2Cd Set Songs to the Moon Cd2

Home , Malcolm Martineau, Taverner (opera)

2CD SET SONGS TO THE MOON CD2

1 Nocturne, Op. 13 No. 4 MF Samuel Barber [3.32] 2 Sun, Moon and Stars MB Elizabeth Maconchy [3.51] CD1 3 Clair de lune, Op. 83 No. 1 AC Joseph Szulc [3.25] 1 The Night AC Peter Warlock [2.11] 4 Damunt de tu només les flors CM Federico Mompou [4.22]

5 Guitares et mandolines MF Camille Saint-Saëns [1.49] 2 Nächtens, Op. 112 No. 2 MB CM AC MF Johannes Brahms [1.45] 6 Apparition MB Claude Debussy [3.48] 3 Vor der Tür, Op. 28 No. 2 MB MF Johannes Brahms [1.58] 7 La nuit, Op. 11 No. 1 MB MF Ernest Chaussan [2.47] 4 Unbewegte laue Luft, Op. 57 No. 8 MF Johannes Brahms [4.07] 8 L’heure exquise CM Reynaldo Hahn [2.51] 5 Der Gang zum Liebchen, Op. 31 No. 3 MB CM AC MF Johannes Brahms [3.14] 9 La fuite CM MF Henri Duparc [3.15] 6 Walpurgisnacht, Op. 75 No. 4 MB CM Johannes Brahms [1.32] 0 7 Rêvons, c’est l’heure MB CM Jules Massenet [5.04] Ständchen, Op. 106 No. 1 CM Johannes Brahms [1.43] 8 Der Abend, Op. 64 No. 2 MB CM AC MF Johannes Brahms [3.51] q Clair de lune, Op. 46 No. 2 AC Gabriel Fauré [2.56] 9 Vergebliches Ständchen, Op. 84 No. 4 CM MF Johannes Brahms [1.43] w Pleurs d’or, Op. 72 AC MF Gabriel Fauré [2.47]

e 0 Tarentelle, Op. 10 No. 2 MB CM Gabriel Fauré [2.17] Unterm Fenster, Op. 34 No. 3 MB AC Robert Schumann [1.26] q Mondnacht, Op. 39 No. 5 MB Robert Schumann [4.07] Total timings: [42.47] Zwei Venetianische Lieder, Op. 25 MF Robert Schumann w Leis rudern hier [1.58] e Wenn durch die Piazzetta [1.16] r Die Lotosblume, Op. 25 No. 7 CM Robert Schumann [1.49] THE MYRTHEN ENSEMBLE MARY BEVAN SOPRANO [MB] ALLAN CLAYTON TENOR [AC] t In der Nacht, Op. 74 No. 4 MB AC Robert Schumann [5.20] CLARA MOURIZ MEZZO SOPRANO [CM] MARCUS FARNSWORTH BARITONE [MF]

JOSEPH MIDDLETON PIANO Total timings: [38.00]

www.signumrecords.com ‘Ah, moon of my delight’ in the first of these CDs and in the second, SONGS TO THE MOON anxiety and madness, mirrored in the unusual inspire the exquisite treatment of Clair de and restless 5/4 metre. The four duets of Opus Art-song exists in western music as one of lune by a selection of the finest French song Peter Warlock quickly realized that he was 28, from which we hear the second, were the most intimate and concentrated modes composers. Short English nocturnal overtures unable to compose in large scale forms, and composed between 1860 and 1862, published of expression; the delivery of a text and its begin each disc. A lunar landscape provides his work list is made up almost entirely in 1864 and dedicated to Frau Amalie Joachim, music are communicated through the medium much material for the keen listener willing of songs and choral music. Following the who had recently married the celebrated of the natural human voice and a piano. The to delve into the highways and byways of publication of his first songs – characterized violinist, and whose dark contralto was soon wish to explore the chamber-music element of the song literature and we hope you enjoy this by highly singable melodies and an to perform many of Brahms finest Lieder. this life-enhancing art form was the thinking repertoire as much as we do. accompaniment that supports but never Vor der Tür (a seventeenth century poem behind the Myrthen Ensemble’s inception and overwhelms the voice with a fine blend of taken from Hoffmann von Fallersleben’s Die for our début disc together we wanted to Joseph Middleton 2016 original harmonies and skilful part-writing – deutschen Gesellschaftslieder des 16. und 17 record the very first programme we explored. he devoted most of his time to editing a Jahrhunderts), begins in a solo manner, as The idea of programming a CD around a theme controversial magazine, The Sackbut. In 1921, first the man pleads to be let in, and then is not new of course, but we hope nevertheless however, at his mother’s home in Wales, he the woman refuses his request. The voices join that presenting these songs, bound together began the most prolific period of his composing in the third verse, but she remains firm, and as they are with a leitmotif, will interest the life, wrote hundreds of transcriptions, a book the lover is left, as in ‘Vergebliches Ständchen’, listener and throw new light on well-known on Delius and some fine compositions. The to languish outside. Unbewegte laue Luft, repertoire as well as uncovering a few lesser- Three Belloc Songs date 1926, and this like Mozart’s ‘An Chloe’ and Richard Strauss’s known gems. fascinating CD of nocturnal songs opens with ‘Ständchen’, culminates in music of undisguised The night, in which Warlock instructs the singer sexual fulfilment. The very first phrase The moon has, since antiquity, inspired artists, to sing soft and chant-like, very slowly, as introduces the chromaticism that lends an musicians and wordsmiths. The programme the poet beseeches ‘Most Holy Night’ to ‘cheat erotic charge to the song. The stillness is broken on this disc looks to its many characteristics me with your false delight’ and grant him by right hand trills that depict the splashing for inspiration. The songs are at turns repose in death. The song, which rarely rises of a fountain; then, with a change of tempo, consoling, sometimes seductive in serenades above p and ends ppp, requires a peerless legato. agitated broken chords in the accompaniment and occasionally paint the moon as a and rising vocal phrases, the music begins threatening force through its extinguishing of The Brahms group opens with Nächtens, the to express the ardour of the poet’s words. Der the suns rays. The moon’s silver beams cast second song of Op. 112, for SATB. This is no Gang zum Liebchen from Op. 48 was composed their magic in music by Brahms and Schumann serene nocturne, but one of illusion, grief, in 1858 – a strophic setting of a folksong

