Charlotte Hellekant, Mezzo-Soprano, and Ken Merrill, Piano Department of Music, University of Richmond

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10-29-1997 Charlotte Hellekant, mezzo-soprano, and Ken Merrill, piano Department of Music, University of Richmond

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Recommended Citation Department of Music, University of Richmond, "Charlotte Hellekant, mezzo-soprano, and Ken Merrill, piano" (1997). Music Department Concert Programs. 652. https://scholarship.richmond.edu/all-music-programs/652

This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. October 29, 1997 at 8pm Modlin Center for the Arts Camp Concert Hall Booker Hall of Music

Charlotte Hellekant, mezzo-soprano Ken Merrill, piano

Franz Schubert Lachen und weinen Op. 59, no. 4 (Rueckert) (1797 -1828) Der Wanderer an den Mand Op. 80 (Siedl) An die Laute Op. 81, no. 2 (Rochlitz)

Robert Schuann Frauen Liebe und Leben, Op. 42 (Chamisso) (1810 - 1856) Seit ihr ihn gesehen Er, der Hertzlichste van Allen Ich kann's nicht fassen Du Ring an meinem Finger Helft mir, ihr Schwestern Susser Freund du blickest An meinem Herzen Nun hast du mir den ersten Schmerz getan

-INTERVAL-

Franz Schubert Impromptu in A-flat major Op. 90, No. 4 (1797 -1828)

Claude Debussy Trois Chansons de Bilitis (Louys) (1862 - 1918) La flute de Pan La Chevelure Le Tombeau des nai'des

Jean Sibelius Demanten pa marssnoem Op. 36, no. 6 (Wecksell) (1865 - 1957) Till kvaellen Op. 17, no. 6 (Forsmann-Koskimies) Flickan kom ifan sin iilsklings moete Op. 38, no. 5 (Runeberg)

Charles Ives At the River (Lowry) (1874 -1954) Memories: A. Very Pleasant B. Rather Sad The Circus Band About the Artists

