “far too young” (viel zu jung) for her. She spends much of the song taunting her admirer by describing, in contrasting terms, the sort of real man whom she might marry. The maiden’s suitor in Soll ich ihn lieben (Should I love him) is more suitable, but she finds herself paralysed by doubt: should she love him or not? Her indecision is characterised by a staccato motif in the piano that continues throughout the whole piece and by the many abrupt and unexpected changes of key and direction. She lists his many qualities, both good and bad, but finishes with a strident repeat of her refrain “do not discourage me” (rate nicht ab), which suggests that perhaps her mind is made up after all.

The sixth song in the cycle, Drunten auf der Gassen (Down in the alley), is one of the composer’s most dramatic. The piano maintains a dark and restless rhythm throughout as the singer longs to be carried “far away out of this world of lies” (weit hinweg aus dieser Welt der Lüge). Schumann then switches directly from a bleak, oppressive ending in C-sharp minor into a rousing and passionate finale in D-flat major: Ach, wie so gerne bleib’ ich euch ferne (Oh, how gladly I would stay away from you). Finally, our maiden has found happiness, and her heart beats only “for his sake” (um seinetwillen). There is something wonderfully triumphant about the work, as though the heartache of the previous six songs makes her joy all the sweeter. Schumann unleashes the soloist with some glorious, soaring lines, supported by a virtuosic piano part, that build to a thrilling climax marked with the direction con passione (with passion).

For his Zwei Gesänge (Two Songs) of opus 46, Schumann chose texts by the poet and novelist Wilhelm Holzamer. The first, Das Grab (The grave), begins darkly with the singer very low in her register accompanied by low chords on the piano, telling us of the grave that she has dug. The second verse seems at first to strike a more optimistic note as the music moves into a major key, but it finishes as starkly as it began with “yearning anguish” (Sehnsuchtsqual). The second in the set, Deine Hände (Your hands) begins restlessly with the singer begging “leave me alone with my pains” (Lass mich allein mit meinen Schmerzen) to an unsettled accompaniment which conjures up an image of her pacing agitatedly to and fro. Then, as though exhausted, she settles into a calmer mood as she realises that her pains are lighter “when the sorrow of your hands rests on my heart” (wenn auf meinem Herzen der Kummer deiner Hände ruht).

For his opus 48 Vier Lieder (Four songs), Schumann again chooses texts from different sources. This set is unique in the composer’s output in that it includes an English translation of the text, by John Bernhoff. Bernhoff also translated numerous songs by Schumann’s contemporaries, including Richard Strauss, with whom Schumann co-founded the German performing rights society, GEMA.

The first work is a setting of a text by Otto Erich Hartleben, a poet who is chiefly remembered now as a translator of other writers’ works, in particular Albert Giraud’s Pierrot Lunaire. In the first verse of „Ich gehe hin“ (I go forth), Schumann’s sad writing evokes the loneliness of the text. He strikes a more optimistic note in the second verse, which begins in a dreamlike state before becoming increasingly desperate and urgent and then fading away to a bleak, hollow ending. The second song, Vergissmeinnicht (Forget-me-not) is an altogether lighter affair. It is a setting of a poem by Hoffmann von Fallersleben, who is best known for writing the words to the German national anthem. Here, he compares the object of his love to “a beautiful flower” (ein schönes Blümlein), which repeatedly implores him to “forget- me-not” (Vergissmeinnicht).

The title of the third work, Bitt’res Scheiden (Bitter parting), suggests another tempestuous song. But Schumann eschews dramatics and hand-wringing, and instead presents the singer in a more stoic mood, perhaps resigned to her sad situation. She finishes with a heroic declaration of her wish to be a sailor on her way to Greenland and an almost flippant “dearest darling farewell” (Liebster Schatz ade).

For the finale, Lass nur einmal mein dich nennen (Just once let me call you mine), Schumann again produces a rousing, passionate song. It brings resolution to the pain and uncertainty of the earlier works in the set with conviction that all the suffering will have been worth it. A series of arpeggios and leaps in the piano support soaring lines from the singer before a more agitated middle section which remembers “all the yearning, all the hesitation” (alles Sehnen, alles Zagen). The song builds to a tremendous climax as the singer looks forward to the time when she will “jubilantly shout it for all, all eternity” (wo ich’s jubelnd rufen kann in alle, alle Ewigkeit). The composer allows her a glorious top B-flat before the piano brings the work to a triumphant close.