- 4 - - 5 - Brahms had found in the second volume When the serenaders are introduced in verse found the poem Vergebliches Ständchen in three more times, thus binding sky and earth – of the Kretschmer-Zuccalmaglio Deutsche 2, the violin and flute can be heard duetting the Deutsche Volkslieder collection, edited by and the whole song – together. The motif, in Volkslieder collection, where it appeared under in sixths, while alternating spread chords Kretschmer and Zuccalmaglio, and it is one German notation, reads E-H-E (marriage). the title ‘From the Lower Rhine’. It’s an intimate introduce the third instrument at ‘Zither’ and of his finest and wittiest songs which he Cryptology was dear to Schumann’s heart, song with a broad cantilena and a codetta- ‘spielen’. We learn in the final verse that the professed, in a letter to Hanslick, to prize and his message must have been crystal like postlude that comments on the final girl chooses the fair-haired lover and ditches above all others. Singer and accompanist are clear to Clara, who had already received a vocal phrase in both the middle and the the other two. The unrequited lover standing instructed to perform ‘lebhaft und gut gelaunt’ letter from him, in which he described ‘Ehe’ bass register. Walpurgisnacht, like all the outside his sweetheart’s door or window is a (with animation and good humour), and as a ‘sehr musikalisches Wort’. The Zwei duets of Opus 75, is of the dialogue type. The recurring theme of many Brahms songs – an Gerald Moore in Singer and accompanist Venetianische Lieder (both translations by two sopranos depict the mother and child. The indication of the composer’s timidity and lack (Methuen, 1953) is surely right to interpret Freiligrath of poems from Thomas Moore’s girl’s questions become more and more agitated of confidence in his dealings with the fair sex. the sforzando, three bars from the end, as Irish Melodies) are from Myrthen, Schumann’s as she gradually realizes that her mother Schiller’s poem Der Abend describes Phoebus the sound of the window being slammed by wedding present to Clara. Wenn durch die was not only present at the Walpurgis Night in his chariot being drawn down the sky by the young girl in her lover’s face. Piazzetta, the second of the two, is a song celebrations but is actually a witch; as in his horses, as evening falls. Verse two depicts about elopement, and is printed as song 18 Loewe’s ‘Edward’, a series of exchanges reveals Thetis, one of the sea deities, rising from And so to Schumann. The text of Unterm Fenster – or R: did Robert regard this as a reference successive layers of dreadful truths, which the waves and smiling seductively at the from Op. 34 was changed significantly by the to his own role in whisking Clara away are intensified by ever more dramatic music. sun god. Brahms transforms this stock composer: every other line in the Burns original from her father’s clutches? In the first of Clara Schumann, it is said, trembled happily Classical theme into something special. After ended with the impossible to sing “quo’ the songs, Schumann, via Thomas Moore, at the noises in the chimney (stanza 8), and the galloping horses (to a staccato piano Findlay”, which Gerhard rendered variously as consciously says farewell to bachelordom. Die pitied those who could only giggle. accompaniment) reach Thetis, and Phoebus ‘Ich bin es!’, ‘Gar Süßes!’, ‘O öffne!’, ‘Mit Freuden!’ Lotosblume (also from Myrthen) is marked ‘sehr springs from his chariot into her arms, there and other rapturous exclamations. Schumann langsam’ (‘very slowly’); this rapt love song, Ständchen, to a poem by Franz Kugler, was is a wonderful moment of inspiration. As responded with a pulsing song in A major, like ‘Widmung’, boasts a melody of miraculous inspired by the voice of the beautiful Agathe the piano falls silent to indicate that the at the end of which Findlay, like Schumann, beauty; no matter if the prosody is not quite Siebold, and contains a cryptic reference to her chariot has halted, the horses drink deeply eventually triumphed. Eichendorff’s Mondnacht right (the rest between ‘ängstigt’ and ‘sich’ name (Gathe) in the opening melody. Kugler’s from the ocean in long, melting, legato speaks of sky and earth, age-old symbols for is syntactically awkward), the magical tune poem mentions not only zithers, but flutes phrases, marked dolce and diminuendo. The male and female, and their imagined kiss more than makes up for any technical and fiddles too. succession of dotted minims and the fermata inspired in Schumann a motif of descending shortcomings in word-setting. In der Nacht at the end of the song suggest that Phoebus fifths in the piano’s left hand that first from the Spanisches Liederspiel more than is now at rest in post-coital bliss! Brahms appears in bars 10-13, and is then repeated matches Wolf’s great version of the same text.

- 6 - - 7 - It is set as a duet for soprano and tenor, and Dame Elizabeth Maconchy, more attracted by Clair de lune, one of Verlaine’s most celebrated there in 1987. Many of his songs are to expresses the lovers’ mutual passion in a long the European modernism of Bartók and Janáček poems from Fêtes galantes, has been set by a Catalan texts, the most beautiful of which and aching vocal phrase, begun by the than English pastoralism, composed in a great huge variety of composers, including Debussy is Damunt de tu només les flors (‘Above you soprano, echoed by the tenor and then finally variety of forms, including song, favouring (twice), Fauré, Charpentier, Diepenbrock and naught but flowers’), the first song of Combat shared. There can be no deeper expression in such poets as Byron, Day Lewis, Donne, Josef Szulc. Szulc belonged to a family of del somni (1942) to a text by the Catalan the entire song repertoire of the power of love Hopkins, MacNeice, Shelley, Shakespeare and famous Polish musicians, and his Dix Mélodies poet Josep Janés. to banish sleep. Traherne. Sun, Moon and Stars (Maconchy’s Sur des Poésies de Verlaine, Op. 83, are title), the first song of a cycle of four, known divided between high and low voice. Made The text of Guitares et mandolines is by Song, opera and choral works represent over by the same name, sets a poem from Traherne’s famous by a recording with Maggie Teyte and the composer himself, so Saint-Saëns joins half of Samuel Barber’s output. Born in 1910, Centuries III, 2 – a series of meditations in Gerald Moore (1941), his ‘Clair de lune’ is a that select breed, which includes Schubert, he started writing for the voice at a precocious which the poet, recognizing that he is God’s fine song that is not entirely eclipsed by the Schumann, Cornelius, Messiaen, Berlioz and age, and was encouraged by his aunt, Louise child, exults in all aspects of God’s creation more famous settings by Fauré and Debussy. Koechlin, who set their own words to music. Homer, the Metropolitan Opera contralto, on earth. The conscious delight in all these The song is one of many evocations of Spain in whose husband was the distinguished song divine manifestations expresses the mutual Frederic Mompou (1893-1987), like Manuel de the song repertoire – the repeated right composer Sidney Homer. Barber tells how she, love felt between him and God. This rapturous Falla, lived for a time (from 1911-1914 and hand notes of the accompaniment cleverly after an exhausting day in the recording joy – unparalleled in any other writer of the again between 1921 and 1941) in Paris; his suggest the plucking of the plectrum. studio with the likes of Caruso and Galli-Curci, seventeenth century, except perhaps Barthold mother was of French descent, and Paris was would often sing through his early songs, Hinrich Brockes in his Irdisches Vergnügen in for many Catalans not only a cultural Mecca Mallarmé’s Apparition was written when he such as ‘Daisies’, written in l927. Nocturne, Gott (see Handel’s Neun Deutsche Lieder) – is but also a haven from the repressive centralist was twenty years old, and Debussy’s setting the last of his Four Songs Op. 13, was expressed in a poetic prose, reminiscent of Spanish state in the early years of the dates from 1884, when the poet was largely composed in 1940 to a poem by his friend the heightened diction of the Psalms, that twentieth century. Several of Mompou’s forty unknown. He dedicated it to Mme Marie-Blanche Frederic Prokosch who, in his memoirs, breathes a wonderful sense of peace and or so songs – some of them composed to Vasnier, the wife of a Parisian architect Voices, relates how one day he heard Sir rapture, quite unclouded by any notion of French texts by Paul Valéry and others – were who, with her husband, fostered the young Thomas Beecham informally singing, to his original sin. The reader is encouraged to view published in Paris by Editions Salabert, and composer’s talent by inviting him regularly own accompaniment, “my good friend Samuel God’s creation with the wonder and simplicity the first set of his Comptines were dedicated to their home, where she in her high soprano Barber’s setting of my poem ‘Nocturne.’” of a child. to Jane Bathori, the French soprano who would perform his most recent songs. Their created Ravel’s Schéhérazade and Histoires friendship developed into a passion, and before naturelles. Mompou returned to his native he left for Rome Debussy presented her with a Barcelona with the fall of France, and died slim volume of 13 songs.