Over the past seasons, Swedish son was particularly successful for Charlotte mezzo-soprano Charlotte Hellekanthas at Hellekant: she performed for the first time tracted much attention internationally for the role of Judith/ Bluebeard's Castle in con her vocal artistry and commanding stage cert with the Orchestre de Paris and Sir presence. Now a resident of New York City, Georg Solti to unanimous acclaim; her suc Ms. Hellekant has received degrees from cess as Charlotte/Werther for the Washing the Eastman School of Music (with Jan ton opera was followed by her Metropoli DeGaetani) and the Curtis Institute (with tan Opera debut as the Page in Strauss' Chloe Owen) and has won several prizes Salome; and she appeared for the first time including Second Prize in the 1989 Mirjam at the Aix-en-Provence Festival as Ino in Helin International Singing Competition in Robert Carsen's new production of Semele. Helsinki. Charlotte Hellekant has also earned a Now enjoying an international career reputation as a fine interpreter of contem equally successful in both opera and con porary roles: she portrayed the role of Lotte cert, highlights of Ms. Hellekant' s more re in the American premiere of Hans-Jfugan cent seasons include Cherubino/Marriage von Bose's The Sorrows of Young Werther in a/Figaro for the Portland, Washington and Santa Fe; received unanimous praise for her Canadian Opera and last season for the portrayal of Erika in Washington Opera's Nice Opera; Dorabella/ Casi fan tutte with production of Barber's Vanessa; Cherubino the Canadian Opera Company; Charlotte/ in Corigliani's Ghosts of Versailles which Werther and the Composer/Ariadne au/ marked her debut in Chicago;with the Finn Naxos with Glimmerglass Opera; Musetta ish National Opera performed a leading role in Leoncavallo's La Boheme in Saint-Louis in Erik Bergman's opera The Singing Tree and and Niklausse /Tales of Hoffman in Portland. most recently portrayed the role ofNastassja Other roles in Charlotte's operatic repertoire in Hans Krasa's opera Verlobung im Traum include Siebel/Faust, Dido in Purcell's Dido in concert and on a Decca recording with and Aeneas, Oktavian/Der Rosenkavalier, Lother Zagroszek. Sesto/Clemenza di Tito, Melisande/Pe/leas As a concert artist, Charlotte Hellekant et Melisande and C.armen. The 1995 /96 sea- has performed Marguerite/Damnation of Faust with the Minnesota Symphony/ the University of Arkansas, where he stud Valery Gergiev, at the Prague Festival/Marc ied piano with Jerome Rappaport. He sub Soustrot and with the Stockholm Philhar sequently received his master of music de monic/John Nelson; Mahler, Symphony No. gree at The Julliard School, where he stud 2 with the Swedish Radio Symphony /Esa ied piano with Josef Raieff and accompa Pekka Salonen, Cincinnati Festival/James nying with Martin Isepp. He also studied Canlon and with the San Francisco Sym chamber music withAntonio Janigro at the phony /Herbert Blomstedt (also recorded Mozarteum in Salzburg and worked with for Decca); Berlioz'sLesNuitsd'Etein Cleve Gerard Souzay and Dalton Baldwin at the land, Mahler's Ruckertlieder and Das Lied van festival in Aix-en-Provence. der erde with the Netherlands Radio Phil Mr. Merrill divides his time between harmonic, all conducted by Edo de Waart; teaching and performing. He is currently with the Gothenburg Symphony Orches on the coaching staff of The Julliard Vocal tra Berlioz's L'Enfance du Christ with John Arts Department and is musical director of Nelson and Mozart's Requiem with Neeme the Julliard Opera Theatre. He is also on Jarvi; Berio's Epiphanies with the Philadel the faculty at the Manhattan School of Mu phia Orchestra/Luciano Berio; Nystroem' s sic. From 1987 to 1994 he was associate pro Sinfonia del Mare, Hilding Rosenberg's fessor of vocal accompaniment and opera Oertagiirdsmiisteren and Mahler's Des Knaben at the Eastman School of Music in Roches Wunderhorn with the Swedish Radio Or ter, N. Y Since 1980 he has been associated chestra, Britten's Phaedra with the Phoenix with the Aspen Music Festival, where he Symphony and most recently Dubussy'sLe acts as head coach of the Aspen opera The Martyre de Saint Sebastian and Ligeti's Re atre. He has appeared in concert with such quiem with the Philharmonia/Esa-Pekka artists as Gerard Souzay; Anna Moffo, Rob Salonen, also recorded by Sony. ert Merrill, Eleanor Steber, James King, Jan Charlotte Hellekant' s future seasons DeGaetani, Leslie Guinn, John Aler, Faith include Cherubino at the Bastille, her debut Esham, Neil Rosenshein, Charlotte at the Salzburg Festival as Amancio in Hellekant and Jeanette Thompson. In 1982 Ligeti' s Le Grand Macabre in a joint new pro he accompanied Anna Moffo and Robert duction with the Chatelet, also to be re Merrill in a recital at the White House. corded for Sony, Prince Charmant/ As a conductor, he has led productions Cendrillon for De Vlaamse Opera, Char ofBritten' s The Burning Fire Furnace, Britten lotte/ Werther for New Israeli Opera, as well Gay's The Beggar's Opera and Mozart's The as the lead role in a new commission by the Impresario at The Julliard School. He has also Stockholm Opera. Concert engagements in conducted from the harpsichord Monte the current season include Des Knaben verdi's L'incoronazione di Poppea, Cavalli's La Wunderhom with the LSO /Sir Georg Solti; Calisto, and Handel's Acis and Galatea. He is Mahler, Symphony No. 2 with the Halle/ harpsichordist with the Baroque perform Kent Nagano, Le Martyre de Saint Sebastian ing ensembleAffetti Musicale, which he co with Kent Nagano at the Salzburg Festival, founded in 1993. He has performed harp Brahms' Alto Rhapsody and Mahler, Sym sichord-continua in all the operas of Mozart phony No. 2 with the Dallas Symphony Or and many of the operas of Handel and chestra/ Andrew Litton, as well as Rossini. He recently headed the musical Beethoven'sMissa Solemnis in Vienna with preparation and played continua in the U1f Schirmer. Houston Grand Opera production of Rossini's La Cenerentola with Cecilia Bartoli in the title role, a performance that was tele Kenneth Merrill, a native Arkansan, cast on PBS and commercially released on received his bachelor of music degree from London CD and Video. r