© 2017 Mark Ford Vier Lieder, Op.10 Four Songs

1 i Ich habe nur einen Gedanken I have only one thought Gustav Kastropp (1844-1925)

Ich habe nur einen Gedanken, I have only one thought, Der raubt mir den Frieden, die Ruh’, It robs me of peace, of calm, Den denk’ ich bei Nacht und bei Tage, I think it by night and by day, Und dieser Gedanke bist du! And this thought is you!

Meine Hoffnung, mein Glück, meine Wonne, My hope, my joy, my delight, Mein Schmerz, meine Sehnsucht, mein Leid My pain, my longing, my suffering Ruht all in dem einen Gedanken All rest in the one thought An dich, du selige Maid. Of you, you blessed maiden.

Und legt man in’s Grab mich hernieder, And when I am laid down in my grave, Und schlaf ich in ewiger Ruh’, And sleep in eternal peace, Dann flattert der eine Gedanke Then the one thought will flutter Dem blauen Himmel zu. Up to the blue heavens.

2 ii Schlehenblüth’ und wilde Rose Blackthorn bloom and wild rose Julius Rodenberg (1831-1914)

Schlehenblüth’ und wilde Rose Blackthorn bloom and wild rose Hab’ ich mir im Wald gepflückt, I have picked in the forest, Und dazu mit frischem Moos, And with fresh moss, Liebster Schatz, dein Bild geschmückt. Dearest darling, I adorned your image.

Alle Tag’ mit jungen Blüthen, Every day with fresh blooms, Herzgeliebte, schmückt’ ich dich; Dearest, I adorned you; Frühling muss die Liebe hüten, Spring must guard love, Und die Liebe hütet mich. And love keeps watch over me.

Immer, will es Frühling werden, Always, spring wants to come, Fängt die Erde an zu blüh’n, The earth starts to bloom, Und so lang es grünt auf Erden, And as long as the earth blossoms forth Bleibt auch meine Liebe grün. My love will blossom too. 3 iii Es duftet lind die Frühlingsnacht The spring night smells so sweet Gustav Kastropp

Es duftet lind die Frühlingsnacht, The spring night smells so sweet, Es glänzt im Silberschein With silvery glow Durch Waldesgrün auf Blüthenpracht Through forest-green onto splendid bloom Der liebe Mond herein. The sweet moon shines in.

Durch neu belebte Bäume zieht Through newly green trees draws Ein weicher Flüsterklang, A soft whispered sound, Der wird zum leisen Liebeslied, Which turns into a quiet love song, Zum Frühlingslustgesang. A spring-chant of pleasure.

Dem Liede hör’ ich träumend zu Dreamily I listen to this song Und singe selbst darein: And join in with: „Du süsse Maid, o wärest Du “You sweet maiden, oh would that you were Ewig mein! Auf ewig, auf ewig, Eternally mine! For ever, for ever, O wärst Du auf ewig mein.“ Oh would that you were for ever mine.”

4 iv Ein grauses Dunkel herrscht in meiner Seele A terrible darkness rules in my soul Anonymous after George Gordon Lord Byron (1788-1824)

Ein grauses Dunkel herrscht in meiner Seele, A terrible darkness rules in my soul, Ich sehne mich nach Lied und Harfenklang; I long for song and the sound of the harp; Musik allein sie ist die Philomele, Only music is the nightingale Die sänftigt meines Herzens wilden Drang; Which soothes the wild yearning of my heart; Sie führt die müden Hoffnungen zum Hafen It leads my tired hopes to the harbour Und reisst nach oben mich mächtig hinan; And pulls me strongly upwards; Sie giebt den Thränen, die im Auge schlafen, It gives the tears that sleep in the eye, Sie giebt den Schmerz der Seele freie Bahn. It gives free rein to the pain of the soul.