- 8 - - 9 - Théodore de Banville, a poet favoured by the wept as he listened. L’heure exquise is the Jules Massenet’s mélodies have been somewhat figures of the commedia dell’ arte in an young Debussy and vilified by the even younger fifth song of the set, and should be heard in sidelined in recent years – not without eighteenth century landscape, familiar to us Rimbaud, has been widely set by mélodie a remarkable performance recorded in 1929 some justification. He probably composed too from the paintings of Antoine Watteau. With a composers who detected a melodic immediacy, by Ninon Vallin with Hahn himself at the many songs (with over 260 to his credit he is touch of genius, Fauré allows the voice to a structural simplicity and an emotional piano (EMI, Références). one of the most prolific of all composers of mingle with the piano accompaniment at the directness about his poetry. La nuit comes mélodies), and he chose poems that were moment when Verlaine describes the song of from the Rondels composés à la manière de Henri Duparc’s output is exiguous: no more decidedly second or third rate. You look in the masqueraders blending with the moonlight: Charles d’Orléans, a collection of 24 poems, than seventeen songs survive, but on them vain on any worklist for the great poets of ‘Et leur chanson se mêle au clair de lune’). of which Reynaldo Hahn set 12 – not as rests his reputation as one of the greatest France, although – oddly – he was the The key is B flat minor and should not be many as the quirky Charles Koechlin who composers in the history of the mélodie. They first composer to set a Verlaine poem: the tampered with, since this tonality expresses composed 23 of the 24. Koechlin set ‘La nuit’ were composed between the ages of twenty beautiful duet Rêvons, c’est l’heure (1871), so perfectly the wistfulness of the poem. as a solo song and Hahn as a piano and thirty-seven, after which he lived for which is known as ‘L’heure exquise’ in other Pleurs d’or (1896) was composed in London accompanied choral trio for sopranos, contraltos another forty-eight years without publishing – famous settings. for a concert in St James’s Hall on 1 May 1896. and tenors. Chausson’s duet, composed in and hardly writing – another note. Unlike The original title was ‘Larmes’, but Fauré, September 1883, is one of his happiest songs Fauré, three years his senior, who by the Gabriel Fauré composed more than 100 fearing that this would be confused with his and is remarkable for the way in which age of twenty had already produced a fair mélodies, and was very little influenced by earlier Richepin setting, asked the poet Samain the accompaniment – now semiquavers, now corpus of juvenile songs, Duparc’s first contemporaries such as Debussy and Ravel. to supply a new title. This delicious duet, quavers – gradually descend the stave to mélodies, from ‘Chanson triste’ on, reveal his The style of his songs develops from the with its long descending whole-tone phrases depict the sunset and the ensuing content. fully developed genius. La fuite (1871) sets a gracefully melodic early mélodies, through the and triplet arpeggio accompaniment, is a poem by Théophile Gautier and takes the form productive second period, to the late songs fine way to end a shared Fauré recital. And Paul Verlaine was one of Reynaldo Hahn’s of a duet between Kadidja and Ahmed. The girl – mostly cycles – which display a simplicity, so is Tarentelle, a setting of a poem by Marc favourite poets, and on a famous occasion, at suggests to her lover that they should elope austerity and purity that are quite unlike Monnier which, in Monnier’s Poésies, is followed the house of Alphonse Daudet in 1893, Sibil together, and when he proves faint-hearted, anything else in song literature. Clair de by a sequel which reveals that the Tarantella Sanderson (the dedicatee of ‘L’énamourée) she assures him that her eyelashes will shade lune, Fauré’s first Verlaine setting, dates from is set in Naples. Fauré composed this virtuoso performed Hahn’s Verlaine cycle, Chansons him from the sun and, if there’s no water along 1887, five years after Debussy’s version of the duet while he was in love with Marianne V grises, in front of the poet. Verlaine, who did the route, they will drink the tears of her joy. same poem. It is one of his finest compositions, iardot, and the operatic arrangement was not care for Fauré’s settings of his poems, There is also a setting by Bizet. a piano piece with vocal obbligato of destined to be sung by Marianne and her was greatly moved by Hahn’s songs, and breathtaking beauty that evokes the masked sister Claudie. This technically difficult moto

- 10 - - 11 - perpetuo music, quivering with erotic melismas, TEXTS & TRANSLATIONS 2 Nächtens During the night was first performed with the other duet of Op. 10 (‘Puisqu’ici-bas toute âme’) during CD1 Nächtens wachen auf die irren, During the night the insane a concert of the Société Nationale de la Lügenmächt’gen Spukgestalten, Mighty, illusory apparitions awake Musique on 10 April 1875. With Messager’s 1 The night Welche deinen Sinn verwirren. That confuse your senses. help, Fauré orchestrated it later in the year. During the night in the flower garden Most holy Night, that still dost keep Nächtens ist im Blumengarten Reif gefallen, daß vergebens Hoarfrost fell, so that Richard Stokes © 2016 The keys of all the doors of sleep, You would wait in vain for blossoms. To me when my tired eyelids close Du der Blumen würdest warten. Give thou repose. Nächtens haben Gram und Sorgen During the night grief and anxiety In dein Herz sich eingenistet, Settled in your heart, And let the far lament of them Und auf Tränen blickt der Morgen. And the morning looks upon tears. That chaunt the dead day’s requiem Make in my ears, who wakeful lie, Text: Franz Theodor Kugler (1808-1858) Soft lullaby. 3 Vor der Tür Outside the door Let them that guard the horned moon By my bedside their memories croon. Tritt auf den Riegel von der Tür, Draw back the bolt from the door, So shall I have new dreams and blest Wie gern käm’ ich herein How I would love to come in In my brief rest. Um dich zu küssen. To kiss you. ‘Ich lass’ dich nicht herein, ‘I’ll not let you in, Fold your great wings about my face, Schleich immer heim ganz sacht Creep back home as soft as you can Hide dawning from my resting-place, Auf deinen Füßen.’ On your feet.’ And cheat me with your false delight, Most Holy Night. Wohl kann ich schleichen sacht I can of course creep as softly Wie Mondenschein, As moonlight, Text: Hilaire Belloc (1870-1953) Steh nur auf, laß mich ein; Only get up and let me in; ‘The Night’ from Complete Verse by Hilaire Belloc reprinted by Das will ich von dir haben, That’s what I want from you, permission of Peters Fraser & Dunlop (www.petersfraserdunlop.com) on behalf of the Estate of Hilaire Belloc

- 12 - - 13 - O Mägdlein, deinen Knaben O maiden, let your 5 Der Gang zum Liebchen The walk to the beloved Laß ein! Lad in! Es glänzt der Mond nieder, The moon shines down, Text: Anonymous Ich sollte doch wieder So I should set out Zu meinem Liebchen, Again to my love, 4 Unbewegte laue Luft Motionless mild air Wie mag es ihr gehn? How is she, I wonder?

Unbewegte laue Luft, Motionless mild air, Ach weh, sie verzaget Alas, she’s despairing Tiefe Ruhe der Natur, Nature deep at rest, Und klaget, und klaget, And lamenting, lamenting Durch die stille Gartennacht Through the still garden night Daß sie mich nimmer She’ll never see Plätschert die Fontäne nur, Only the fountain plashes, Im Leben wird sehn! Me again in her life! Aber im Gemüte schwillt But my soul swells Es ging der Mond unter, The moon went down, Heißere Begierde mir, With a more ardent desire, Ich eilte doch munter, I hurried off happily, Aber in der Ader quillt Life surges in my veins Und eilte, daß keiner Hurried so that no one Leben und verlangt nach Leben. And yearns for life. Mein Liebchen entführt. Should steal my love away. Sollten nicht auch deine Brust Should not your breast too Sehnlichere Wünsche heben? Heave with more passionate longing? Ihr Täubchen, o girret, Keep cooing, you doves, Sollte meiner Seele Ruf Should not the cry of my soul Ihr Lüftchen, o schwirret, Keep whispering, you breezes, Nicht die deine tief durchbeben? Quiver deeply through your own? Daß keiner mein Liebchen, So that no one Leise mit dem Ätherfuß Softly on ethereal feet Mein Liebchen entführt! Should steal my love from me! Säume nicht daher zu schweben! Glide to me, do not delay! Komm, o komm, damit wir uns Come, ah! come, that we might Text: Anonymous., trs. Joseph Wenzig Himmlische Genüge geben! Give each other heavenly satisfaction! 6 Walpurgisnacht Walpurgis night Text: Georg Friedrich Daumer (1800-1875) Lieb’ Mutter, heut’ Nacht heulte Regen und Wind. Dear Mother, this night the rain and wind howled. “Ist heute der erste Mai, liebes Kind!” ‘Today is the first of May, dear child!’