Translations

Lachen und Weinen, Op. 59, no. 4 Laughter and Tears Franz Schubert (Rueckert)

Lachen tmd Weinen zu jeglicher Srunde Laughter and tears, at whatever hour, Ruht bei der Lieb auf so mancherlei Grunde Arise, in love, from so many differei1t causes. Morgens lad1t id1 vor Lust, In fue moming I laughed for joy: Und warum ist nun weine And why, in fue glow of evening, Bei des Abends Sd1eine, I am now weeping, Ist mir selb' nicht bewusst. I myself do not know.

Weinen und Lad1en zu jeglid1er Srunde Tears and laughter, at whatever hour, Ruht bei der Lieb auf so mancherlei Grunde. Arise, in love, from so many different causes. Abends weint id1 vor Sd1merz; In fue evming I wept wifu grief; Und warum du erwad1ei1 And how you can awake Kannst am Morgen mit Lachen, In fue morning laughing, Muss id1 dich fragen, o Herz. I must ask you, my heart.

Der Wanderer an den Mand The Wanderer's Address to the Moon Franz Schubert (Johann Gabriel Seidly)

Id1 auf der Erd' am Himmel du, I on earth, you in fue sky, Wrr wandem beide riistig zu: Bofu of us travel briskly on; Ich emst und triib, du mild und rein, I solemn and gloomy, you gentle and pure, Was mag der Unterschied wohl sein? What can be tl1e difference between us? Id1 wandre fremd von Land zu Land. I wander, a stranger, from land to land.

So heimatlos, so unbekannt; So homeless, so unknown; Bergauf, bergab, Wald en, Wald aus Up and down mountair1S, in and out of forests, Dach bin id1 nirgend, ach! zu Haus. Yet, alas, nowhere am I at home. Du aber wanderst auf und ab But you wander up and down, Aus Ostens Wieg' in Westens Grab, From fue east's cradle to fue west's grave.

Wallst Lander ein und Lander aus, Travel from country to cotmtry Und bist doch, wo du bist, zu Haus. And yet are at home wherever you are. Der Himmel, endlos ausgespannt, The sky, infinitely extended, Ist dein geliebtes Heimatland: Is your beloved homeland; O gliicklich, wer, wohin er geht. 0 happy he who, wherever he goes. Dod1 auf der Heirnat Boden steht! Still stands on his native soil!

AndieLaute To the Lute Franz Schubert (Rueckert)

Leiser, leiser, kleine Laute Play more softy, little lute, Fliistre, was ich dir vertaute, Whisper what I secretly told you Dort zu jenem Fet1Ster hin! To fuat window fuere! Wie die Wellen sanfter Lilite, Like fue ripple of gentle breezes, Mondenglanz 1-md Blrnnendiifte, Like moonlight and the scent of flowers, Send es der Gebieterin! Convey yom secret to my mistress.

Neidisch sind des Nachbars Sohne, My neighbour's s011S are envious, Und im Fenster jener Schone And at the fair lady's window Flirnmert noch ein einsarn Licht. A solitary lamp flickers. Drum noch leiser, kleine Laute: So play still more softly, little lute: Dich vemehrne die Vertratite, That my beloved may hear you, Nachbam aber, Nachbam nid1t! But the neighbours--no, not the neighbours!