Doch wild sei der Gesang, der mir soll klingen; Yet let the song that I should hear be wild; Spielt mir ein Lied der Trauer, nicht der Lust! Play me a song of sorrow, not of joy! Denn ich muss weinen, ich muss weinen For I must weep, I must weep Oder schier zerspringen muss vor Gram die Brust! Or my breast must burst with grief! Zu lang trug ich die stumme Qual im Herzen Too long I carried the silent anguish in my heart Und seufzte schlaflos in der Mitternacht. And sighed sleeplessly in the middle of the night. Erliegen muss ich unter diesen Schmerzen, I must succumb to these pains, Wenn nicht Musik die Brust mir leichter macht! If music does not lighten my heart! Fünf Lieder, Op.11 Five Songs

5 i Die Welt, sie ist mir viel zu weit The world is much too far for me Peter Rosegger (1843-1918)

Die Welt, sie ist mir viel zu weit, The world is much too far for me, Und viel zu hart sind mir die Leut’, And the people are much too hard for me, So sterbenstraurig komm’ ich her, So mortally sad I come here, Zu dir, du heilige Einsamkeit. To you, you holy solitude.

Ich komme aus dem argen Land, I come from the evil land, Wo jede Lust ein Leid gebiert, Where every pleasure bears a sorrow, Wo trotz des kochend heissen Blut’s Where despite the boiling hot blood Im Auge selbst die Thräne friert; Even the tears freeze in the eye;

Das Weinen ist dort arg verpönt, Weeping is strongly frowned on there, Das Fluchen, Lästern ist dort Brauch. Cursing and blasphemy is custom there. Hier thaut das Moos, die Rose thaut, Here thaws the moss, thaws the rose, Der Tannenbaum, der Weissdornstrauch. The fir-tree and the whitethorn bush.

Auch mein Gemüth will thauen hier, My soul will thaw here as well, Bis müde sinkt das Auge zu; Until tiredness closes the eye; O senke Frieden in mein Herz, O lower peace into my heart, Du süsse, heil’ge Waldesruh’! You sweet, holy peace of the forest!

6 ii Es schaut ein alter Fliederbaum An old lilac tree looks Gustav Kastropp

Es schaut ein alter Fliederbaum An old lilac tree looks Wohl in das weite Land, Into the distant country, Da träumten wir manch süssen Traum We dreamt many sweet dreams there Und sassen Hand in Hand. And sat hand in hand.

Heut’ ist mein Auge trüb’ und wund, Today my eye is cloudy and sore, Ich blicke nicht in’s Thal, I do not look into the valley, Ich küsse deinen süssen Mund I kiss your sweet mouth Zum allerletztenmal. For the very last time. 7 iii Im zitternden Mondlicht In the trembling moonlight Gustav Kastropp

Im zitternden Mondlicht neigen sich In the trembling moonlight Schlummernde Blumen sacht, Slumbering flowers softly bow, Meine Gedanken fliegen heimlich My thoughts fly secretly Zu dir durch die Nacht. To you through the night.

Und ich möchte fliegen mit ihnen And I would like to fly with them Hinauf in den heil’gen Raum. Up into the heavens. Ist dir mein Bild nicht erschienen, Did my image not appear to you, Schlummerndes Liebchen, im Traum? Slumbering sweetheart, in your dream?

8 iv Die Bitte The plea Carmen Sylva (1843-1916)

Lieb’ Muttchen! nimm mich auf den Schooss, Mother dear, take me on your lap, Ich bin so müde nun! I am so tired now! Das Zimmer wird so weit und gross The room is becoming so wide and big Es dunkelt, lass mich ruh’n! It is getting dark, let me rest!

Dann, Muttchen! sing’ ein Lied, Then, mother dear, sing me a song, Ein Märchen sage mir, Tell me a fairy tale Worin was Schreckliches geschieht In which something terrible happens Und Beide gruseln wir! And we will both get the creeps!

Und Muttchen! wenn mein Kopf gedrückt, And, mother dear, when my head is put, Du weisst, an meinen Platz, You know, on my place, Dann sprich, ganz nah’ zu mir gebückt: Then say, bending low to me: Mein süsser kleiner Schatz! My sweet little treasure! 9 v Ich bin ein grosser Herre! I am a mighty lord! Peter Rosegger

Ich gebe mir die Ehre I have the honour Und sing’ ein Liedel fein, To sing a lovely song, Ich bin ein grosser Herre, I am a mighty lord Die ganze Welt ist mein. And the whole world is mine.

Der Landmann, der mag sä’n The farmer, he may sow Und ernten Korn und Lein; And reap the corn and flax; Doch Feldes Blüh’n und Weh’n But blossoms and breezes of the field Zur Maienzeit ist mein. In the month of May are mine.