Lieb’ Mutter, es donnerte auf dem Brocken oben. Dear Mother, it thundered up on the Brocken. “Lieb’ Kind, es waren die Hexen droben.” ‘Dear child, it was the witches up there!’

- 14 - - 15 - Liebe Mutter, ich möcht’ keine Hexen sehn. Dear Mother, I don’t want to see any witches. 7 Ständchen Serenade “Liebes Kind, es ist wohl schon oft geschehn.” ‘Dear child, you probably already often have.’ Der Mond steht über dem Berge, The moon shines over the mountain, Liebe Mutter, ob im Dorf wohl Hexen sind? Dear Mother, are there really witches in the village? So recht für verliebte Leut; Just right for people in love; “Sie sind dir wohl näher, mein liebes Kind.” ‘They’re even closer to you, dear child.’ Im Garten rieselt ein Brunnen, A fountain purls in the garden – Sonst Stille weit und breit. Otherwise silence far and wide. Ach, Mutter, worauf fliegen die Hexen zum Berg? Ah, Mother, on what do witches fly to the mountain? “Auf Nebel, auf Rauch, auf loderndem Werg.” ‘On mist, on smoke, on burning tow.’ Neben der Mauer im Schatten, By the wall in the shadows, Da stehn der Studenten drei Three students stand Ach, Mutter, was reiten die Hexen beim Spiel? Ah, Mother, what do witches ride when playing? Mit Flöt und Geig und Zither With flute and fiddle and zither, “Sie reiten, sie reiten den Besenstiel.” ‘They ride, they ride on broomsticks.’ Und singen und spielen dabei. And sing and play.

Ach, Mutter, was fegten im Dorfe die Besen! Ah, Mother, how the brooms were sweeping the Die Klänge schleichen der Schönsten The sounds steal softly into the dreams “Es sind auch viel Hexen auf’m Berge gewesen!” village! Sacht in den Traum hinein, Of the loveliest of girls, ‘That’s because they’re many witches on the mountain.’ Sie schaut den blonden Geliebten She sees her fair-headed lover Und lispelt: „Vergiß nicht mein!“ And whispers ‘Remember me!’ Ach, Mutter, was hat es im Schornstein gekracht! Ah, Mother, there was such a crash in the chimney! “Es flog auch wohl Eine hinaus über Nacht.’ ‘One probably flew out in the night.’ Text: Franz Kugler

Ach, Mutter, dein Besen war die Nacht nicht zu Ah, Mother, your broom was not in the house last 8 Der Abend Evening Haus! night! “Lieb’s Kind, so war er zum Brocken hinaus.” ‘Dear child, then it was out on the Brocken.’ Senke, strahlender Gott, die Fluren dürsten Sink, radiant god, the meadows thirst Nach erquickendem Tau, For refreshing dew, Ach, Mutter, dein Bett war leer in der Nacht! Ah, Mother, your bed was empty last night! der Mensch verschmachtet, man languishes, “Deine Mutter hat oben auf dem Blocksberg ‘Your Mother was on watch up on the Blocksberg.’ Matter ziehen die Rosse, The horses pull more weakly, gewacht.” Senke den Wagen hinab. Let the chariot sink down.

Text: Willibald Alexis (1798-1871) Siehe, wer aus des Meers kristall’ner Woge See who from the ocean’s crystalline waves Lieblich lächelnd dir winkt! Beckons to you lovingly!

- 16 - - 17 - Erkennt dein Herz sie? Does your heart recognize her? Wärst du herein mit Fug, If you were allowed in, Rascher fliegen die Rosse, The horses fly more swiftly, Wärs mit mir vorbei! All would be over with me! Tethys, die göttliche, winkt. Divine Tethys beckons. Er He Schnell vom Wagen herab in ihre Arme Quickly the driver springs down from the chariot So kalt ist die Nacht, The night’s so cold, Springt der Führer, den Zaum ergreift Kupido, Into her arms, Cupid seizes the bridle, So eisig der Wind, The wind’s so icy, Stille halten die Rosse, The horses do not stir, Daß mir das Herz erfriert, My heart is freezing, Trinken die kühlende Flut. They drink the cooling water. Mein Lieb erlöschen wird; My love will go out; Öffne mir, mein Kind! Open up, my child! An dem Himmel herauf mit leisen Schritten With gentle steps fragrant night Kommt die duftende Nacht; ihr folgt die süße Creeps up to the heavens; followed by sweet Sie She Liebe. Ruhet and liebet! Love. Rest and love! Löschet dein Lieb, If your love goes out, Phöbus, der liebende, ruht. Amorous Phoebus is sleeping. Laß sie löschen nur! Then let it go out! Löschet sie immerzu, If it keeps going out, Text: Friedrich von Schiller (1759-1805) Geh heim zu Bett, zur Ruh, Then go home to bed and go to sleep, Gute Nacht, mein Knab! Good night, my lad! 9 Vergebliches Ständchen Vain serenade Text: Anonymous Er He Guten Abend, mein Schatz, Good evening, my sweetheart, 0 Unterm Fenster Beneath the window Guten Abend, mein Kind! Good evening, my child! Ich komm aus Lieb zu dir, I come because I love you, Wer ist vor meiner Kammertür? Who’s at my bedroom door? Ach, mach mir auf die Tür, Ah! open up your door to me, Ich bin es! It’s me! Mach mir auf die Tür! Open up your door! Geh, schier dich fort, was suchst du hier? Be off with you, what d’you want here? Gar Süßes! Something very sweet! Sie She Du kommst im Dunkeln wie ein Dieb. Mein Tür ist verschlossen, My door’s locked, You’ve come in the dark just like a thief. So fang mich! Ich laß dich nicht ein; I won’t let you in; Why not catch me, then? Du hast mich wohl ein wenig lieb? Mutter, die rät mir klug, Mother gave me good advice, Don’t you love me just a little? Von Herzen! With all my heart!