Frauen Liebe und Leben, Op. 42 Robert Schumann (Adalbert von Chamisso)

1. Seit id1 ihn gesehen, Since seeing him, glaub im blind zu sein I think I am blind; Wo im hin nur blicke, wherever I look, seh im ihn allein; him only I see; Wie im wad1en Trarnne as in a waking dream sd1webt sein Bild mir vor, he floats before me, Taumt a.us tiefstern rising out of the darkest deptl1S only Dm1kel heller nur empor. more brightly.

Sonst ist limt- rn1d farblos For the rest, dark and pale alles rnn rnim her; is all around, Nam der Sd1westem Spiele for my sister's games nimt begel1r im mel1r, I am no longer eager, Mod1te lieber weinen I would rather weep still im Kamrnerlein; quietly in my room; Seit im ilm gesehen, since seeing him glaub im blind zu sein. I think I am blind.

2. Er, der Herrlid1Ste von allen, He, the most wonderful of all, Wie so rnilde, wie so gut. so gentle, so good. Holde Llppen, klares Auge, Sweet lips, bright eyes, Heller Sinn rn1d fester Mut. dear mind and finn resolve.

So wie dort in blauer Tiefe As there in the blue deptl1S Hell rn1 d herrlid1 jener Stem, the star, clear and wonderful, Also er an meinem Himmel so is he in my heaven, hell rn1d herrlid1, hel1r rn1d fem. dear and wonderful, majestic, remote.

Wandle, wandle deine Bahnem; Wander, wander your ways; Nur betramten deinen Sd1ein, just to watm your radiance, Nur in Demut :ihn betrad1ten, just to watd1 it in hrnnility, Selig nur rn1d traurig sein. Just to be blissful and sad.

Hore nimt mein stilles Beten, Hear not my silent prayer Deinem Gli.icke nur geweil1t; for your happiness alone; Darfst mim niedre Magd nimt kennen me, lowly maid, you must not know, Hoher Stem der Herrlimkeit loft, wonderful star.

Nur die Wfudligste von allen Only tl1e most worthy woman of all Darf begli.icken deine Wahl may your d1oice favour Und ich will die Hohe segnen ai.1d that exalted one will I bless Viele tausend Mal. many thousai.1ds of times.

Will m.id1 freuen dann tmd weinen Then shall I rejoice ai.1d weep Selig, selig bin ich dai.m, be blissful, blissful then; Sollte mir das Herz aud1 bred1en, even if my heart should break, Brid1, o Herz, was liegt cfatai.1? then break, 0 heart what matter?

3. Id1 kai.m' s nid1t £assen, nid1t glauben, I cai.mot grasp it, believe it, Es hat ein Traum rn.id1 beriickt; I ai.n in the spell of a dream; Wie ha.tt' er dod1 tmter alien how, from a.inongst all, has he Mich Arrne erhort tmd begluckt? raised ai.1d favoured poor me?

Mir war's, er habe gesprochen: He said, I thought, Id1 bin auf ewig Dei.ne, "I ai.n forever yours" Mir war's, id1 traume nod1 imrner, I was, I thought, still dreaming, Es kai.m ja nimrner so sein. for it cai.1 never be so.

O las im Traume mich sterben Oletme,dreamiJ.1g,die Gewieget ai.1 seiner Brust, cradled in his breast; Den seligen Tod mich sd1lurfen blissful death let me savour, fa Tranen unendlid1er Lust. in tears of ei1dless joy.

4. Du Ring ai.1 meinem Finger, Ring on my finger, Mein goldenes Ringelein, my little goldei1 ring, Id1 drucke did1 fromrn ai.1 die Lippen, devoutly I press you to my lips, An das Herze mein. to my heart.

Ich hatt' ihn ausgetraument, I had finished dreamiJ.1g Der Kindheit friedlich schonen Traum, childl1ood' s tranquil pleasai.1t dreai.n, Ich fai.1d allein mich, verloren alone I fom1d myself, forlorn hn oden tmendlid1ei1 Raum. in bom1dless desolation.