Die Karner mögen tauschen The pedlars they may barter Und nutzen Baum und Stein, And use tree and stone, Doch Waldes Grün und Rauschen But the woodland’s green and murmuring Und Waldesruh’ ist mein. And the peace of the forest are mine.

Wie arm sind doch die Reichen, But how poor are the rich, Von allem Frieden fern, Far from all the peace, Und Knechte sondergleichen And slaves without compare Sind diese hohen Herrn. Are these fine lords.

Sie streiten sondergleichen They quarrel without compare Mit Schwert um Land und Meer; With sword for land and sea; Ich zieh’ mit meinem Stabe I follow with my staff Erobernd hinterher. Conquering behind.

Wie lustig ist das Wandern, How joyful it is to roam, Die Sorgen sind ja klein; For cares are small; Die schwere Welt ist andern, The serious world is for others, Die schöne Welt ist mein. The beautiful world is mine. Drei Lieder von Johanna Ambrosius, Op.13 Three Songs by Johanna Ambrosius Johanna Voigt (1854-1939)

10 i Sommernacht Summer’s night

Mit ausgespannten Armen With open arms Kommt leis’ die Nacht. The night approaches quietly. Drückt Feld und Wald und Fluren Presses fields, woodlands and meadows An’s Herze sacht. Softly to its heart.

Schlägt ihren weichen Mantel Spreads its soft coat Um Strauch und um Baum, Over bush and tree, Und summt mit Glockentönen And with the sound of bells Die Welt in Traum. Lulls the world to sleep.

Vergessen hat die Erde The earth has forgotten Des Tages Weh’ The woes of the day, Ich hebe meine Augen I raise my eyes Hinauf zur Höh’. Up to the heights.

Ein Vöglein seh’ ich tauchen I see a small bird dipping In’s Abendgold, Into the evening gold, Ach, wenn’s auch meine Seele Oh, if only it would take Mitnehmen wollt’! My soul with it!

11 ii Für dich For you

Ich habe dich lieb, so unendlich lieb, I love you, love you endlessly, Doch darfst du es nimmer wissen, Yet you must never know it, Nur einmal möcht’ ich ganz leis’ wie ein Dieb Just once I would like, silently like a thief, Im Schlummer die Hände dir küssen. To kiss your hands in slumber.

Nur einmal möchte ich durch Geistermund Just once I would like through the mouth of a spirit Von meiner Liebe dir erzählen: To tell you of my love: Liess heit’ren Auges mich gleich zur Stund’ Then I would allow myself with cheerful eye Geduldig zu Tode quälen. To be patiently tortured to death.

Doch wenn du nicht mehr auf Erden wirst sein, But when you are no longer on earth, Dein Tod hier keinen betrübet, Your death will sadden no-one here, Dann werd’ ich es laut in die Welten schrei’n Then I will cry it loudly into the world Dass ich dich unsagbar geliebet. That I loved you unutterably. 12 iii Dereinst Some day

Einst wird die Stirn mit ihrem Flammen lodern, Some day the brow will blaze with flames, Die manche Stunde grübelnd hat durchwacht, Which has lain awake in agony for hours through the night, In dunkler Erde bitter kalt vermodern In the dark earth icy cold decaying Und alle Sorge ist dann ausgedacht. And all cares cease to matter.

Und meine Hände, die so schmerzlich brennen, And my hands, which burn so painfully, Und meine Füsse, die so wehe thun, And my feet, which hurt so much, Sie werden sich von aller Arbeit trennen They will cease all toil Und Zeit dann finden um sich auszuruhn. And then find time to rest.

Jedoch mein Herz mit seinen Feuergluten But my heart with its fiery embers Wird nie zu Asche noch zu Staub vergehn Will never turn to ash or dust; Es wird daraus immer neue Liebe bluten New love will always bleed from it Und hoch als Stern auf dich, Geliebter, seh’n. And from high up as a star, look down on you, my love. Lieder, Op.16 Songs

13 i O könnt’ nur einmal mein müdes Haupt If only I could [rest] my weary head just once Gustav Kastropp

O könnt’ nur einmal mein müdes Haupt Oh! If only I could rest my weary head just once An deinen Busen sich schmiegen, On your breast, Wenn Vöglein singen und dicht belaubt When the birds sing and the thickly-leaved Der Eichen Wipfel sich wiegen; Tops of the oak trees sway;

Dann sollst du mir ein süsses Wort Then you should speak a sweet word Zum ewigen Abschied sagen, Of eternal farewell to me, Ich küsste dich weinend und wanderte fort I kissed you tearfully and went away Und wollte nie mehr klagen. And never wanted to lament again.