- 18 - - 19 - Und öffnet ich nach deinem Wunsch? And what if I opened the door as you ask? Es rauschten leis die Wälder, The forests murmured softly, O öffne! Open it! So sternklar war die Nacht. The night was so clear with stars. Da wär ja Schlaf und Ruhe hin! That would be the end of sleep and rest! Laß hin sein! Let them be! Und meine Seele spannte And my soul spread Ein Tauber du im Taubenschlag? Are you a dove in a dovecote? Weit ihre Flügel aus, Her wings out wide, Beim Täubchen! With his mate! Flog durch die stillen Lande, Flew across the silent land, Du girrtest bis zum hellen Tag? Will you coo until dawn? Als flöge sie nach Haus. As though flying home. Wohl möglich! Most likely! Text: Joseph von Eichendorff (1788-1857) Nein, nimmer laß ich dich herein! No, I’ll never let you in! Tu’s dennoch! Do it all the same! Zwei Venetianische Lieder Two Venetian airs Du stelltest wohl dich täglich ein? I’ll bet you’d want to come each day? w Mit Freuden! I’d love to! Leis’ rudern hier, mein Gondolier! die Flut vom Row gently here, my gondolier, Wie keck du bist und was du wagst! How presumptuous and brazen you are! Ruder sprühn ply the water gently, So darf ich? Then may I? So leise laß, daß sie uns nur vernimmt, zu der So that only she, to whom we glide, shall hear Daß du’s nur keiner Seele sagst! As long as you don’t tell a soul! wir zieh’n! us coming! Gewiß nicht! Of course not! O könnte, wie er schauen kann, der Himmel reden Oh, if only heaven could speak and reveal all that – traun, it sees, Text: Robert Burns (1759-1796), trs. Wilhelm Gerhard Er spräche Vieles wohl von dem, was Nachts die It would tell much about what the stars discern Sterne schau’n! at night! q Mondnacht Moonlit night Nun rasten hier, mein Gondolier! Ins Boot die Now stay here, my gondolier, gently into the boat Es war, als hätt’ der Himmel, It was as though Heaven Ruder! sacht! with your oar! Die Erde still geküßt, Had softly kissed the Earth, Auf zum Balkone schwing’ ich mich, doch du Gently, gently! While I climb the balcony, you keep Daß sie im Blütenschimmer So that she in a gleam of blossom hältst unten Wacht. watch beneath. Von ihm nur träumen müßt’. Had now to dream of him. O wollten halb so eifrig nur dem Himmel wir Oh, if we devoted ourselves to heaven uns weih’n, as eagerly Die Luft ging durch die Felder, The breeze passed through the fields, Als schöner Weiber Diensten – traun, wir könnten As we seek favours of fair women, Dei Ähren wogten sacht, The corn swayed gently to and fro, Engel sein! we could be angels!

- 20 - - 21 - e Der Mond, der ist ihr Buhle, The moon is her lover, Wenn durch die Piazzetta When through the Piazzetta Er weckt sie mit seinem Licht, He wakes her with his light, Die Abendluft weht, The night air drifts, Und ihm entschleiert sie freundlich And to him she tenderly unveils Dann weißt du, Ninetta, Then you know, Ninetta, Ihr frommes Blumengesicht. Her innocent flower-like face. Wer wartend hier steht. Who’s waiting here. Du weißt, wer trotz Schleier You know who, despite your veil Sie blüht und glüht und leuchtet She blooms and glows and gleams, Und Maske dich kennt, And mask, recognizes you; Und starret stumm in die Höh’;. And gazes silently aloft – Wie Amor die Venus As Amor knows Venus Sie duftet und weinet und zittert Fragrant and weeping and trembling Am Nachtfirmament. In the night sky. Vor Liebe und Liebesweh. With love and the pain of love.

Ein Schifferkleid trag’ ich At that very hour Text: Heinrich Heine (1797-1856) Zur selbigen Zeit, I’ll come dressed as a gondolier, Und zitternd dir sag’ ich: And trembling, tell you: t In der Nacht In the night Das Boot liegt bereit! The boat lies ready! O komm, wo den Mond O come now, while the moon Alle gingen, Herz, zur Ruh, All have gone to rest, O heart, Noch Wolken umziehn, Is covered in clouds, Alle schlafen, nur nicht du. All are sleeping, all but you. Laß durch die Lagunen, Let us flee, my love, Mein Leben, uns fliehn! Across the lagoons! Denn der hoffnungslose Kummer For hopeless grief Scheucht von deinem Bett den Schlummer, Banishes slumber from your bed, Text: Thomas Moore (1779-1852), trs. Ferdinand Freiligrath Und dein Sinnen schweift in stummer And your thoughts fly in speechless Sorge seiner Liebe zu. Sorrow to your love. r Die Lotosblume The lotus-flower Text: Anonymous., trs. Emanuel Geibel Die Lotosblume ängstigt The lotus-flower fears Sich vor der Sonne Pracht, The sun’s splendour, Und mit gesenktem Haupte And with bowed head, Erwartet sie träumend die Nacht. Dreaming, awaits the night.

- 22 - - 23 - CD2 3 & q Clair de lune Moonlight

1 Nocturne 2 Sun, Moon and Stars Votre âme est un paysage choisi Your soul is a chosen landscape Que vont charmant masques et bergamasques Bewitched by masque and bergamasque, Close, my darling, both your eyes, All appeared New, and Strange at [the] first, Jouant du luth et dansant et quasi Playing the lute and dancing and almost Let your arms lie still at last. inexpressibly rare, and Delightfull, and Beautifull. Tristes sous leurs déguisements fantasques. Sad beneath their fanciful disguises. Calm the lake of falsehood lies [...] The Streets were mine, the Temple was mine, Singing as they go in a minor key And the wind of lust has passed, the People were mine [...], and so were the Sun Tout en chantant sur le mode mineur and Moon and Stars, and all the World was mine. L’amour vainqueur et la vie opportune, Of conquering love and life’s favours, They don’t quite seem to believe in their fortune Waves across these hopeless sands All Things were Spotles and Pure and Glorious: Ils n’ont pas l’air de croire à leur bonheur And their song mingles with the light of the moon, Fill my heart and end my day, yea and infinitly mine, and Joyfull and Precious. Et leur chanson se mêle au clair de lune, Underneath your moving hands [...] But little did the Infant dream that all the Au calme clair de lune triste et beau, The calm light of the moon, sad and fair, All my aching flows away. treasures of the world were by. And that himself Qui fait rêver les oiseaux dans les arbres That sets the birds dreaming in the trees was so the cream and crown of all, which round Et sangloter d’extase les jets d’eau, And the fountains sobbing in their rapture, Even the human pyramids about did lie. Les grands jets d’eau sveltes parmi les marbres. Tall and svelte amid the marble statues. Blaze with such a longing now: Close, my love, your trembling lids, Text: Thomas Traherne (1636-1674) Text: Paul Verlaine (1844-1896) Let the midnight heal your brow. 4 Damunt de tu només les flors Above you naught but flowers Northward flames Orion’s horn, Westward the Egyptian light. Damunt de tu només les flors. Above you naught but flowers. None to watch us, none to warn Eren com una ofrena blanca: They were like a white offering: But the blind eternal night. La llum que daven al teu cos The light they shed on your body Mai més seria de la branca; Will nevermore belong to the branch. Text: Frederic Prokosch (1906-1989) Tota una vida de perfum An entire life of perfume Amb el seu bes t’era donada. Was given you with their kiss. Tu respendies de la llum You were resplendent in the light, Per l’esguard clos atresorada. Treasured by your closed eyes.