Du Ring ai.1 meinem Finger, Ring on my finger, Da hast du mid1 erst belelm, you have first taught me, Hast meinem Blick erschlossei1 muocked my eyes Des Lebe:t1S unei1dlichei1, tiefen Wer. to life's deep, bom1dless worfu.

Ich will ihm dienen, ihm lebei1, I will serve him, live for him, Ilun ai.1gehorei1 gai.12, belong wholly to him, Hin selber mich gebei1 und findei1 yield to him and find Verklart mid1 in seinein Gla.1.12. myself trai.1Sfigured in his light.

5. Helli mir, ihr Schwestern. Help me, sisters, Freundlid1 rnid1 schmucken, in kindness to adorn myself, Dient der Gliicklid1ei1 heute, mir, serve me, tl1e happy one, today; Wn1detgeschaftig eargerly twine Mir mn die Stirne about my brow Nod1 der bliihendei1 Myrte Zier. tl1e flowering myrtle.

Als id1 befriedgt, Whei1 I, content, Freudigen Herzei1S, wifu joyous heart So11St dem Geliebten im Arrne lag, lay in my beloved' s arms, "'I

Immer noch rief er, still would he call Sehnsucht im Herzen, with yearning heart, Ungeduldig den heutigen Tag. unpatientlyfortoday.

Helft mir, ihr Schwestern, Help me, sisters, Helft mir verscheuchen help me banish foolish fear; Eine torichte Bangigkeit;,,, so tl1at I, clear- DaB id1 mit klarem eyed, may receive lmn, Aug ihn empfange, tl1e source of joy,_ Ilm, die Quelle der Freundigkeit. Bist, mein Geliebter, you, my beloved, Du mir ershienen, have appeared before me, Gibst du mir, Smme, deinen Schein? will you, sun, give me your radiance? LaB mid1 in Andacht · Let me u1 reverence, LaB mid1 in Demut, let me u1 humility, LaB mid1 verneigen dern Herren mein. let me bow to my lord.

Streuet ihm, Schwetern, Sister, Streuet ihm Blumen, strew flowers for 11llll, Bringt ihm knospende Rosen dar. offer buddu1g roses. Aber euch, Schwestem, But you, sister, Grii.E ich mit Wehmut, I salute sadly, Freudig srneidend aus eurer Schar. departing, joyous, from your furong.

6. Sillser Freund, du blickest Sweet friends, you look mich verwundert an, at me in wonder, Kannst es nirnt begreifen, cannot understand wie ich weinen kann; how I can weep; LaB der feuchten Peden fuese moist pearls let, ungewohnte Zier as a strange adornment, Freudig hell erzittem tremble joyous bright in dem Auge mir. u1myeyes.

Wie so bang mein Busen, How anxious my heart, wie so wo1mevoll. how full of bliss! Willst ich nur mit Worten, If 011ly I knew fue words to say wie ich' s sagen soil; to say it; Komm und birg dein Antlitz come, hide your face, hier an meiner Brust, here, agau1St my breast, Will ins Ohr dir flustern for me to whisper to you ale meine Lust. my full joy.

WeiBt du nun die Tranen, Now you know the tears die irn weinen kann, that I can weep, Sollst du nirnt sie sehen, are you not to see fuem, geliebter Mann? beloved man? Bleib an meinern Herzen, Stay agau1St my heart, fiihle dessen Sduag, feel its beat, Das ich fest und fester so fuat I may press you nur dim driicken mag. even closer.

Hier an meinem Bette Here my bed hat die Wiege Raum, is fue cradle's place, Wo sie still verberge where silent it shall hide meinem holden Tramn; my sweet drerun. Kommen wird der Morgen, T11e morning will come wo der Tramn erwacht, when that drerun will awake, Und daraus dein Bikinis ai1d your image mir entgegenlacht. laugh up at me.