14 ii Lüstern flüstern die Zweige Lasciviously whisper the boughs Karl Friedrich Henckell (1864-1929)

Lüstern flüstern die Zweige, Lasciviously whisper the boughs, Lenzhauch küsst die Natur; The breath of spring kisses nature; Schwellendes Sehnen im Herzen, Longing swells in the heart, Was willst du nur? What is it you want?

Träumst du von rosigen Wangen, Do you dream of rosy cheeks, Süsser, verschwiegener Lust? Of sweet, unspoken desire? Bebst in sel’gem Verlangen, Do you tremble with blessed longing, Wonnige Brust? Delightful breast?

Jubelgesänge umfluthen Songs of rejoicing surge around Meinen trunkenen Sinn My intoxicated senses Und in heiligen Gluthen And in a holy ardour Wand’l ich dahin. I wander there. 15 iii Wiegenlied Lullaby Anonymous

Mein Kind es dunkelt, komm geh’ zur Ruh, My child it is getting dark, come settle down, Es drücket der Schlaf schon die Augen dir zu, Sleep is already pressing your eyes closed. O sieh’, wie die Wiege entgegen dir lacht, Oh see, how the cradle smiles at you, Vorbei sind die Spiele, mein Kind gute Nacht. Play-time is over, my child, good night.

Dort liegt mein Alles, mein Sinnen und Sein, There lies my all, my reason for being, Sanft wieg ich und singe zum Schlafe es ein, Softly I rock and sing it to sleep, Wie glücklich im Traume mit Engeln es lacht, How happily it laughs with the angels in its dream, Mein Himmel, mein Alles, mein Kind, gute Nacht. My heaven, my all, my child, good night.

Einst leb’ wie du schlummerst in schuldloser Ruh Live as you slumber, in innocent peace, Dann lächeln stets Erde und Himmel dir zu. Then earth and heaven will always smile on you. Vor Kummer und Sorgen sei immer bewacht, Be ever protected from worry and sorrows, Gott mög’ dich behüten, mein Kind, gute Nacht! May God be with you, my child, good night! Mädchenlieder, Op.35 Songs of a Maiden Paul Heyse (1830-1914)

16 i Auf die Nacht in den Spinnstuben At night in the spinning-parlours

Auf die Nacht in den Spinnstuben At night in the spinning-parlours Da singen die Mädchen, The girls are singing there, Da lachen die Dorfbuben, The village boys are laughing there, Wie flink gehn die Rädchen! How swiftly the wheels spin!

Spinnt Jedes am Brautschatz, Every one is spinning her dowry, Daß der Liebste sich freut. So that her beloved will be pleased. Nicht lange, so gibt es, Not long, then there will be Ein Hochzeitsgeläut. Wedding bells.

Kein Mensch, der mir gut ist, No person who likes me Will nach mir fragen. Will ask about me. Wie bang mir zu Mut ist, How anxious I am, Wem soll ich’s klagen? To whom should I complain?

Die Tränen rinnen The tears are running Mir übers Gesicht Down my face. Wofür ich soll spinnen, Wherefore I should spin, Ich weiß es nicht! I do not know!

17 ii Der Tag wird kühl The day grows cool

Der Tag wird kühl, der Tag wird blaß, The day grows cool, the day grows pale, Die Vöglein streifen übers Gras; The birds streak over the grass; Schau, wie die Halme schwanken Look how the stalks sway Von ihrer Flügel Wanken At the beating of their wings Und leise wehn ohne Unterlaß. And gently wave without end.

Und Abends spät die Liebe weht And late in the evening love wafts Ob meines Herzens Rosenbeet. Over the rosebed of my heart. Die Zweige flüstern und beben, The branches whisper and tremble, Und holde Gedanken weben And fair thoughts weave Sich in mein heimlich Nachtgebet. Themselves into my secret evening prayer.