- 24 - - 25 - Si hagués pogut ésser sospir Could I have been the sigh 6 Apparition Apparition De flor! Donar-me, com un llir, Of a flower! Given myself as a lily, A tu, perqué la meva vida That my life might La lune s’attristait. Des séraphins en pleurs The moon grew sad. Weeping seraphim, Rêvant, l’archet aux doigts, dans le calme Dreaming, bows in hand, in the calm of hazy S’anés marcint sobre el teu pit. Wither over your breast, des fleurs Flowers, drew from dying viols I no saber mai més la nit, Nevermore to know the night, Vapoureuses, tiraient de mourantes violes White sobs that glided over the corollas’ blue. Que al teu costat fóra esvaïda. Vanished from your side. De blancs sanglots glissant sur l’azur des corolles. - It was the blessed day of your first kiss. - C’était le jour béni de ton premier baiser. My dreaming, glad to torment me, Text: Josep Janés (1913-1959) Ma songerie aimant à me martyriser Grew skilfully drunk on the perfumed sadness S’enivrait savamment du parfum de tristesse That - without regret or bitter after-taste - 5 Guitares et mandolines Guitar and mandolin Que même sans regret et sans déboire laisse The harvest of a Dream leaves in the reaper’s heart. La cueillaison d’un Rêve au cœur qui l’a cueilli. And so I wandered, my eyes fixed on the old paving Guitares et mandolines Guitar and mandolin J’errais donc, l’œil rivé sur le pavé vieilli, stones, Ont des sons qui font aimer. Cause you to fall in love. Quand avec du soleil aux cheveux, dans la rue When with sun-flecked hair, in the street Tout en croquant des pralines While crunching pralines, Et dans le soir, tu m’es en riant apparue And in the evening, you appeared laughing before me Pépa se laisse charmer Pepe lets herself be charmed Et j’ai cru voir la fée au chapeau de clarté And I thought I glimpsed the fairy with her cap of light Quand, jetant dièses, bécarres, When, sounding sharps and flats, Qui jadis sur mes beaux sommeils d’enfant gâté Who long ago crossed my lovely spoilt child’s Mandolines et guitares Mandolin and guitar Passait, laisant toujours de ses mains mal fermées slumbers, Vibrent pour la désarmer. Resound to disarm her. Neiger de blancs bouquets d’étoiles parfumées. Always allowing from her half-closed hands White bouquets of scented flowers to snow. Mandoline avec guitare Mandolin and guitar Text: Stéphane Mallarmé (1842-1898) Accompagnent de leur bruit Accompany with their sound Les amants suivant le phare Lovers who follow the beacon 7 La nuit Night De la beauté dans la nuit. Of beauty in the night; Et Juana montre, féline, And feline Juana reveals Nous bénissons la douce Nuit We bless the sweet night, (Guitare avec mandoline) (Guitar and mandolin) Dont le frais baiser nous délivre. Whose cool kiss sets us free. Sa bouche et son œil qui luit. Her mouth and gleaming eyes. Sous ses voiles on se sent vivre Beneath its veils we feel we live Sans inquiétude et sans bruit. Without noise or anxiety. Text: Camille Saint-Saëns (1835-1921)

- 26 - - 27 - Le souci dévorant s’enfuit, Devouring care slips away, Rêvons, c’est l’heure. Let us dream, it is the hour. Le parfum de l’air nous enivre; The fragrant air enraptures us; Nous bénissons la douce Nuit We bless the sweet night, Un vaste et tendre A vast and tender Dont le frais baiser nous délivre. Whose cool kiss sets us free. Apaisement Consolation Semble descendre Seems to fall Pâle songeur qu’un Dieu poursuit, Pale dreamer whom a god pursues, Du firmament From the sky Repose-toi, ferme ton livre. Rest, and close your book. Que l’astre irise ... The moon illumines ... Dans les cieux blancs comme du givre In the heavens as white as rime Un flot d’astres frissonne et luit. A stream of stars quivers and shines, C’est l’heure exquise. Exquisite hour. Nous bénissons la douce Nuit We bless the sweet night. Dont le frais baiser nous délivre. Text: Paul Verlaine

Text: Théodore de Banville (1823-1891) 9 La fuite Escape 8 L’heure exquise Exquisite hour Kadidja Kadidja 0 Rêvons, c’est l’heure Let us dream, it is the hour Au firmament sans étoile, In the starless sky La lune blanche The white moon La lune éteint ses rayons; The moon extinguishes its rays; Luit dans les bois; Gleams in the woods; La nuit nous prête son voile; Night lends us her veil; De chaque branche From every branch Fuyons! fuyons! Let us flee! Let us flee! Part une voix There comes a voice Sous la ramée ... Beneath the boughs... Ahmed Ahmed Ne crains-tu pas la colère Do you not fear the anger O bien-aimée. O my beloved. De tes frères insolents, Of your insolent brothers, Le désespoir de ton père, The despair of your father, L’étang reflète, The pool reflects, De ton père aux sourcils blancs? Your white-haired father? Profond miroir, Deep mirror, La silhouette The silhouette Kadidja Kadidja Du saule noir Of the black willow Que m’importent mépris, blâme, What do I care for scorn, rebuke, Où le vent pleure ... Where the wind is weeping... Dangers, malédictions! Dangers, imprecations!

- 28 - - 29 - C’est en toi que vit mon âme. My soul lives in you. Ahmed Ahmed Fuyons! fuyons! Let us flee! Let us flee! Si le mirage illusoire If a mirage Nous cachait le vrai chemin, Were to hide the true path, Ahmed Ahmed Sans vivres, sans eau pour boire, Without food and without drink, Le cœur me manque; je tremble, My heart fails me; I tremble, Tous deux nous mourrions demain. We would both die tomorrow. Et, dans mon sein traversé, And in my pierced heart De leur kandjar il me semble I seem to feel the icy Kandidja Kadidja Sentir le contact glacé! Touch of their khanjars! Sous le bonheur mon cœur ploie; My heart gives way with happiness; Si l’eau manque aux stations, If there’s no water along the route, Kadidja Kadidja Bois les larmes de ma joie. Drink the tears of my joy. Née au désert, ma cavale My desert-born mare Fuyons! fuyons! Let us flee! Let us flee! Sur les blés, dans les sillons, Would fly across the wheat, Volerait, des vents rivale. Along the furrows, vying with the winds. Text: Théophile Gautier (1811-1872) Fuyons! fuyons! Let us flee! Let us flee! w Pleurs d’or Tears of gold Ahmed Ahmed Au désert infranchissable, To the impassable desert, Larmes aux fleurs suspendues, Tears clinging to flowers, Sans parasol, pour jeter With no parasol to cast Larmes aux sources perdues Tears from springs lost Un peu d’ombre sur la sable, A little shade on the sand, Aux mousses des rochers creux; In the moss of hollowed rocks; Sans tente pour m’abriter... With no tent to shelter me... Larmes d’automne épandues, Tears shed by autumn, Kandidja Kadidja Larmes de cors entendues Tears from horns sounding Mes cils te feront de l’ombre, My eyelashes shall shade you, Dans les grands bois douloureux; In great doleful forests; Et, la nuit, nous dormirons And at night we shall sleep Sous mes cheveux, tente sombre, Beneath the dark tent of my hair. Larmes des cloches latines, Tears of church bells, Fuyons! fuyons! Let us flee! Let us flee! Carmélites, Feuillantines ... Of Carmel and Feuillant convents ... Voix des beffrois en ferveur; Devout belfry voices;

- 30 - - 31 - Larmes des nuits étoilées, Tears of starlit nights, Doux est le bruit du tambourin! Sweet is the sound of the drum! Larmes des flûtes voilées Tears of muffled flutes Si j’étais fille de marin If I were a sailor’s daughter Au bleu du parc endormi; In the blue of the sleeping park; Et toi pêcheur, me disait-elle, And you a fisherman, she said, Toutes les nuits joyeusement Every night, full of joy, Larames aux grands cils perlées, Pearly tears on long lashes, Nous danserions en nous aimant We’d love each other and dance Larmes d’amantes coulées A beloved’s tears flowing La tarentelle. The tarantella! Jusqu’à l’âme de l’ami; To her friend’s soul; Text: Marc Monnier (1887-1885) Translations by Richard Stokes, from: Larmes d’extase, éplorement délicieux, Tears of rapture, delicious weeping, A French Song Companion (OUP, 2000) Tombez des nuits! Tombez des fleurs! Fall at night! Fall from the flowers! The Book of Lieder (Faber, 2005) The Spanish Song Companion (Scarecrow Press, 2006) Tombez des yeux! Fall from these eyes!