7. An meinem herzen, an meiner Brust, At my heart, at my breast, Du meine Wonne, du meine Lust. you my delight, you my joy! Das GHick ist die Liebe, Happiness is love, Die Lieb ist das GHick, Love is happiness, Ich hab's gesagt t.md nehm's nicht zuriick. I have said ai1d will not take back. Hab uberschwenglich mid1 gesd1azt, I thought myself rapturous, Bin iiberglucklid1 aber jetzt. but now Iain delirious with joy: Nur die da saugt, nur die da liebt Only she who suckles, only she who loves Das Kind, dem sie die Nahnmg gibt; the d1ild she nourishes; Nur eine Mutter weill allein, 011.ly a mother knows Was lieben heillt m1d gliicklid1 sein. what it meai1S to love ru1d be happy: O wie bedauer' id1 doch den Mann, Oh, how I pity the mru1 Der Muttergluck nicht fuhlen kaim. who caimot feel a mother's bliss. du lieber, lieber Engel du, You dear, dear ru1gel, Du sd1aust mich ai1 m1d lad1elst dazu, you look at me ru1d smile. An meinem Herzen, ai1 meiner Brust, At my heart, at my breast, Du meine W01me, du meine Lust. you my delight, you my joy!

8. Ntm hast du mir den ersten Now you have caused me my first Schmerz getan, pain, der aber traf, but it has struck me hard. Du sduafst, du harter, tmbannherz'ger Maim, You, harsh, pitiless mru1 are sleeping Den Todessduaf. the sleep of death.

Es blicket die Verlassne vor sid1 hin, T11e deserted one stares ahead, Die Welt ist leer. the world is void. Geliebet hab id1 tmd gelebet, Loved have I ru1d lived, Id1 bin nicht lebend mehr. I am living no longer

Id1 zieh mid1 in mein Innres stil zmiick, Quietly I witl1draw into myself, Der Schleier ffillt; tl1e veil falls; Da hab id1 dich tmd mein verlomes Gluck, tl1ere I have you ru1d lost my happiness, Du meine Welt. myworld.

Chansons de Bilitis Claude Debussy (1862 -1918) (Pierre Louys)

La flute de Pan The flute of Pan Pour le jour des Hyacinthies For Hyacinfu's day Il m'a donne m1e syrinx he has given me a pipe Faite de roseaux bien tailles, made of well-cut reeds, Unis ave la blai1d1e cire bound with white wax Qui est douce a mes levres comme le miel. that is sweet to my lips like honey: Il m'apprend a jouer, assise sur ses genowc; He teaches me to play, sitting on his knee: Mais je suis m1 peu trernblai1te. but I ain a little tremulous. n en joue apres moi. He plays it after me, Si doucement que je l' entends apeine. so softly that I scarcely hear it. Nous n'avons rien anous dire, We have nothing to say, Tant nous sommes pres l'un de l'autre; so dose are we to ead1 other; Mais nos chansons veulent se repondre, but our songs wish to respond Et tour a tour nos bouches and from tune to tune our mouths S'mlissent sur la flute. join upon the flute. n esttard; Itis late; Voici le chant des grenouilles vertes here is the song of the green frogs Qui commence avec la nuir. that begins at nightfall. Ma mere ne croira jamais My mother will never believe Que je suis restee si longtemps that I have stayed so long A cherd1er ma ceinture perdue. to look for my lost girdle.

Le chevelure The tresses of hair Il m'a dit: He said to me: "Cette nuit, j'ai reve, "Tonight I dreamed, J' avais ta d1evelure autour demon cou. I had the tresses of your hair arom1d my neck. J' avais tes d1eveux comme m1 collier noir I had your hair like a black circlet Autour de ma nuque et sur ma poitrine. around the nape of my neck on my breast. Je les caressais, er c' etait les miens; I caressed it and it was my own; Er nous etions lies pour toujours ainsi, and we were muted for ever thus, Par le meme chevelure la bouche sur la boud1e, by the same tresses mouth upon mouth, Ainsi que deux lauriers n'ont souvent like two laurels that often have but one qu'm1e racine. root. Et peu a peu, il m'a semble, And little by little, it seemed to me, Tant nos membres etaient confondus, so :intermingled were our limbs, Que je devenais toi-meme that I became part of you Ou que tu entrais en moi comme mon songe." Or you entered into me like my dream." Quand il eut acheve, When he had done, Il mit doucements ses mains sur mes epaules he put his head gently on my shoulders, Et il me regarda d'm1 regard si tendre, and he looked at me with so tender a look, Que je baissai les yeux avec m1 frisson. tl1at I lowered my eyes wifu a shiver.