Du fernes Herz, komm zu mir bald, You distant heart, come soon to me, Sonst werden wir Beide grau und alt, Otherwise we will both become grey and old, Sonst wächst in meinem Herzen Otherwise many weeds, thorns and pains Viel Unkraut, Dorn und Schmerzen. Will grow in my heart. Die Nacht wird lang, die Nacht wird kalt! The night grows long, the night grows cold! 18 iii Mir träumte von einem Myrtenbaum I dreamed of a myrtle tree

Mir träumte von einem Myrtenbaum, I dreamed of a myrtle tree, So blühenden hab’ ich nie gesehn. Such a blooming one I have never seen. Die Nacht die ist vergangen, The night has passed, Der Traum will nicht vergehn. The dream will not fade. Was soll mir nun mein Stäußlein bunt, What shall I do with my colourful bouquet, Was soll mir nun der Veilchenkranz? What shall I do with my wreath of violets?

Ich wollt’, es wären Myrten, I would that they were myrtles, Da führt’ er mich zum Tanz. Then he would lead me to the dance. Zur Kirchen und hernach zum Tanz, To the church and afterwards to the dance, Der Himmel wär’ mir aufgetan! I would be in heaven! Ach, Liebster, holder Liebster, Oh, sweetheart, dear sweetheart, Wie lange steht’s noch an? How much longer must I wait?

19 iv Trutzliedchen Defiant song

Und bild’ dir nur im Traum nichts ein, Don’t get any ideas: Du bist mir viel zu jung. You are far too young for me. Ums Kinn noch kaum dir sproßt der Flaum, There is barely any down on your chin, Das ist mir nicht genung. That is not enough for me.

Und wenn ich Einen heiraten tu’, And when I marry someone, Muß sein ein Reiter zu Roß, It will be a rider astride his steed, Noch eins so lang und breit wie du, Twice as tall and broad as you, Sein Bart zweier Ellen groß. His beard two yards long.

Sein Rappe saus’t im Windeslauf, His black horse will run like the wind, Sein Bart der deckt mich zu, His beard will cover me up, Ich sitz’ vor ihm im Sattelknauf, I will sit in front of him in the saddle, Und hinterm Ofen du! And you behind the stove! 20 v Soll ich ihn lieben Should I love him

Soll ich ihn lieben, Should I love him, Soll ich ihn lassen, Should I leave him, Dem sich mein Herz schon heimlich ergab? To whom my heart has already secretly surrendered? Soll ich mich üben, Should I practise Recht ihn zu hassen? Really hating him? Rate mir gut, doch rate nicht ab! Advise me well, but do not discourage me!

Wild ist er freilich, Of course he is wild, Heftig von Sitten, Boisterous of manner, Keiner begreift es, wie lieb ich ihn hab’. No-one understands how much I love him. Aber so heilig But he can also pray Kann er auch bitten – So devoutly. Rate mir gut, doch rate nicht ab! Advise me well, but do not discourage me!

Reichere könnt’ ich, I could have richer ones Weisere haben; And cleverer ones; Gut ist im Leben ein sicherer Stab. It is good to have security in life. Keiner doch gönnt’ ich But I wouldn’t give up Den wilden Knaben – The wild boy to anyone. Rate mir gut, doch rate nicht ab! Advise me well, but do not discourage me!

Laß’ ich von schlimmer If I let myself be beguiled Wahl mich betören, By a bad choice, Besser, ich legte mich gleich ins Grab. It would be better to have laid myself straight in the grave. Klug ist es immer, It is always wise Auf Rat zu hören – To listen to advice. Rate mir gut, doch rate nicht ab! Advise me well, but do not discourage me! 21 vi Drunten auf der Gassen Down in the alley

Drunten auf der Gassen Down in the alley Stand ich, sein zu passen; I stood, to pass the time; Schlugen Nachtigallen Nightingales struck An den Fenstern allen, All the windows, Und ich blieb alleine And I stayed alone Bei der Blitze Scheine, By the glow of the lightning, Bis die Nacht gewichen, Until the night retreated, Und da bin ich frierend heimgeschlichen. And then, freezing, I crept home.

Über meine Wangen Over my cheeks Ist der Tau gegangen, The dew passed, Und nun lös’ ich stille And now I open quietly Meiner Lokken Fülle. The fullness of my curls. Daß ein Sturm erginge, Would that a storm might come, Sich darin verfinge, And I might be caught up in it, Mich zum Himmel trüge – And carried up to heaven – Weit hinweg aus dieser Welt der Lüge! Far away out of this world of lies!