Text: Albert Samain (1858-1900) e Tarentelle Tarantella

Aux cieux la lune monte et luit. The moon rises bright in the sky, Il fait grand jour en plein minuit. Turning midnight into day. Viens avec moi, me disait-elle, Come with me, she said, Viens sur le sable grésillant Come to the whirling sands Où saute et glisse en frétillant And the leaping, flashing and turning La tarentelle. Tarantella!

Sus, les danseurs! En voilà deux; Come! Here are two dancers, Foule sur l’eau, foule autour d’eux; Thronged around in the water; L’homme est bien fait, la fille est belle; The man is well-built, the girl beautiful; Maid gare à vous! Sans y penser, But look out! Before you are aware, C’est jeu d’amour que de danser You’ll be playing with love if you dance La tarentelle. The tarantella!

- 32 - - 33 - Schumann’s original score carried. Delving MARY BEVAN into the treasure chest that makes up the canon of the song repertoire, The Myrthen Mary Bevan is one of Britain’s top emerging Ensemble explores all areas of art-song through artists, receiving acclaim from critics and illuminating and thoughtful programming. audiences for her stand out performances. Described by The Telegraph as “the crème She is currently a Harewood Artist at ENO and de la crème of young British-based musical In their first seasons together the Myrthen an Associate of the Royal Academy of Music. talent”, and praised in BBC Music Magazine for Ensemble enjoyed performances at Snape In 2014 she was awarded the UK Critics’ their “irresistible combination of arresting Maltings as part of an Aldeburgh Festival Circle Award for Exceptional Young Talent in programing and vocal flair assembled around residency, broadcast for BBC Radio 3, and gave music. Recent operatic engagements include pianist Joseph Middleton”, the newly formed a triumphant launch concert in London: “For the title role in Rossi Orpheus for the Royal Myrthen Ensemble brings together rising sheer joy – for youthful panache and heartfelt Opera at Shakespeare’s Globe; Yum-Yum stars in the world of art-song and Lieder. commitment – nothing I have experienced The Mikado, Susanna The Marriage of Figaro The founder members were Mary Bevan, Clara musically this year comes near to matching and Rebecca in Nico Muhly’s Two Boys, all for Mouriz, Allan Clayton, Marcus Farnsworth this lovely soirée... there was no mistaking English National Opera; Elvira in Rossini and Joseph Middleton and they very much its exceptional musicality – every phrase was L’italiana in Algeri at Garsington Opera, Music enjoy working alongside other outstanding coloured and shaped, everything emotionally & Euridice in Monteverdi L’Orfeo with ROH at young guest singers. felt” (Rupert Christiansen, The Telegraph). the Roundhouse, Barbarina Le nozze di Figaro They have gone on to perform at the Wigmore at the ROH, and David Bruce’s The Firework The group takes its name from the composition Hall, as well as for BBC Radio 3 from the Bath Maker’s Daughter with The Opera Group, Opera Robert Schumann wrote as a wedding present MozartFest, Leeds Lieder, Newbury Spring, North and ROH2. for his wife Clara in 1840. Myrtles have for Norwich and Norfolk, Wimbledon, Northern centuries been seen as the German symbol of Aldborough and St Magnus Festivals. Future In concert Bevan recently performed Silandra marriage and their modest form seems an apt seasons see them appear at Amsterdam’s in Cesti Orontea with La Nuova Musica, Bach image for the relationship between words and Concertgebouw, New York’s Frick Collection, cantatas with the Dunedin Consort, baroque music, singer and pianist, imagination and and at the Musée d’Orsay in Paris. The individual programmes with the Academy of Ancient sound and performer and audience. The vignette members can be heard in the world’s finest Music and Orchestra of the Age of Enlightenment, the group use to display their name has been opera houses, musical centres and on and Faure Requiem with Orquestra Sinfonica designed using the ‘ornamental binding’ which numerous award-winning recordings. de Sevilla and Philharmonia. She has previously © Victoria Cadisch

- 34 - - 35 - sung Mozart Requiem with the English CLARA MOURIZ Bach’s Mass in B minor with the Real Chamber Orchestra, Maxwell Davies Caroline Filharmonia de Galicia, Rossini’s Petite messe Mathilde Suite at the BBC Proms, Mendelssohn Spanish-born mezzo-soprano Clara – a former solennelle with the BBC Singers, Rossini’s Stabat Symphony No.2 with the CBSO, Stravinsky member of the BBC Radio 3 New Generation Mater with the Orquesta de la Comunidad, Pulcinella with the Prague Philharmonia and Artist - was an Independent Opera / Wigmore and Mahler’s Lieder eines fahrenden Gesellen Handel Messiah with the English Concert. Hall Fellow 2009/11, and an Associate of the with the BBC Philharmonic. A dedicated recitalist, she has appeared at Royal Academy of Music, where she studied. the Oxford Lieder Festival and Wigmore Hall. Her operatic roles include the title-role in She made her Wigmore Hall debut under the Ariodante, Angelina (La Cenerentola), Rosina Bevan’s recordings include Ludwig Thuille auspices of the Kirckman Concert Society in (The Barber of Seville), Melibea (Il viaggio a and Mendelssohn songs for Champs Hill 2007, and has returned there regularly, as Reims) Cherubino (The Marriage of Figaro), Tirinto Records, Handel The Triumph of Time and well as appearing in radio broadcasts and at (Imeneo), Piacere (Il trionfo del tempo), Cefiro Truth and Ode for St Cecilia’s Day with Ludus festivals across Europe and North America with (Nebra’s Vienbto es la dicha de amor), Myrtale Baroque, Vaughan Williams Symphony No.3 pianists Julius Drake, Graham Johnson, Simon (Thaïs) and Olga (Eugene Onegin). and Schubert Rosamunde with the BBC Lepper, Malcolm Martineau, Joseph Middleton, Philharmonic, and Hadley Fen and Flood with Melvyn Tan and Roger Vignoles. ALLAN CLAYTON the Bournemouth Symphony. Career highlights include her BBC Proms debut Allan Clayton is established as one of the in 2013, performing Falla’s Three Cornered Hat most exciting and sought after singers of with the BBC Philharmonic, a recital at the his generation. A consummate actor and Musée D’Orsay with Dame Felicity Lott and deeply sensitive musician he has made a huge Graham Johnson, Ravel’s Chansons Madecasses impact on the international operatic and with the Nash Ensemble, Rossini’s Giovanna concert scene. d’Arco with the Royal Scottish National Orchestra, Ravel’s Sheherazade with the Orquesta Allan performs on the world’s great opera de RTVE, Canteloube’s Chants d’Auvergne stages, including the Royal Opera House, Covent with the BBC Symphony Orchestra and the Garden, English National Opera, Welsh National Hong Kong Philharmonic, Mozart’s Requiem Opera, Glyndebourne Festival Opera, Komsiche with the Swedish Radio Symphony Orchestra, Oper, Berlin, and Teatro Real, Madrid. © M Bielsa