Le tombeau des Naiaes The tomb of the N ai:ads Le long du bois couvert de givre, je mard1ais; Along tl1e wood covered witl1 frost, I walked; Mes cheveux, devant ma bouche, my hair, hanging down before my mouth, Se fleurissaient de petits gla~ons, was bespangled with little icicles, Et mes sandales etaient lourdes and my sandals were heavy De neige fangeuse et tassee. with muddy, packed snow. n me dit: "Que cherches-tu?" He said to me: "What do you seek?" -"Je suis la trace du satyre. -"I follow the track of the satyr. Ses petits pas fourchus altemment His little cloven hoof marks alternate Comme des trous dans m1 manteau blanc." like holes in a white mantle." Il me dit: "Les satyres sont morts. He said to me: "The satyrs are dead. Les satyres et les nymphes aussi. The satyrs and the nymphs too. Depuis trente and il n'a pas fait m1 hiver For thirty years there has not been so aussi terrible. terrible a winter. La trace que tu vois est celle d'm1 boue The track that you see is that of bucks. Mais restons ici, ou est leur tombeau." But let us stay here, where their tomb is." Et avec le fer de sa houe And with tl1e iron of his spade Il cassa la glace de la soure ou jadis he broke the ice of the spring where riaient les naiades. formerly the naiads had laughed. II prenait de grands morceaux froids, He took some big, cold pieces Et les soulevant vers le ciel pale and raising them towards the pallid sky II regardait au travers. he looked through them.

Demanten pa marssnon, Op 36 No 6 The Diamond on the March Snow Jean Sibelius (1865-1957) (Wecksell)

Pa drivans snoi:i dar glimmar On the snowdrift glimmers en diamant sa klar. A diamond so bright, Ej fanns en Tar, en parla, There is no tear, no pearl som hogre skimrat har. That has ever shone brighter.

Utav en hemlig langtan With secret longing hon blanker himmelskt sa; She glitters towards heaven; hon blickar emot solen, She stares at the sun dar skon den ses uppga. When it is seen rising so beautifully.

II Vid foten av dess stale At the foot of the sun's beam i tillbedjande hon star She stands adoringly; och kysser den I karlek And kisses it with love och smalter I en tar. And melts into a tear.

O, skona lotta all alsk:a 0, it is a happy fate to love Det hogsta livet ter, the highest thing in life, Att strala I dess solblick To sparkle in the sun's gaze Och do, nar skonst den ler! And to die when it smiles most gloriously.

Till kvaellen, Op. 17 No. 6 To Evening Jean Sibelius (1865-1957) (Forsmann - Koskimies)

Oi, terve tumma, vieno tabti-ilta Come, gentle evening, come in starlit splendour! sw1 haaveellista, hartauttas lemmin Your fragrant hair so soft and darkly gleaming!

ja suortuvaisi yota sorjaa bemmin Oh, let me feel it round my forehead streaming! mi hulmuaapi kulmais kuularnilta. Let me be wrapped in silence, warm and tender!

Across your bridge of magic, smooth and I Kw1 oisit, i11a, oi, se tenhosilta, I slender i mi sielw1 raulta sfutais lentoisammin My soul would travel towards a land of dreaming. pois aatteen maile itse kw1 ma ernmin, No longer burdened, sad or heavy seeming, ja siip'ei kanna aineen k:ahlehilta! The cares of life I'd willingly surrender!