22 vii Ach, wie so gerne bleib’ ich euch ferne Oh, how gladly I would stay away from you

Ach, wie so gerne Oh, how gladly Bleib’ ich euch ferne, I would stay away from you, Schimmernde Säle, von Kerzen erhellt! Shimmering halls lit by candles! Daß mir im Dunkeln So that in the dark Zwei Augen funkeln, Two eyes twinkling at me Ist meine Wonne, ist meine Welt! Would be my delight, would be my world!

Sucht’ ich doch Allen I used to try Einst zu gefallen, To be liked by everyone, Habe verstohlen die Netze gestellt. Surreptitiously set traps. Einem mich schmükken, To adorn myself for someone, Einen beglükken, To delight someone, Ward meine Wonne, ward meine Welt! Was my delight, was my world!

Einsam in Stillen Alone in silence Um seinetwillen For his sake Pocht mir das Herz von Sehnsucht geschwellt: My heart beats, swollen with longing: Ihn zu umfangen, To embrace him, An ihm zu hangen, To cling to him, Bis mir in Wonnen schwindet die Welt! Until the world fades away in my bliss! Zwei Gesänge, Op.46 Two Songs Wilhelm Holzamer (1870-1907)

23 i Das Grab The grave

Ich hab ein Grab gegraben I have dug a grave In einem stillen, stillen Grund, In quiet, quiet ground. Da weint kein Auge Tränen, No eye weeps tears there, Da klagt kein trauriger Mund. No sad mouth laments there. Da ist es schweigendöde, It is silently bleak there, Die Schatten liegen weit, The shadows loom large, Und grau und starr am Wege And, grey and stark on the path, Hockt da die Einsamkeit. Loneliness crouches there.

Nur wenn die ersten Sterne Only when the first stars Heben die Lider empor, Lift up their lids, Und aus den drängenden Wolken And from the pressing clouds Scheu lugt der Mond hervor, The moon peeps shyly out, Geht ein seufzendes Wehen A sighing breeze passes Durch das tote Tal Through the dead valley. Das ist meiner weinenden Liebe That is the unquenchable yearning anguish Unstillbare Sehnsuchtsqual. Of my weeping love.

24 ii Deine Hände Your hands

Lass mich allein mit meinen Schmerzen Leave me alone with my pains Deine Hand auf meinem Herzen, Your hand on my heart, Geliebte, tut mir weh, tut mir weh: Beloved, hurts me, hurts me: Ich fühl es zucken drin und brennen, I feel it twitching inside and burning, Von Leiden, die nicht Lippen nennen, From suffering that lips will not name, Von einem unstillbaren Weh. From an uncontrollable pain.

Was selbst dein Auge mir verschwiegen, What even your eye concealed from me, In deinen Händen fühl ich’s liegen, I feel it resting in your hands, Wie kalt erstarrte, schwere, schwere Glut… Like stone cold, heavy, heavy ardour... Und doch, Geliebte, meine Schmerzen And yet, beloved, my pains Sind leichter, wenn auf meinem Herzen Are easier when the sorrow of your hands Der Kummer deiner Hände ruht. Rests on my heart. Vier Lieder, Op.48 Four Songs

25 i „Ich gehe hin“ “I go forth” Otto Erich Hartleben (1864-1905)

Ich gehe hin, wo still und einsam I go forth where, quietly and alone, Ich deiner nur gedenken kann, I can think only of you, Bis deiner Augen, deiner Worte, Until your eyes, your words, Bis ich mich deiner ganz entsann. Until your all is fully recalled to me.

Mein Blick hängt an den fernen Bergen My gaze is on the distant mountains Und wandert mit der Wolken Meer, And wanders with the ocean of clouds Bis ich vergesse dieses Lebens, Until I forget this life, Vergesse, dass es öd und leer. Forget that it is bleak and hollow.

26 ii Vergissmeinnicht Forget-me-not August Heinrich Hoffmann von Fallersleben (1798-1874)

Es blüht ein schönes Blümlein A beautiful flower blooms Auf uns’rer grünen Au’, In our green meadows, Sein Aug´ ist wie der Himmel Its eye is as cheerful and as blue So heiter und so blau; As the sky;

Es weiss nicht viel zu reden, It cannot say much, Und Alles was es spricht, And all it says Ist immer nur dasselbe: Is always just the same: Vergissmeinnicht, Vergissmeinnicht! Forget-me-not, forget-me-not!