- 36 - - 37 - He also has a busy and varied concert career, MARCUS FARNSWORTH appearing regularly with the London Symphony Orchestra, the London Philharmonic Orchestra, Marcus Farnsworth was first prize winner in the Gulbenkian Orchestra, and the Sydney the 2009 Wigmore Hall International Song Symphony Orchestra. Conductors he has Competition. He studied at and is an Associate worked with include Sir Mark Elder, Bernard of the Royal Academy of Music, London. Labadie, Christian Curnyn, Mark Wigglesworth, and Masaaki Suzuki. Marcus has given recitals at venues including the Concertgebouw, Amsterdam; La Monnaie, A consummate recitalist, Allan has given Brussels; Opéra de Lille; Musée d’Orsay, Paris lieder recitals at the Cheltenham, Perth and as well as at the Australian Chamber Music Aldeburgh Festivals, and London’s Wigmore Festival. He regularly appears at Wigmore Hall. He has been fortunate to work with many Hall, working with pianists including Simon outstanding pianists including Paul Lewis, Lepper, Graham Johnson, James Baillieu, Graham Johnson, Malcolm Martineau, Roger Malcolm Martineau, Julius Drake and with the Vignoles, Julius Drake, James Baillieu, Simon Myrthen Ensemble. Lepper, and Joseph Middleton. He sings with leading modern and period Allan Clayton studied at St John’s College, orchestras in the UK and abroad in works Cambridge and at the Royal Academy of Music including the Bach Passions, Berlioz L’enfance in London. An Associate of the Royal Academy du Christ; Britten War Requiem, Taverner Flood of Music and former BBC New Generation of Beauty and Beethoven Missa Solemnis with Artist from 2007-2009, his awards also include conductors including Sir Mark Elder, Paul “The Queen’s Commendation for Excellence” McCreesh, Gianandrea Noseda and Nicholas and an inaugural Sir Elton John Scholarship at Collon and Bernard Labadie. the RAM, the John Christie Award for his Glyndebourne Festival debut as Albert Herring, Opera roles include Guglielmo Così fan tutte and a Borletti-Buitoni Trust Fellowship. & English Clerk Death in Venice (ENO); Sid Demetrius A Midsummer Night’s Dream Bergen © Laura Harling © Benjamin Ealovega

- 38 - - 39 - National Opera and Aix en Provence Festival on Zürich Tonhalle, Luxembourg Philharmonie tour in the Far East; Albert Herring (BBC SO), and London’s Wigmore Hall, Royal Opera House Aeneas Dido and Aeneas (Early Opera Company) and Royal Festival Hall. He is a regular guest and Eddy in Mark-Anthony Turnage Greek (Music at Festivals in Aix-en-Provence, Aldeburgh, Theatre Wales.) He has also appeared with BBC Proms, Brighton, Cheltenham, Chicago Welsh National Opera in the world premiere Ravinia, City of London, Edinburgh, Munich, of In Parenthesis by Ian Bell and as Kelvin in Toronto, Vancouver and West Cork. He has a Fujikura Solaris in Paris, Lille and Lausanne. special relationship with BBC Radio 3 through his work with its New Generation Artists Marcus is the founder and artistic director of the Scheme, while his discography includes the Southwell Music Festival. Gramophone Award-nominated Fleurs with Carolyn Sampson and recital CDs with Dame JOSEPH MIDDLETON Felicity Lott, Amanda Roocroft, Sophie Bevan, Ruby Hughes and Allan Clayton. He regularly Pianist Joseph Middleton specialises in the art partners Sir Thomas Allen, Ian Bostridge, of song accompaniment and chamber music Sarah Connolly, Iestyn Davies, Wolfgang and has been highly acclaimed within this Holzmair, Christiane Karg, Kate Royal and field. Described in BBC Music Magazine as Christopher Maltman. ‘one of the brightest stars in the world of song and Lieder’, he has also been labelled as ‘the cream of the new generation’ by The Times. He is Director of Leeds Lieder, resident musician at Pembroke College Cambridge and a Professor at the Royal Academy of Music, his alma mater. He performs and records with many of the world’s finest singers in major music centres including New York’s Alice Tully Hall (Lincoln Centre), the Vienna Konzerthaus, Amsterdam Concertgebouw, Köln Philharmonie,

- 40 - - 41 - Recorded in Potton Hall, Suffolk, UK from 17th to 20th May 2015 Producer & Recording Engineer – Jens Braun Recording Assistant – Chris Kalcov

Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd.

SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com

- 42 - - 43 - ALSO AVAILABLE on signumclassics

The Frostbound Wood: British Songs by Warlock, Poulenc: The Complete Songs Vol. 5 Howells, Howard and Roe Thomas Allen, Thomas Oliemans, Joshua Ellicott Timothy Travers-Brown Catherine Wyn-Rogers, Ann Murray, Sarah Fox Jeremy Filsell Malcolm Martineau SIGCD161 SIGCD333

“Tim Travers-Brown sings with a sinewy grace throughout and “Thomas Allen’s delivery of [La bestiare] is suave and secure Jeremy Filsell accompanies with mercurial charm.” … Catherine Wyn-Rogers finds a steely sensuality in Poulenc’s The Observer sexiest song ‘Hotel’ ... The playing is strong, especially from Martineau.” BBC Music Magazine

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000

- 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD443 BLACK Job Title: Songs to the moon

SIGNUM CD1 CD2 CLASSICS SIGCD443 Peter Warlock Samuel Barber 1 [2.11] 1 , Op. 13 No. 4 [3.32] The Night Nocturne

Johannes Brahms Elizabeth Maconchy

2 Nächtens, Op. 112 No. 2 [1.45] 2 Sun, Moon and Stars [3.51] 3 Vor der Tür, Op. 28 No. 2 [1.58] Joseph Szulc MOON THE TO SONGS 4 Unbewegte laue Luft, Op. 57 No. 8 [4.07] 3 Clair de lune, Op. 83 No. 1 [3.25] 5 Der Gang zum Liebchen, Op. 31 No. 3 [3.14] Federico Mompou 6 Walpurgisnacht, Op. 75 No. 4 [1.32] 4 Damunt de tu només les ﬂors [4.22] 7 Ständchen, Op. 106 No. 1 [1.43] Camille Saint-Saëns 8 Der Abend, Op. 64 No. 2 [3.51] 5 Guitares et mandolines [1.49] 9 Vergebliches Ständchen, Op. 84 No. 4 [1.43] Claude Debussy Robert Schumann 6 Apparition [3.48] 0 Unterm Fenster, Op. 34 No. 3 [1.26] Ernest Chaussan q Mondnacht, Op. 39 No. 5 [4.07] 7 La nuit, Op. 11 No. 1 [2.47] ENSEMBLE MYRTHEN THE w e

THE MYRTHEN ENSEMBLE - Zwei Venetianische Lieder, Op. 25 [3.14] Reynaldo Hahn r Die Lotosblume, Op. 25 No. 7 [1.49] 8 L’heure exquise [2.51] t In der Nacht, Op. 74 No. 4 [5.20] Henri Duparc 9 La fuite [3.15]

CD1 Jules Massenet 0 Total timings: [38.00] Rêvons, c’est l’heure [5.04] Gabriel Fauré CD2 q Clair de lune, Op. 46 No. 2 [2.56] Total timings: [42.47] w Pleurs d’or, Op. 72 [2.47] SONGS TO THE MOON e Tarentelle, Op. 10 No. 2 [2.17]

THE MYRTHEN ENSEMBLE

MARY BEVAN SOPRANO • ALLAN CLAYTON TENOR • CLARA MOURIZ MEZZO SOPRANO

MARCUS FARNSWORTH BARITONE • JOSEPH MIDDLETON PIANO LC15723 Signum Records Ltd, Suite 14, 21 Wadsworth SIGCD443 CLASSICS Road, Perivale, Middx UB6 7JD, United Kingdom. P 2016 Signum Records DDD SIGCD443 © 2016 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 04432 2 SIGNUM