Ja itse oisin miekkoinen se paiva The light itself whose bonds you daily sever, mi uupw1eena saisin luokses lataa Would flee, exhausted, seeking out those places kw1 tauonnut on tyo ja puulm raiva Where your soft hand all toil and strain erases kru1 mustasiipi yo jo silrnaan siintaa And, weary of life's clamour and endeavor ja laaksot, vuoret verhoo harrnaa haiva I too have greatly yearned for your embraces. oi, ilta arrneas, silloin luokses kiitaa! Oh, quiet evening, let me rest forever. Flickan Kam ifriin sin alsklings mote The Tryst Jean Sibelius (1865-1957) G.L. Rtmeberg)

Flickan kom ifran sin iilsklings mote, The girl came from her lover's tryst Kom med roda hander - Modem sade: She came with red hands. Her mother said: Varav rodna dina hander, flicka? Why are your hands red, o daughter? Flicken sade: jag har plockat rosor, TI1e girl said: I have been picking roses, Od1 pa tomen shmgit mn\a hander. And I pricked my hands on the throne.

Ater kom hon £ran sin iilskings mote, Again she reh1med from her lover's tryst Kom med roda lapper - Modem sade: She came with red lips. Her mother said: Varav rodna dina lappar, flicka? Why are your lips red, o daughter? Flickan dade: jag har atit hallon, TI1e girl said: I have been eating raspberries Od1 med saften ma.lat mina lappar. And colomed my lips with their juice.

Ater kom hon £ran sin iilsklings mote, Again she returned from her lover's tryst Kom bleka kinder - Modem sade: With pale cheeks. Her mother said: Varav blekna dina kinder, flicka? Why are your cheeks so pale, o daughter? Flickan sade: red en grav, o moder! The girl said: Prepare a grave, o mother Com mig dar, od1 stfill ett kors darover, Hide me there, and place a cross above it Och pa korset rista, som jag sager. And, on the cross, carve what I tell you.

En gang kom hom hem med roda hander, Once she came home with red hands, Ty de rodnat mellan iilskams For they had reddened between her lover's hander, hands; En gang kom hon hem med roda lappar, Once she came home with red lips, Ty de rodnat under iilskams lapper. For they had reddened from her lover's lips. Senast kom hon hem med blaka kinder; Finally she came home with pale cheeks; Ty de bleknat genom iilskams otro. For they had paled through her lover's infidelity.

At the River Charles Ives (1874 -1954) (Lowry)

Shall we gather at the river Where the bright angel feet have trod. With its crystal tide for ever Flowing by the throne of God? Yes, we'll gather at the river, The beautiful, beautiful river, Yes, we'll gather at the river, That flows by the throne of God.

Memories Charles Ives (1874 -1954) (Ives)

A: Very Pleasant: We're sitting in the opera house, We're waiting for the curtain to arise with wonders for our eyes, We're feeling pretty gay, and well we may, "O, Jimmy, look!" I say. "The band is running up and soon will start to play." We whistle and we hum, beat time with the drum. We're sitting in the opera house, Awaiting for tl1e curtain to arise with wonders for our eyes, A feeling of expectancy, a certain kind of ecstasy, Expectancy and ecstasy, expectancy and ecstasy - Sh' ... s' .. s' .. s' -

B: Ratl1er Sad: From the street a strain from my ear dotl1 fall, A tune as threadbare as that "old red shawl," It is tattered, it is torn, it shows signs of being worn, It is the tune my Uncle hummed from early morn, 'Twas a common little thing and kind 'a sweet, But 'twas sad and seemed to slow up boili his feet; I can see him shuffling down to the barn or to the town, A humming.

The Circus Band Charles Ives (1874 -1954) (Ives)

All summer long, we boys dreamed 'bout big circus joys! Down Main Street, comes the band Oh! "Ain't it grand and glorious noise!"

Horses are prancing, Knights advancing; Helmets gleaming, Pennants streaming, Cleopatra's on her throne! That golden hair is all her own.

Where is ilie lady all in pink? Last year she waved to me I think, Can she have died? Can! that! rot! She is passing but she sees me not!