Auch du blühst wie das Blümlein You also bloom like that flower, So lieblich und so fein, So lovely and so fine, Du hast mein sehnend Herze You have spun a web around Gesponnen ein. My longing heart.

Es klopft in bangem Zagen, It knocks with anxious hesitation, Und Alles was es spricht, And all it says Ist immer nur dasselbe: Is always just the same: Vergissmeinnicht, Vergissmeinnicht! Forget-me-not, forget-me-not! 27 iii Bitt’res Scheiden Bitter parting Anonymous

Scheiden ist ein bittres Wort; Parting is a bitter word; Ich muss scheiden, ich muss fort. I must part, I must go. Ich muss scheiden, ich muss fort, I must part, I must go, Reisen nach einem andern Ort. Travel to another place.

Wo sich zwei Verliebte scheiden, Where two lovers part Da verwelket Laub und Gras. Leaves and grass wither. Laub und Gras das tut verwelken, Leaves and grass may wither, Aber treue Liebe nicht. But true love does not.

Zwischen Bergen liegt ein Wasser. Between the mountains lies a lake. Wär es lauter kühler Wein! If only it were cool wine! Wär es lauter kühler Wein, If only it were cool wine, Sollt mein Schatz mein Eigen sein. Then my love would be mine.

Auf dem Wasser schwimmt ein Schiff. A ship sails on the water. Lustig, wer noch ledig ist. Merry is he who is still unmarried. Wer sich tut ein Lieb erwählen, Whoever chooses a love, Der muss Tag und Nacht sich quälen. Must torment himself day and night.

Ich wollt, dass ich Matrose wär, I wish I were a sailor, Und mein Schiff nach Groland führ. And my ship were sailing to Greenland. Wo ich geh und wo ich steh Wherever I went and wherever I stood Sag ich: „Liebster Schatz ade!“ I would say: “Dearest darling, farewell”!

28 iv Lass nur einmal mein dich nennen Just once let me call you mine Anonymous

Lass nur einmal mein dich nennen, süsses Leben, Just once let me call you mine, sweet life. Lass nur einmal mein dich nennen, treues Herz, Just once let me call you mine, faithful heart. Lass mich ahnen, lass mich fühlen Let me sense, let me feel Deine Nähe, deinen Schmerz! Your closeness, your pain! Alles Sehnen, alles Zagen, All the yearning, all the hesitation, Alles Quälen, alles Plagen, All the torment, all the distress, Will ich bannen durch den Schein, I want to banish through the illusion Als wärst du schon immer mein. That you have always been mine.

Ach, dann leb ich wie ich fühle, Oh, then I will live as I feel, Mach den Schmerz zum Glükke mir, Turn the pain to my joy, Täusche meiner bangen Seele Deceive my anxious soul Immer Hoffnung vor Into hoping ever Bis auf jene heissersehnte, Until that fervently longed for, Immer wonnigliche Zeit, Eternally blissful time, Wo ich’s jubelnd rufen kann Where I can jubilantly shout it In alle, alle Ewigkeit! For all, all eternity!

Produced by Mark Ford and Pauline Morgan. Engineered and edited by Pauline Morgan. Mastered by Simon Gibson, Abbey Road Studios. Recorded 20-21 July 2013 and 7-8 December 2013 at The Music Schools Hall, Harrow School, London, U.K. Steinway technician: Jaques Samuel Pianos Ltd.

Publishers: F.E.C. Leuckart (1-4,13-15); Breitkopf & Härtel (5-9); N. Simrock (10-12,23-24); Friedrich Hofmeister (16-22); Adolph Fürstner (25-28).

Booklet notes © 2017 Mark Ford. English translations of sung text © 2017 Mark Ford and Alice Ford. Cover: photograph of Georg Schumann, reproduced by kind permission of Gabriele Kaiser-Schumann. Inside front cover: photograph of Mary Nelson © 2012 Geraint Tellem; photograph of Mark Ford © 2017 Stephen Metcalfe. Reverse inlay: photograph of Mary Nelson and Mark Ford © 2013 Pauline Morgan. Design: Red Engine Design.

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